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~ video review by Karen Flynn WRITTEN REVIEW BY KAREN ROLLER: Jon Bennett’s How I Learned to Hug is a fast paced story of Jon’s trials and tribulations with love starting with grade school and including losing his virginity. But don’t worry he takes time to breathe.. and to run.. run so far away. With a few visual aids such as a projection screen and a pink satin dress he shares his most embarrassing moments including his horrible tattoo while he manages to incorporate references to his other project Pretending Things are a Cock. I think anyone who has loved and lost can relate to this piece and Bennett helps us realize that it’s okay to laugh at yourself and move on. Engaging, humorous and vulnerable he is a great storyteller and worth seeing. ~ written review by Karen Roller
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Precious Little has been described as a play about a pregnant 42-year-old lesbian, who has, until now, put her career ahead of her desire to have a family. ...I hate that description. It assumes that a woman who is pregnant after 40 must explain herself. Indeed, the protagonist, Brodie (played by Sara Andrina Brown), spends a lot of time explaining herself. In the genetic counselling office, she clarifies that, as a lesbian, she used a donor, and that, yes, she is aware of the risks for a woman her age. Both age and communication are themes that intertwine. The three women actors are themselves different ages, with varying backgrounds and experiences, playing characters who span generations. Brodie, a linguist, is having an affair with a younger grad student, while studying the lost language of an older immigrant woman. Amidst all this, Brodie forms a profound connection with a gorilla at the zoo. Precious Little forces us to confront the ways we use language to belittle, to patronize and to disguise what we mean. Brodie, as a character, is utterly unlikeable (a testament to skillful writing, directing and acting). She is callous and unkind to her young lover, and uses her academic status as a weapon or shield. But her armour is also her humanity. Precious Little is a strange play that asks tough questions about the world. In the end, we don’t necessarily have the answers. But we might be a little closer to understanding one another. ~ reviewed by Reija Jean Roberts
What would happen if your Air BnB guest showed up for the night and then never left again? When saving the farm calls for a modern approach, a couple at odds finds themselves hosting an odd-ball and things get funny fast. Cado is the work of 19-year old playwright Ian Kuiken, and is performed by a cast of (mostly) young actors who are participants in G.R.A.F.F.I.T.I., the Fringe’s youth mentorship program. What Kuiken lacks in sophistication, he makes up in hilarious characters, fast-shooting dialogue, and perfectly timed poignant moments that are just long enough to drive his larger message home. The cast is strong, and does a great job. It seems like perhaps one or two stage cues were missed, but hey, on opening night even the seasoned pros have their slips. After all, that’s what live theatre is all about, isn’t it? Featuring themes around sex and weed culture, this play is perfectly rated at 14+. Liz’s note: The play is called “Cado” and is performed by G.R.A.F.F.I.T.I. - Green Room At Fringe Festival… Is The Initials. It was performed at Havana Theatre as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Elizabeth Goode
One Step at a Time is a fun, playful, and entertaining way to get to know the writer and actor of this one-man show, James Melcher. Melcher’s stage persona is warm and inviting – I found myself completely enfolded and engrossed in his stories about growing up, learning, meditating, and making choices. I feel like I came out learning from Melcher’s self-reflection and self-discoveries. For example, I love the way he describes and contextualizes opportunities to make choices and will try to apply this to my own life: making a decision as an opportunity to stop, commit, and learn something, regardless of the outcome of the decision. Sonja’s Favourite Bits:
Missed the Mark for Sonja:
One Step at a Time is playing at Studio 1398 September 6 - 16 as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Sonja Cvoric
Ashley Whitehead and Natalie Tin Yin Gan have been working together since 2012. Their history as friends and artists is apparent in their dynamic on stage. They easily take cues from each other and play perfectly off of one and others skills and talents, making use of their vastly different body shapes and sizes. The show is part musical, part dance performance, part stand-up, and all heart. These two women sweat on every inch of the stage and cleverly use various lighting techniques to create different settings and moods. Making sure to use inclusive language and calling out misogyny and general ignorance in a quirky, kind, and humorous way make this show a must watch for anyone who is pro vaginas. While they have your attention, these two might just teach you a thing or two. There is a bit of audience participation. You may find yourself getting quizzed on some anatomy questions and clapping along to some old familiar tunes, but mostly your laughter and enthusiasm seems to be what fuels the artists. For all of the extreme physicality of the show, the best part of their performance was the their facial expressions. Every twitch of the eyebrow is well planned to elicit laughter and groans. Speaking with the artists after the show, Whitehead and Tin Yin Gan shared that the show has been changing and evolving with each city. They warmly invited audience members to get online and share their thoughts and suggestions. This audience member feels like they have perfected so much of the show, but would have preferred to end with the running scene and bumped the final musical number somewhere in the middle, but I’m a sucker for symmetry. I personally believe that this show should be sold out for every performance. It is clever, entertaining, charming, hilarious, and generally wonderful. Through a combination of clowning, athletics, musical talent, and acting, these two performers have managed to tackle a taboo subject and make it inviting and fun. ~ reviewed by Brieanna Fiander
The Lady Show – A Comedy Thing is smart, sexy, self-aware, and side-splittingly hilarious! It really delivers on the show’s tagline – “Putting the joy in feminist killjoy”. The creative team artfully and positively dissects topical discriminations in the news, pop culture, and society at large to unending laughter from the audience. In the past I have had numerous emotionally draining experiences lamenting the patriarchy, racism, sexism, and misogyny; often enlightening but draining nonetheless. Before seeing this show, I never thought I could come out the other side of this topic feeling as enlightened and uplifted as I did leaving The Lady Show. I was in such high spirits leaving this performance and the positivity and hilarity has stuck with me. I am so thankful and excited to have discovered this comedy show! Can’t wait to see what the comedic genius of Fatima Dhowre, Diana Bang, Morgan Brayton, and Katie-Ellen Humphries brings us next. Sonja’s Favourite Bits:
Missed the Mark for Sonja:
~ reviewed by Sonja Cvoric
Virginia Jack is a comedy improv play crafted by the company of the same name. On Friday, September 7, during their 2018 Vancouver Fringe Festival opening night show, improv comedians Briana Rayner and Shawn Norman created a one-act play on the spot. I was there, along with a handful of others, to witness and judge. Creating an entire play based on an audience-suggested location is incredibly ambitious, and both Rayner and Norman seem to be quite skilled. However, I really felt like the show could have used more energy and enthusiasm from the players. Much of the dialogue (particularly during the last half) was meandering, and the plot points and character elements often felt “played out” or cliché. The description for Virginia Jack cites “arthouse cinema” as an inspiration for this show, and describes it as “fantastically bizarre.” This feels misleading. The LGBTQ tag also seems slightly beguiling. Yes, this show garnered a few authentic laughs, but I was expecting something more zany. The set was simple (two chairs and a black stage), but I’m thinking that the actors could have drawn some inspiration from a few props. Perhaps they were disappointed by the small crowd size. (And the audience-suggested locales definitely lacked imagination.) It is worth noting that, this year, Norman was replacing Virginia Jack founding member Nicole Passmore. I wonder how much experience Rayner and Norman have playing off of each other. All that said, this was my first live improv comedy show. Perhaps all of the above is just part of the improv experience. Please chime in if you have a differing (or similar) perspective. I love a good argument. Virginia Jack is playing at the False Creek Gym 6 - 16 September as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Reija Jean
Correction: Fassbinder wrote this story in the 1970s, not the pre-war early 20th century as I mistakenly mentioned in the video. This modern take of Fassbinder’s 1972 movie features a cast of local emerging artists. But even though they’re all quite young, they handle the mature and multilayered themes that run throughout this play with skill and authenticity. This plot follows two female lovers as they navigate the boundary between love and ownership. This is not a play about the challenges LGBT lovers face specifically so much as a story that anyone who has ever been in love or lust can relate to. Especially compelling was the performance of Shelby Satterthwaite, who plays the role of Petra’s assistant. Satterthwaite is proof of that popular theatre trope that there are no small roles, only small actors. And in her role as Petra’s assistant, Satterthwaite is anything but small. She has no lines, but is on stage at all times, and the expressions she lets her character make are the most accurate indicator of Petra’s truth and lies at all times during this play. Be ready to for the sort of drama that doesn’t leave you rolling your eyes, interrupted by moments of comedy that land just right. This show is a must for any film buffs and those who have always felt that gender roles fit them just a little too tight. The Bitter Tears of Petra Von Kant by Midtwenties Theatre Society is playing at the VanCIty Culture Lab as part of the Dramatic Work Series in the 2018 Vancouver Fringe Festival. ~ reviewed by Elizabeth Goode
Dear Reader/Listener, Wunderdog Theatre’s production of Dear Elizabeth is a touching portrayal of the 30-year pen-pal friendship between two poets – Elizabeth Bishop and Robert Lowell. The script consists entirely of quotes from the letters exchanged between them. The rare moments when the two do meet in real life are very short and staged in silence. It made me wonder what was left unsaid in their relationship, in real life and in the curated selection of letters presented in the play. What was crystal clear though, was the admiration, support, and love these two had for one another. Alexis Kellum-Creer’s performance as Elizabeth and Anthony Santiago’s as Robert achieved a level of emotional eloquence and complexity that really brought these letters to life. Sincerely Yours, Sonja PS – Sonja’s musings in light of seeing this play:
~ reviewed by Sonja Cvoric
Poly Queer Love Ballad created by Anaïs West and Sara Vickruck performed at Revue Stage is a beautiful, sweet show about two women trying to navigate a polyamorous relationship. As a musical, the music and songs intermixed throughout enhance the performance to create a special story that really hit home for me. West and Vickruck have great chemistry together and you’ll feel for both of their characters as their relationship progresses. Through songs, poetry, monologues and costume changes they artfully build a queer romance that has its ups and downs. They handle the topic in a beautiful, sincere manner and highlight the importance of communicating your personal needs as well as listening to your partner’s needs and wants when building a relationship. I think anyone can appreciate the story West and Vickruck are telling, and I feel like queer women will find it especially resonating. Poly Queer Love Ballad is playing at the Revue Stage on Granville Island 6 - 16 September as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Jenna Masuhara Click "read more" for the full video transcript. |
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