The Stakeout

Martin Dockery's hit show is back.

I didn't get to see this one last time it was here, and I'm glad I got the chance this time.

The premise of the show "Two guys on a stakeout of two guys that are on a stakeout of them" sounds a lot more stoner-comedy than the show actually is.

It's funny, clever and well-performed. The scripted bits are tight with real "who's on first" and pun-based energy.

But the show does actually have a meaningful message and is a bit of a thinker. It's art, not just a dumb show as the premise might indicate.

The Stakeout”: starts slow—so slow you might wonder if you came for the wrong show. But hang on. Stick it out. Because once the emotional gears shift, it becomes a strange, funny, cyclical echo chamber of parental absence, longing, and humanity. And if you ask—“have you seen any good vistas?”—I’d say this one unfolds into a vast terrain of the heart, quiet, absurd, and unforgettable.

This was my kick off on Friday and what an amazing start to Fringe! Rarely have I wtinessed such a meditation on male tropes and the place of a man in the world, balanced with such comedy! I was awestruck at the stamina of the two actors. They needed to do almost impossible turns as well as carry such long speeches. Bravo!

Laughter and Heartache Collide - Sydney Boisvert

The Stakeout is a sharp, two-person storytelling performance that seamlessly blends humour, suspense, and deep emotional resonance. From the very beginning, the audience was laughing at the impeccably timed comedy, only to be drawn into gripping tension during the dramatic turns, especially the heartbreaking final moments when a father walks out on his son.

The chemistry between the two actors was remarkable. It felt less like a performance and more like eavesdropping on a real father and son locked in conflict: one on his first night on the job, and the other on his last. Their relationship embodied both passion and tenderness, allowing the humour to land without ever undermining the emotional weight. The ending, filled with love yet steeped in pain, left the room hushed and reflective.

Though the staging was simple, there was no visible car, just the actors confined to their imagined stakeout; it worked beautifully. The performers made you believe in the cramped space they shared, their physicality and dialogue filling in the gaps. This simplicity put the focus squarely on the script and performances, where it truly belonged.

The play’s themes of fatherhood, abandonment, and the ache of never feeling "enough" resonated deeply. While the story touched me personally, it’s also universal, speaking to anyone who has wrestled with parental love, expectation, and distance. The clever twists kept the narrative engaging, but it was the emotional core that lingered the most.

Leaving the theatre, I felt thoughtful and moved, replaying both the carefully revealed twist ending and the bursts of humour that balanced the heaviness. Out of everything I saw at the Fringe, this was one of my favourites, a production that entertained, surprised, and hit home all at once.

I don't know where to begin because everything I have to say about this show is MIND BLOWING! It was so cleverly put together from the story's words to the actor's emotions and behaviours. Each thing connected in a big way, a way that made me cry which is a testament to the amazing performers!

Loved every minute and would see it again...

Started slow for me, but the twist (?) midway through got me interested. Reminded me of other Dockery work in that it was very cyclical and very Waiting for Godot. Witty as always. I think 10min could’ve been cut. Show ran 7 min over, so consider that if you have a really tight turnaround like I did. Of the Martin Dockery shows this year, I preferred 1 Small Lie.