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THEATRE ; HAMILTON FRINGE FEST
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by
A. Dowler
August 21 - 27, 2008 |
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Another year of Fringe, and another crop of mini reviews! Our experts were on the front lines as 2008’s staged winners shone through!
New Talent — Critic’s pick! Hamilton’s escort ads contain behind them a harsh reality for many desperate women. Brian Morton’s New Talent is closely based on true stories from the city’s underbelly. The Plastimet fire of ‘97 locks the reality in place for any Hamiltonian, and it is a jarring effect. My favourite this year.
[katie penrose]
Grade 8 — Dwayne Morgan’s one–man show is an impressive soul–baring confession about the trials of raising a daughter alone. Morgan's flow is tight and solid, and when at times his monologue transforms into rap, the mercury rises; his powerful energy shines huge. This piece is intelligent, funny, and honestly performed. Highly recommended. [kp]
Low Lifes — A bunch of dudes and a cute girl bring you this fast–paced drug–deal–gone–awry comedy. Erik Canaria and Matt Szpirglas are funny as roommates Benny and Danté, but don’t quite do justice to the well–made script by Brent Purvis. Offensive but real, and peppered with nuance, Low Lifes is a fun one. [kp]
Lear's Shadow — From Saskatoon comes The Newman Players with a three–man rendition of King Lear’s famous descent into madness. This Shakespeare edit is successful due to the excellent acting of Ed Heidt as the fool, and L. John Cieslinski’s uncannily well–cast Lear. Strangely Cordelia’s part was given to a less–talented younger male, but all said this is a good adaptation and performance. [kp]
Without Whom... — This is a neat package of a play, both quirky and philosophical. Anne Harper graces the stage as Marguerite, a widow seeking closure with her husband, the writer too stubborn to accept his own death. Carefully acted and professional in appearance, this play will charm weathered theatre–goes and newbies alike. [kp]
Goodbye Mary Pie — Goodbye Mary Pie was an interesting play despite some bad acting and a plot that didn’t actually resolve. Striking and talented Shari Vandermolen saves the day in this funny, drama–filled tale of old loves and new information. It was clever and intoxicating, though impaired by Gord Wehner’s unskilled performance. Plus, annoying title. [kp]
Stiks and the City — The Ugly Stiks’ sketch comedy show started on a weak note, which makes me question their overall ability. But I’d say they were pretty funny by the end, despite their comedy being a bit mainstream to be special. All seven members are uniquely talented and full of good energy; it’s a fun hour, albeit hit and miss. [kp]
Human Brilliance — Hamilton’s Peter Ormond and David Hart Dyke present a satirical take on the unsustainable practices of the present from their imagined perspective of an enlightened future. While the message is heavy–handed at times, it’s one we all need to hear. And the performances were fun and silly enough to entertain the whole hour.
[jeff santa barbara]
How Does a Drug Deal Become a Decent 3rd Date? — The only flaw in this Toronto play is believing that “Girl” — our attractive, funny, independent and intelligent heroine — has such trouble finding a respectable date. But with that piece of disbelief suspended, this is sharply written and well–performed play about romance that deserves an audience. [JSB]
You Are My Blood — A mother and daughter duo from Ajax present this genuine hard luck tale of a single mom justifying her difficult choices by claiming it’s what is best for her child. However, their earnest love for each other does not make up for flat acting and overwrought writing. There’s a story here, but it fails to come across. [JSB]
Camouflage — With understated elegance, this one–woman retrospective explores the lies we tell others and ourselves. Writer/performer Gail Roberts looks back on her life while brilliantly portraying many of the characters she encounters. Poignant writing along with smooth performance and direction make for a lovely show from this Toronto company. [JSB]
Misha — Hamilton’s Black Box Fire delivers a powerful tale of a teenager haunted by the death of his best friend and contemplating suicide. Despite this subject material, there are some real laughs as well. The script makes highly creative use of flashback and repetition, the acting is solid, and this is a show worth seeing. [JSB]
Couple a’ Wheels — Two young guys from Oakville share their advice on picking up women in this show. While the audience genuinely laughed at their antics, their version of gender relations seems straight out of an Axe commercial; the babes are dumb, but they’re hot so we don’t care. But the underdog wins in the end. [JSB]
The Most Tragical Tragedy of Anacletus and Polycarp — Critic’s pick! Ridiculous, baffling, and thoroughly entertaining! Two theatre geeks from Calgary turn the conventions of Greek drama on their masked heads. The reflections from the chorus dragged a bit, but clever writing, puppets and a commitment to the absurd make this a wonderful show. The scallop battle is a highlight. [JSB]
THE RIGHT TURNE — Written and directed by Aaron Lam, this piece clearly showed its dedicated team work and effort. The script was solid and successfully woven: a little humor, a little intrigue, a little romance, and even a little time travel. The performances were standouts with Jeremy Major, Matthew David Lupal, Christena Hampson–Covello and Doug Massey all creating real and entertaining characters. Sometimes the lack of definition in setting was slightly confusing, but the overall attention to the details of lighting, sound and setting were much appreciated and significantly supported the success of this production.
[TAMARA KAMERMANS]
SUMMERS’ STOCK — Summers’ Stock presented by Summers Mountain Theatre is best defined as a film. Small snippets of stage performance frame this nicely done presentation of the history of Concession Street starting at the top of Hamilton’s Wentworth Street stairs at the historical site of the Summers Mountain Theatre in the year 1907. Starring Ron MacDonald, Cynthia Hill, Shilo Nelson, and Julian Nicholson this show is a nostalgic walk down memory lane for some, an educational history of Hamilton for others. It might even help you brush up on your Rip Van Winkle. [TK]
BECAUSE I CAN — This show had a bad case of “what can you do?” What more could the performers have done with this strangely disjointed and flimsy script? Some firm direction might have helped, but not much. As it stands, the actors excel at creating their individually quirky characters. Too bad these high caliber performances weren’t a part of a more succinct production. The suspension of disbelief required for this plot is too large and the inconsistencies and questions too many to accept. The performers deserve a big pat on the back. [TK]
THE SUPER SEXY COWBOY BACHELOR EXTRAVAGANZA — This is a true collective piece. The cast was clearly enjoying themselves in this raunchy spoof on reality television. The script was suitably funny but the important thing in a show like this is that you make the commitment to sell every moment, every costume and every crazy thing you do. That’s how you make sure the audience has as much fun as you do. Set changes also let a lot of fun out of this balloon. Overall this production wasn’t a finished product. More time needed to be taken with sound, lighting and set changes to frame the moments appropriately: a work in progress. [TK]
I AM NOT NEIL YOUNG, THE MUSICAL — Critic’s pick! This is a one–man show you don’t want to miss. Starring Frank Wilks and directed by Don Lamoreux this was a riveting journey through Frank Wilks’ life in spoken word and in song. This show was real in every way: real music, real man, real life, and real loss. You can’t help but follow where he takes you as he chronicles his search for personal identity. He’s an excellent musician and an inspirational man. This show deserves full houses and anyone coming to the Fringe deserves to see this show. You might want to see it twice. [TK]
DARK CITY STREETS — Dark City Streets, written by Sabrina Noble and directed by Julie Florio was great fun. Noble takes the old detective story formula and does a flip by casting women in all the traditional male roles and visa versa. The writing was really well done and all the performers were up to the task but Julie Pinto as Merlot Phillips was a specific stand out. The set was nicely finished and utilized well. Sound and lighting cues were just right. This was a nicely presented piece: clever, funny, engaging, and sometimes a bit cheesy but in all the right places. [TK]
GERALD HILROY’S GUIDE TO THE ART OF SEDUCTION — Written by David B. Fraser and directed by Julian Nicholson, this is a story and an instructional presentation. By analyzing and sharing his dating debacles, Hilroy offers his rules to dating success. Starring Michael Hannigan as Gerald and Nia Reid as “every girl” this production was a high caliber presentation. Both performers were more than competent, creating hilarity and in Reid’s case quite the arsenal of successful characters. This script may still need a little editing to hone and focus it, but, as it stands, still a night of laughs and top notch acting. [TK] V
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