Reggae music soothed the Studio 16 Theatre as fringers trickled in at the Sunday, September 9th showing of Eric Jaffe’s C-. How appropriately college, I thought, recalling my own undergrad years with equal parts nostalgia and nausea. C- is a one-man show written and performed by Eric Jaffe. Inspired by 65 interviews conducted with former fraternity brothers, as well as Jaffe’s own experiences, it is a story about life spent floundering in and out of college. Jaffe is an entertaining performer and compelling storyteller. Speaking to him after his performance (I found him humble and gracious), I confessed my doubts going into the show. “How am I, a millennial woman, going to relate to the stories of these older men?” A middle-aged man who went to school in the 80s in the southern United States, Jaffe and I couldn’t be more different. Yet! I related to his stories of academia-acquired disappointment and confusion (ones that haunt me to this day). But despite many real moments of resonance, C- is also a show about male disillusionment. The vignettes were often punctuated by misogynist jokes and expressions of white male privilege, which, like the frat bros depicted, haven’t aged well. C- is playing at Studio 16 September 6 - 16 as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Reija Jean
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SELF-ish is the story of a woman, Esther (played by Diana Bang), in her mid thirties navigating the trials and tribulations that come along with that phase of life, additionally burdened and gifted with her Korean-Canadian family. As the play progresses we meet various members of her family, all played skillfully and hilariously by Esther. Bang puts on a strong and physical performance running, crashing, punching and kicking her way around the stage. While the play starts off quite funny as the story progresses we discover that Esther may be using all the sarcasm and humour to detract from some emotional family dynamics. I was most struck by how Esther’s frustrating and sometimes sad moments are framed in a funny way, but this approach shifts as the play evolves into a more sentimental discussion. SELF-ish by Classy Little Bitch Productions is playing at the Revue Stage 6 - 16 September as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Brieanna Fiander
He’s fast, he’s agile, he’s Fastcar: man of action! Blindfool productions presents a wonderful 45 minute one-man comedy show. The star of the show Amo Gullinello does a superb job of miming, sound effects, gesticulating and dynamic movement to convey a humorous sketch of how everyday life could turn into an action movie. He makes references to several classic action movies and through great facial expression and a few words creates memorable scenes with the help of willing audience members. Get ready to be a part of the action when you go to see Fastcar: man of action. Fastcar: man of action is playing at False Creek Gym 6 - 16 September as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Selene Dublanko
Ruby Rocket Returns! was surprisingly well polished for a different-supporting-cast-every-night improvised detective noir comedy show. Not only was it technically impressive, but Stacey Hallal even managed to shoehorn in some beautifully atmospheric narrative while she was acting by the seat of her pants. I'm not always a fan of improvised comedy, it typically gets too sloppy for me if the performers aren't attentive enough to details or committed enough to their characters, but overall I was impressed with this production. The ensemble weren't always on the same page, but they did manage to tie in some impressive internal references and call-back jokes, even if the placement of a wall did conveniently move occasionally. The strongest performer in a well-rounded cast, Stacey Hallal's performance was everything I love about the detective noir genre. I'll be watching out for her in future productions. Ruby Rocket Returns! is playing at the Waterfront Theatre 6 - 16 September as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Danielle Benzon
What do you get when you cross 2 fashionable women, a Supperware party, and the Dark Lord? You get a hilarious Fringe performance called Jan & Peg’s Ritual Sacrifice. Val Duncan and Celene Harder slay as Jan and Peg, two polite and totally unassuming women from Wisconsin who want to sell you some containers to seal in the freshness of your jello salad, and figure out which one of us in the audience would most appease their master in a sacrifice. Working together since 2012, these two performers have mastered quick and playful banter, Gilmore Girls writers would be jealous. I think a smaller venue would have been better for these two as I enjoyed the smaller crowd that were there and Jan and Peg did such a great job of making us feel at home in their living room. The evening unfolds beautifully starting with some friendly sales and moving into the main event of the night, popping our proverbial ritual sacrifice cherries. In the end, you might just get to meet the man himself, and he is not what you would expect. Jan & Peg’s Ritual Sacrifice is playing at Performance Works 6 - 16 September as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Brieanna Fiander
This clever piece by Gemma Wilcox takes you into the life of a woman surprised by a road trip mapped out for her by none other than her recently deceased mother. Her company on this solo trip includes her talking dog, her talking caravan, and 20 other distinct and opinionated characters that Wilcox single handedly brings to life with expertise, humour, and infectious energy. In fact, it’s her vivacious energy that makes this one woman show impossible to look away from. Be prepared for audience interaction, supernatural objects, and just a ton of reasons to laugh. Mixed up in these many funny moments are a few solid, serious ones that really slow the plot down to the point you truly feel for Wilcox’s alter ego as she makes her journey. I also have to commend Wilcox on her projection. I was seated at the back of the theatre and could hear each and every word spoken clearly. My only criticism in the sound department is that the songs used to break up the scenes were various degrees of too loud, and as someone who wears a hearing aid, I found it abrasive. All in all Wilcox is a gem, and judging by the standing ovation she received, my fellow audience members felt the same way. Magical Mystery Detour is playing at Studio 1398 September 6 - 16 as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Elizabeth Goode
The Other Side of the Flood is a "spoken word musical theatre" performance created by David Lee Morgan. It's a one man show with multiple characters portrayed by Morgan with the help of some recordings representing additional characters in the piece. The title presumably is biblical, from the Book of Joshua, and would likely be a reference to the future temporal setting of the play – post apocalypse. The 'action' takes place in the future "on the eve of a worldwide socialist revolution" in the year 2035. Morgan's idea for this piece apparently came out experiences related to his interest in previous significant revolutions: the French Revolution and the Paris Commune, The Russian Revolution, and the Chinese Cultural Revolution. In response to the notion that we will never see the like of those great social upheavals again, Morgan felt compelled to imagine it as a possibility and create this theatrical piece. Morgan has 'cred' when it comes to poetry and performance. He has a Ph. D. in creative writing, has been published both in numerous publications as well as books, and has been very successful in the UK appearing in many festivals and Poetry Slams of note. The story involves some people from the opposite ends of the earth - Los Angeles, Bengal, and Dhaka - who are all involved in working toward the goal of a global socialist revolution. They are also living in a time when science has found a way to 'download' a person's brain to create a digital version of the person. Even as I write this I have trouble understanding how these people came to be in relationship and what the point of the story is, especially the digital brain part. The story is intended to be an apocalyptic vision of the future, wherein we humans are still living in the conflict of good versus evil, socialism versus capitalism, humanism versus religion - at least that is what I gleaned from it. It was, at critical times, difficult to understand some of the poetry so there were gaps in the narrative for me. Despite this I mostly really liked the poetry. I think this performance piece could be successful if it were professionally staged and performed by a more credible actor, with higher quality lighting, props, sound, and staging. Morgan alone doesn't have the chops to create the atmosphere and emotional charge that the play demands. The play is interesting but may be damning it by faint praise, but the best I can say. The Other Side of the Flood by David Lee Morgan is playing at the False Creek Gym 6 - 16 September as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Evelyn McKelvie
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
Absolute Magic was definitely magical. Keith Brown did everything right, his magic was believable, funny, and engaging. If you enjoy magic or you are looking for a good show to take your kids to, I would recommend this one. Keith has been doing magic for over 10 years and he has performed in over 22 countries. His passing resemblance to Harry Potter (although Keith is proclaimed to be hotter) makes it seem even more likely that he might make you levitate, or at least confuse you by reading your mind. Absolute Magic by Keith Brown is playing at Studio 1398 September 6 - 16 as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Annina Engelbrecht
Adjunct Professor of Law at Washington and Lee University. CEO at Westmoreland Coal. CEO at Telescpectrum Worldwide. President and CEO at Jackson Hewitt. President and CEO at Farm Fresh Inc. This is not the CV of a Fringe performer. At least not usually. But this year Keith Alessi has come to Fringe to show as that even a recovering executive might have something to offer the arts. This show is exactly the kind of intimate and vulnerable performance we come to the Fringe to see. I am not particularly a banjo fan, but after seeing this show I now understand the appeal. Alessi weaves beautiful stories for us, some moving, some funny, but all are accompanied and enhanced by the 3 banjos he has on stage with him. For the banjo enthusiasts in the group you will be tickled by the occasional banjo joke and Alessi’s solo performances of some very famous songs, and one at least he wrote himself. Tomatoes Tried to Kill Me But Banjos Saved my Life has toured Canada’s Fringe scene from Toronto, through Edmonton and now in Vancouver. Next Alessi will be taking his show international and heading over to Australia. Working with a very talented group of performers, Alessi may be a newcomer to Fringe, but I don’t think it will be his last time charming an audience from the stage. Check out his website TomatoesTriedToKillme.com to enjoy some of Alessi’s favourite places, banjo builders and music. He is also offering comp tickets on his website, so if you feel like you need to see this show, but are tight on cash, you can email them and request one. Tomatoes Tried to Kill Me But Banjos Saved my Life is playing at Carousel Theatre 6 - 16 September as part of the 2018 Vancouver Fringe Festival. ~ reviewed by Brieanna Fiander
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