A number of factors will try and turn Peter and Chris against each other, but the funny twosome’s bond is far stronger than anything that may dare to cross their path – and their slick moves prove that they’ll school you in a dance-off. This fantastic mix of physical comedy, energy, humour and human noise-making will force a guffaw out of even the most serious type of person. Come early and grab a seat on the couch – opening night was over capacity and if you’re like me, make sure you pee before the show – otherwise you’ll be left standing clutching your gut or crossing your legs because you’ll be laughing so hard.
I had a hard time getting into the play in the beginning, but once the character of the Doctor was off-stage the play really came to life. The characterization of Will was superb and props to Jake Smith for his work. While far from perfect, and having a detestable “see it a million-miles away” cop-out of an ending, the play still manages to stand on its two feet and provide a good 30 minutes of entertainment. It only has one show left, early next Saturday afternoon, and if that spot on your Fringe schedule isn’t already booked.
This play is demanding. Of its audience it demands attention and vulnerability. Of its performer it demands much more: an ability to understand all aspects of child sexual abuse, to bring the whole of the issue into the open. Falling Open began as a spoken word project by Luna Allison, but has recently received theatrical elements, courtesy of Lib Spry. It is set in Luna Allison’s actual bedroom, making it quite an intimate performance – only fifteen people can fit in the venue. Along with this physical intimacy, it’s hard not to feel a twinge of discomfort at entering such a personal space. It’s a discomfort that the play cultivates. This play’s purpose is to bring the audience as close to the personal truths of child sexual abuse as possible within the domestic sphere in which it occurs, and that’s bound to agitate.
All three actors give highly energized and strong, if slightly unpolished performances. The actor who plays Joe has a particularly well-established comedic sense, though all three had the audience cackling at one point or another. The play only falters during a few unnecessary dramatic monologues that bring little value and break the energy of the show. This, and a superfluous musical number, are really the only weak spots in an otherwise pretty charming play that’s about as much fun as a good old romp in the hay.
It’s a mix between a one-man show and a fantastic stand-up routine. Gee breaks the fourth wall completely and talks to and plays off of the audience’s reactions. At times, the show takes a turn for the didactic. It’s clear that Gee wants not only to entertain, but also to point out how very close we all are to insanity. The best part of the show is Gee’s brutally dark, British humour. He manages to draw out the funny side of even the worst stories. Many of the jokes left the audience teetering between busting a gut and a turned stomach. But, in my experience, those are the times you laugh the hardest.
Même si le périple de Pénélope nous amène en Europe et dans d’autres mondes, il y a un côté purement québécois à cette pièce que j’ai grandement apprécié. C’est un fascinant parcours qui raconte l’histoire très personnelle de Pénélope mais le récit raconte aussi son époque, un Québec des années 1970 à 2000, un Québec en plein essor, qui cherche à trouver son identité. C’est sans contredit le texte de Pierre-Michel Tremblay qui donne, à priori, la force à cette pièce. Mais c’est l’ensemble de la troupe, qui partage sa passion pour le théâtre avec humour et honnêteté qui rend cette version du Rire de la mer un succès. Je vous recommande le voyage.
The simple technical aspect of the monologue contributes well to Britton’s raw performance. Barefoot, pants cuffed and dressed in neutral tones, Britton’s eyes and facial expressions are a huge draw for his mix of serious and humorous stories. His slight use of physical theatre embellishes his new and fascinating surroundings. Overall, Melting in Madras is a lovely piece of work that is worthy of seeing – it will move you to tears, to laughter and to wishing you could leave on the next plane out.
I suppose that you could find some elements to criticize about this play, but that would probably mean that you don’t really know what fun is. The fact is that this thing accomplishes exactly what it sets out to do. This play is about really talented people at their most zany.
As the title might suggest, this one-man show centers on a monologue about Jimmy Hogg’s job experiences, but it extends to the eternal quest to answer the ultimate question: “What to do with my life?
Hogg takes the audience all the way back to his first job — working for his parents—and then through a host of other miscellaneous under-paid positions before arriving back in the fictitious present where he has to look for yet another one. At times, he breaks away from recounting his work experiences to share other tidbits, such as a crush for a supermarket girl, or the way in which a coworker looked like Sean Young in “Blade Runner”.
Two short plays combine in this production by There Was A Chair Theatre Company.
As we walk in to take our seats for Requiem for August a pair of young lovers are already on the set; he is standing with back to us, she is draped over what could be a shelf of rock under a cliff. Sounds suggest the beach; crashing waves and crying seagulls stay with us for the duration, accompanied by loud and relentless washes of dialogue-obscuring New Age music.
