So You Think You Can Fringe
Years ago, the Edmonton International Fringe Festival eschewed the use of cute festival names incorporating the word "Fringe." They had their reasons, but none of them made sense to me. I miss the tradition, so I've resurrected in my little way with the title of this post.
I'm Fringing more than I expected this year. This is due to the change in Frequent Fringer Pass rules that forces me to buy one ticket per performance instead of however many I want. So instead of going to five shows with five friends, I have to book 10 separate performances. I'm definitely not going to make it all the way to 10. I paid cash for one performance and I gave a ticket away to a friend. I'm seeing a few more things in the next few days, but I'll still have one booking leftover. (So if you're in town, let me know and I can book something for you!)
Meanwhile, I have seen some interesting things.
Drunk Enough to Say I Love You
Playwright: Caryl Churchill
Performer/Company: Hunny Bunny Productions
In this highly allegorical play, an EveryLogCabinRepublican generically named Guy (Stuart Hoye) is in the process of being seduced by an even more baldly avaricious power player symbolically named Sam (i.e., Uncle Sam; played by Perry Gratton). As the pair list off a history of significant events that have nudged the military, industry and government closer together, it becomes clear that this dalliance has gone on for most of the 20th century. The most chilling part of this play is how Sam convinces Guy that it was no longer necessary to put up even the semblance of altruism. This is the shift from the the "compassionate conservatism" of George W. H. Bush and his generation to the anti-social neo-conservatism of George Bush Jr. and his cronies.
Churchill employs her signature fragmented sentences as Guy and Sam excite each other with greater and greater tales of attacks on social cohesion. The actors throw themselves bodily into the roles, as director Ben Janko tries to keep the action as dynamic as the conversation. However, there are times when he might have just trusted the dialogue to be engaging enough on its own. As an audience member, it's worth the little bit of extra effort to follow the dialogue and ideas through. Thanks to this ambitious young company for finally bringing this controversial Churchill piece to town.
The End of Civilization
Playwright: George F. Walker
Performer/Company: Punktuate! Production
I managed to see this immediately after Drunk Enough to Say I Love You, completing a double-bill of Great Contemporary Playwrights on Late Capitalism. Where Churchill's play was an allegory of the power shift to beyond-neo-con, Walker's is a drama on its effects on people. This is actually one of Walker's Suburban Motel plays. In typical Walker style, it blends high veracity with high absurdity and ROTFL hilarity. As the non-linear play unfolds, so do a few mysteries: We know there is a missing woman. And a missing man. But not missing at the same time. And they're married. And the two cops have a heck of a time sorting out the case. And themselves. The key piece of set-up dialogue is: "We can't live the way we used to live."
Everything about this production was done well, from the performances, to the set and costumes, to the staging and casting. Most of the members of this troupe are recent graduates of the U of A drama program, including director Elizabeth Hobbs, actors Delia Barnett, Adam Cope, Elliot James and Andrea Jorawsky, and set designer Cory Sincennes. Long-time Edmonton theatre-goers will recognize Jeff Page among the young whippersnappers; he's characteristically compelling, and, having starred in Walker's Featuring Loretta at a previous Fringe, somewhat of a Suburban Motel veteran now.
This show is up at the old cycle shop on 118th street -- it's well worth the trip up there (to get there by transit, go downtown and take the 5 or the 8) for the performances and also the sweet little cabaret/theatre they've set up. Also, the area is in economic transition, adding a touch of environmental theatre to the show!
Tired Cliches
Playwright: T. J. Dawe
Performer/Company: Acky-Made
I've really enjoyed Alex Eddington's Fringe shows, which have in the past been rooted in his training as a musician, so there were plays in the guise of a music lecture or a music-themed murder mystery. This year, Alex is actually performing the work of another playwright, Fringe god TJ Dawe. I did not seen Dawe's original run with Tired Cliches, which was written about 15 years ago -- and neither has Alex. This is a good thing because Alex puts his own spin on it. Maybe because I so strongly associate Alex with music, I began to think of this play as a song. In signature Dawe style, the monologuist seems to be heading down mutually exclusive tracks: one is a discourse on how the word "fuck" and its variations are really all compliments; another seems to the diary of a disgruntled worker; then there is the rant about show-off cyclists. But Eddington keeps coming back to describe a mundane scene, of a man crossing a street, like it's a verse. Everything ramps up and eventually everything comes together in a crescendo. Nicely done!
Ankles Aweigh
Playwright: Guy Bolton and Eddie Davis
Performer/Company: Plain Jane Theatre
Apparently a flop when it first ran on Broadway in 1955, this musical was revived in high camp style in the late 80s. At the Fringe, it's staged with campy glee by director Trevor Schmidt with true musical talents Ryan Parker, Sheldon Elter and the sweet-voiced real-life sisters, Bridget and Kate Ryan, who play sisters in the show. There is a convoluted plot involving a Some Like It Hot-style need for one of the sisters to dress up as a member of the opposite sex, in this case to consort with the U.S. naval captain with whom she has just secretly eloped; a spygame carried out by Donovan Workun and Linda Grass, who are dressed like Italian versions of Boris and Natasha; some bawdy farce; and lots of singing and dancing. There was nothing socially redeeming about this. I loved it!
Witness to a Conga
Playwright: Stewart Lemoine
Performer/Company: Teatro la Quindicina
The word "conga" jumped out at me in the program, but keep your eye on the "witness." A wedding is imminent, and along with it, decisions about who to invite, what is the meaning of family and how exactly one will participate in one's own public celebration of commitment with another. The narrator, Martin (Andrew MacDonald-Smith), is a very reserved, even passive, fellow ("I'm all for decisions being made for me"). Despite (or because) of that, the scenes in which he is shown gaining -- and actively working to achieve -- insight into the most important relationships in his life (embodied by Leona Brausen, Briana Buckmaster, Belinda Cornish, Jeff Haslam and Sheri Somerville) are very moving, and among the best Stewart has written. I wrote down a number of spoilery quotes, but since the show runs past the Fringe until 28 August, I will suggest that you become a live witness to Martin's journey.
Anne-Abducted
Playwright: Matt Alden
Performer/Company: MurMan Productions
This show may contain scenes of alien abduction, but it has a lot in common with Witness to a Conga. It's also about a young man (Jordan) who lives too much in his head. It's not entirely hopeless: he meets Anne, a young woman who lives too much in her head. The problem is, he thinks she's really an alien who has abducted him. This is a very funny show, featuring the wisdom of New Kids on the Block lyrics, Doctor Who puns and, unexpectedly, insights into mental health states that Matt, who wrote last year's Edmund, writes very well. Particularly amusing is Matt's portrayal of an inattentive therapist who employs an array of seemingly random concepts ( "I thought we put that in The Land of Forgotten Things," Jordan reminds her at one point) and activities (the hand-in-circle talking strategy) that encourage performance instead of communication. So really, Jordan lives in a society that defaults to pushing people away, or encouraging mediated activities (his social time with an old friend involves a game of foosball at a bar, and watching six hours of the original V on DVD); at least the aliens want to get closer. Great job by Mat Busby (who plays Jordan), Jenna Dykes (who plays Anne), Murry Utas (the director) and Matt Alden (who plays everyone else and wrote the show)!
I'm Fringing more than I expected this year. This is due to the change in Frequent Fringer Pass rules that forces me to buy one ticket per performance instead of however many I want. So instead of going to five shows with five friends, I have to book 10 separate performances. I'm definitely not going to make it all the way to 10. I paid cash for one performance and I gave a ticket away to a friend. I'm seeing a few more things in the next few days, but I'll still have one booking leftover. (So if you're in town, let me know and I can book something for you!)
Meanwhile, I have seen some interesting things.
Drunk Enough to Say I Love You
Playwright: Caryl Churchill
Performer/Company: Hunny Bunny Productions
In this highly allegorical play, an EveryLogCabinRepublican generically named Guy (Stuart Hoye) is in the process of being seduced by an even more baldly avaricious power player symbolically named Sam (i.e., Uncle Sam; played by Perry Gratton). As the pair list off a history of significant events that have nudged the military, industry and government closer together, it becomes clear that this dalliance has gone on for most of the 20th century. The most chilling part of this play is how Sam convinces Guy that it was no longer necessary to put up even the semblance of altruism. This is the shift from the the "compassionate conservatism" of George W. H. Bush and his generation to the anti-social neo-conservatism of George Bush Jr. and his cronies.
Churchill employs her signature fragmented sentences as Guy and Sam excite each other with greater and greater tales of attacks on social cohesion. The actors throw themselves bodily into the roles, as director Ben Janko tries to keep the action as dynamic as the conversation. However, there are times when he might have just trusted the dialogue to be engaging enough on its own. As an audience member, it's worth the little bit of extra effort to follow the dialogue and ideas through. Thanks to this ambitious young company for finally bringing this controversial Churchill piece to town.
The End of Civilization
Playwright: George F. Walker
Performer/Company: Punktuate! Production
I managed to see this immediately after Drunk Enough to Say I Love You, completing a double-bill of Great Contemporary Playwrights on Late Capitalism. Where Churchill's play was an allegory of the power shift to beyond-neo-con, Walker's is a drama on its effects on people. This is actually one of Walker's Suburban Motel plays. In typical Walker style, it blends high veracity with high absurdity and ROTFL hilarity. As the non-linear play unfolds, so do a few mysteries: We know there is a missing woman. And a missing man. But not missing at the same time. And they're married. And the two cops have a heck of a time sorting out the case. And themselves. The key piece of set-up dialogue is: "We can't live the way we used to live."
Everything about this production was done well, from the performances, to the set and costumes, to the staging and casting. Most of the members of this troupe are recent graduates of the U of A drama program, including director Elizabeth Hobbs, actors Delia Barnett, Adam Cope, Elliot James and Andrea Jorawsky, and set designer Cory Sincennes. Long-time Edmonton theatre-goers will recognize Jeff Page among the young whippersnappers; he's characteristically compelling, and, having starred in Walker's Featuring Loretta at a previous Fringe, somewhat of a Suburban Motel veteran now.
This show is up at the old cycle shop on 118th street -- it's well worth the trip up there (to get there by transit, go downtown and take the 5 or the 8) for the performances and also the sweet little cabaret/theatre they've set up. Also, the area is in economic transition, adding a touch of environmental theatre to the show!
Tired Cliches
Playwright: T. J. Dawe
Performer/Company: Acky-Made
I've really enjoyed Alex Eddington's Fringe shows, which have in the past been rooted in his training as a musician, so there were plays in the guise of a music lecture or a music-themed murder mystery. This year, Alex is actually performing the work of another playwright, Fringe god TJ Dawe. I did not seen Dawe's original run with Tired Cliches, which was written about 15 years ago -- and neither has Alex. This is a good thing because Alex puts his own spin on it. Maybe because I so strongly associate Alex with music, I began to think of this play as a song. In signature Dawe style, the monologuist seems to be heading down mutually exclusive tracks: one is a discourse on how the word "fuck" and its variations are really all compliments; another seems to the diary of a disgruntled worker; then there is the rant about show-off cyclists. But Eddington keeps coming back to describe a mundane scene, of a man crossing a street, like it's a verse. Everything ramps up and eventually everything comes together in a crescendo. Nicely done!
Ankles Aweigh
Playwright: Guy Bolton and Eddie Davis
Performer/Company: Plain Jane Theatre
Apparently a flop when it first ran on Broadway in 1955, this musical was revived in high camp style in the late 80s. At the Fringe, it's staged with campy glee by director Trevor Schmidt with true musical talents Ryan Parker, Sheldon Elter and the sweet-voiced real-life sisters, Bridget and Kate Ryan, who play sisters in the show. There is a convoluted plot involving a Some Like It Hot-style need for one of the sisters to dress up as a member of the opposite sex, in this case to consort with the U.S. naval captain with whom she has just secretly eloped; a spygame carried out by Donovan Workun and Linda Grass, who are dressed like Italian versions of Boris and Natasha; some bawdy farce; and lots of singing and dancing. There was nothing socially redeeming about this. I loved it!
Witness to a Conga
Playwright: Stewart Lemoine
Performer/Company: Teatro la Quindicina
The word "conga" jumped out at me in the program, but keep your eye on the "witness." A wedding is imminent, and along with it, decisions about who to invite, what is the meaning of family and how exactly one will participate in one's own public celebration of commitment with another. The narrator, Martin (Andrew MacDonald-Smith), is a very reserved, even passive, fellow ("I'm all for decisions being made for me"). Despite (or because) of that, the scenes in which he is shown gaining -- and actively working to achieve -- insight into the most important relationships in his life (embodied by Leona Brausen, Briana Buckmaster, Belinda Cornish, Jeff Haslam and Sheri Somerville) are very moving, and among the best Stewart has written. I wrote down a number of spoilery quotes, but since the show runs past the Fringe until 28 August, I will suggest that you become a live witness to Martin's journey.
Anne-Abducted
Playwright: Matt Alden
Performer/Company: MurMan Productions
This show may contain scenes of alien abduction, but it has a lot in common with Witness to a Conga. It's also about a young man (Jordan) who lives too much in his head. It's not entirely hopeless: he meets Anne, a young woman who lives too much in her head. The problem is, he thinks she's really an alien who has abducted him. This is a very funny show, featuring the wisdom of New Kids on the Block lyrics, Doctor Who puns and, unexpectedly, insights into mental health states that Matt, who wrote last year's Edmund, writes very well. Particularly amusing is Matt's portrayal of an inattentive therapist who employs an array of seemingly random concepts ( "I thought we put that in The Land of Forgotten Things," Jordan reminds her at one point) and activities (the hand-in-circle talking strategy) that encourage performance instead of communication. So really, Jordan lives in a society that defaults to pushing people away, or encouraging mediated activities (his social time with an old friend involves a game of foosball at a bar, and watching six hours of the original V on DVD); at least the aliens want to get closer. Great job by Mat Busby (who plays Jordan), Jenna Dykes (who plays Anne), Murry Utas (the director) and Matt Alden (who plays everyone else and wrote the show)!