Dicky Dicky: Dream Factory, What’s it building? The thing that everyone talks about in this show is the fact that the performers put literal pillow cases over the heads of the entire audience, after making them sign a waiver saying that they are participating voluntarily in the show, and are ineligible for a refund. I … Continue reading “Dicky Dicky Dream Factory;” What’s it Building?
I had my first day off in 4 months after the Ottawa Fringe let out on June 18th. That day off was real nice. And now I’m supposed to wrap up the festival this year. I’ve been on the road doing theatre, both Fringe-y and not, since April, and I have no plans to really … Continue reading Do you miss Fringe?
I first watched a brief version of Ethel at Fresh Meat 4, in 2015. Since then the piece has undergone immense reworking, and has become one of the most honest and touching personal explorations I’ve seen brought to any stage. Madeleine Hall has performed at the last two Fringes in a pair of (nearly) silent … Continue reading “Ethel” Two Years Later, Part Two
The Shakespeare authorship question. In this work, a companion piece to last year’s Shakespeare Crackpot, Creator/Performer Keir Cutler, playing an Oxfordian chapter Head stages a high-stakes video shoot with Brett Watson’s “renowned Shakespearean actor,” to strike a blow at the heart of the “Stratfordian” menace. If you’re unfamiliar with the idea of the debate around … Continue reading “Teaching Hamlet,” A Safe Play, Pass(es)
While Grand Salto Theatre’s Szeretlek: A Hungarian Love Story might have the most difficult title to pronounce (spoiler alert: they teach you the proper pronunciation in the show and it’s actually not that hard), it’s also one of the most endearing stories. Inspired by the true events that led creator-performer Zita Nyarady’s grandparents to fall … Continue reading “Szeretlek” is Sweet Like Candy
With Don’t Go Down to the River, JIG theatrecompany has created a compelling and dark homegrown mystery, but the minimalist one-woman show format they utilize undermines the power of the world built by the narrative. Under the guise of showing her house off to potential buyers, Grace Shaw relates the dark history of her family … Continue reading “Don’t Go Down to the River” Flows; in need of more visuals
Meraki Theatre’s debut production, Tiny Dynamite, shows off the obvious talents and artistic instincts of its three members, though the production suffers from a lack of compromise with the practical drawbacks of its venue. One of the three shows at this year’s Fringe based on a pre-established script, Tiny Dynamite was written by British playwright … Continue reading “Tiny Dynamite” Showcase for Potential Ignition
Regular patrons of the Ottawa Fringe know that there are two storytelling legends you pretty much always need to see should they happen to grace our city with their presence (and, luckily for us, they usually do): Jem Rolls and Martin Dockery. You can read our reviews of both Jem’s work and Martin’s work so … Continue reading Dockery Digs Deep with “Delirium”
Randy Ross’ Chronic Single’s Handbook follows his decision to travel around the world on a self-exploratory journey to find inner peace and figure out why he can’t hold down a girlfriend – like Eat Pray Love, but with more hookers. Though the show offers a bawdy, male perspective on the idea of the journey of … Continue reading “The Chronic Single’s Handbook” or: A How-To Guide to Problematic Gender Relations
*The third paragraph of this review (beginning “This script raises…”) includes spoilers. Local playwright Vishesh Abeyratne takes a bold step forward with Endlings, a post-apocalyptic tale in which human reproduction is strictly controlled by the state. Though it begins to engage with important issues such as the nature of desire and what is really in … Continue reading “Endlings” Makes a Start