Dark Day Monday Meets Dark Day Monday

Written by Thea Fitz-James and Wesley Babcock WHAT IS DARK DAY MONDAY TO US? We planted our feet in Toronto, and put down roots. As performers and producers, we knew of many comedy spots, storytelling shows, and performance art showcases in the city. But we could think of few showcases that brought different performance forms, … Continue reading Dark Day Monday Meets Dark Day Monday


“Dicky Dicky Dream Factory;” What’s it Building?

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?

Review: “Children Of God” at the National Arts Centre

A musical about Residential Schools. The beauty of works in the musical genre, from my perspective, is that they have the ability to transcend the bounds of the theatre in ways most other kinds of productions cannot to become cultural phenomena. They can bridge the gap between addressing things that remain unspoken in popular society, … Continue reading Review: “Children Of God” at the National Arts Centre

“Teaching Hamlet,” A Safe Play, Pass(es)

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)

“A Better Play Than Hamlet” Isn’t

If you have any reverence for Shakespeare’s “greatest work,” you’re discouraged from attending this performance by it’s own show brief. Luckily, my reverence impulse leads inevitably to an irreverent impulse, because I believe irreverence can be one of the highest forms of praise. In any event, this show by turns mocks, in an explicit attempt … Continue reading “A Better Play Than Hamlet” Isn’t

Luna: Orbital Velocity Achieved

Vanessa Quesnelle (known to Ottawa Fringers from Moonlight After Midnight, and Love is a Battlefield) is producing her first solo work in 5 years at the festival. Quesnelle puts her considerable vocal chops, strong physicality, and sharp writing on display in a piece that weaves all three elements into a coming-of-age story that blends creation … Continue reading Luna: Orbital Velocity Achieved