Andrea Noga

"Bittergirl", originally produced in 1990's Toronto, is play which follows three women, all in different stages in their lives, who are coping with well... being dumped. From self-care, to violent thoughts, to rebounding, Bittergirl follows the up and downs of a breakup with a sharp script and excellent acting.

Bittergirl is one of a decent number of Fringe shows this year which license pre-existing work, in this case a 27 year old Canadian play (with some updated references). The choice of Bittergirl, written by Annabel Griffiths, Alisan Lawrence, and Mary Francis Moore, for Little Sis Co. is a natural decision. Having caught, and loved, Primadonna last year, the choice of female fronted work with a fast pace is very on-brand for the collective. The actors, all from Primadonna plus a new face in Jacob Gorr, take to Bittergirl with the same ferocity and chemistry as last Fringe. They work insanely well together, and nail their individual moments too. The characters are differentiated well from each other too in the performances, an impressive feat for a script where the characters tend to mesh together a bit.

The actual script itself is messy, not in a bad way, and quite relatable to a variety of relationship issues. It does have a tendency to work itself into circles, which can be understood as break-ups don't exactly go down easy, but could have been benefitted by a little more character development, even if just to give the sudden ending some more justification. As well, even as someone who adores fast pace shows, both the script and its execution could use some valleys to balance out the hills. It starts at 100 and stays there throughout, which leads to some impressive acting performances and quick lighting design that is very effective, but also makes individual scenes and monologues start to feel a little same-y. While, as mentioned, the actors do a good job differentiating their characters, the script and blocking occasionally begins to meld together. If a few scenes or even just moments had a bit of a slower pace, it would have made the overall show feel more realized and impacting. The directing (Abby Witte) as a whole is superb, and each inch of the stage is used, but that would have brought it to the next level.

If I have any critiques, it's mostly because Little Sis Co. is an incredibly talented company and I've already seen them create outstanding, top rate theatre. For this show, it is a very worthy addition to their canon and only makes me more excited to keep seeing what they do next.

Andrea Noga, Alberta Youth Theatre Collective.

"Pork & Beans: Attorneys at Law" is the newest musical offering from creative duo Ethan Lang and Sam Daly, following past productions including the loved "Sam's Clam and Oyster Bar' from Fringe 2025. Pork & Beans fits the usual modus operandi for the two creatives, it's fun, it's light, and it's lovably ridiculous.

Pork & Beans is a simple, but hilarious premise. Two estranged best friends/TV-commercial style lawyers, the title characters, are facing off against each other in the trial of the century, where a man has been accused of murdering his wife. If that sounds dark, it's not. The show is a complete comedy, with exaggerated characters and non-sensical plotlines to match.

To start, most of the comedy of the show lands. There's an insanely high joke to minute ratio, so they can't all hit, but the big ones do and the audience I was with were completely into it. It helps that the entire cast played the parody to the max, and got the most of out the script. In particular, Ben Healey as the Bailiff and Sam Daly as Pork stand out for their ability to keep their characters consistent while also being absolutely ridiculous. The show channels the comedic vibe of a bonkers injury law commercial, and it never seems to run out of comical steam.

For the more technical stuff, the plot did not always come through clearly, though you could easily enjoy the show without caring much about that. The show follows an epic break-up between once friends/partners Pork & Beans, but the audience doesn't quite get a satisfying break-up or reconciliation between the two lawyers. Their feud is a compelling reason for the events of the play, however the play could stand to do some more work detailing the feud and why it is the two lawyers separated. As well, the score and lyrics, while amusing and very catchy, could have been better integrated into plot points rather than re-detailing plot points which have already been addressed in the dialogue.

Lastly, the FOH PRO Stage is a frustrating venue. The sightlines are very limited (I was in the third row, dead centre, and was struggling to see) and the venue speakers are low quality. While much of this was not the fault of the production, I do wish the show had taken their venue limitations into consideration more. At points, crucial moments of the show played in the venue's blind spots, and the larger cast felt a bit cramped in ensemble numbers. Many BYOV's which are not traditional theatres will have some limitations, and that is just part of Fringe, but overall the show could have benefitted from being a little more cognizant of those limitations.

All in all, Pork & Beans was a very enjoyable, funny show. However, with the talent onstage and the writing talent, I believe it truly has the potential to be more than just funny. It has all the hallmarks of a Fringe show which could easily be a successful two act musical, and if that ever happens, I'll be the first to buy a ticket.

Andrea Noga, Alberta Youth Theatre Collective.

"Stop Kiss", written by Diana Son, is a play from the late 90's which explores the events leading up to, and following, a violent hate crime which leaves one of the victims in a coma. It is an incredibly well-written play, which alternates between being sweet and being heartbreaking. The characters, and their relationships, are well developed and the dialogue flows with a natural pace.

Now, the production at Fringe is produced by Hollyhock Theatre Co, an indie theatre company here in Edmonton. The play is over at the Campus Saint-Jean Auditorium in the French Quarter, where the play takes full advantage of the larger space with a detailed, lived in set.

If you see the licensing details for this play, you'll see it's purported to run a total of 105 minutes. Hollyhock's Stop Kiss, on the Fringe website, runs a tight 90. At the performance I attended, it only went a minute or two over. As glad I am that this wonderful script is being shared, and by a company with a noticeable care for the meaning of the script, this tight runtime was noticeable in the performances and directing. Moments were occasionally rushed, and some of the heart of the show was missed as important moments weren't quite given the space they needed to breathe. While the cast was very likeable, and committed to their beats, the show could have benefitted from a slower pace.

While Fringe decrees 90mins as the maximum time, and the show is already running to that limit, there were moments that could have been cut down to allow more time for emotional scenes. The show did have a tendency to cut the momentum and tension with frequent, extended transitions, and allowing that time for the dialogue would have taken this production to the next level. Specifically, the show featured projection transitions and frequent costume changes. While both design elements were curated perfectly, and fit the mood of the show well, if they were cut down significantly it could have allowed more time for the scenes while keeping within the 90min limit.

The show has an important, still timely message which was delivered with care and precision by the cast and crew. It was a very detailed, especially technically, production for Fringe of a complex show. Shows like these make me wish Fringe had a little more space for longer shows, as if this show was allowed to run the normal runtime of 105 minutes, it would have been elevated substantially. As it is, it was still a strong production of a beautiful show.

Andrea Noga, Alberta Youth Theatre Collective.

For someone very familiar with Ingrid Garner's other work, "A Hollywood Horror Story" is a spectacular rejection of singularity, and establishes Garner not only as the wonderful performer Fringe audiences already know she is, but as an incredibly versatile performer too.

I was lucky to catch "Eleanor's Story: Life After War", Garner's more well known Fringe production about the life of her grandmother in the Second World War, at Fringe last year, and enjoyed it greatly. "A Hollywood Horror Story" is a very different conceit. Still a historical biography in a way, in this show, Garner details the life of "Vampira", famed horror presenter and actress, from humble beginnings, to international applause, to humble livings again.

Personally, I was already roughly aware of Vampira, as a horror fan myself. However, even those who recognize the name are unlikely to know about the icon to the depth that Garner does. Detailing her career, relationships, public persona, Garner (playwright, in addition to performer) treats Vampira's life and legacy with unholy care, resulting in a clear and full portrait of the life of a magnificent woman.

Already doing herself many favours with a sharp and well-written script, Garner brings it to life with sultry charisma, channeling Vampira as she takes on her persona to perform the show. During the show, she also takes on the voices of Elvis, James Dean, and other Hollywood legends whom Vampira encounters in her journey. She switches between voices seamlessly, and her physical storytelling changes effortlessly too. The show is well researched, but what truly brings it to life is how well performed it is. Squint, you'll believe Vampira is truly there in front of you, back from the dead to terrorize the living.

"A Hollywood Horror Story" is a new, and incredibly successful show from Fringe veteran Ingrid Garner. If you haven't seen it yet, I would run to the Spotlight Cabaret. If you have seen it, I would run back to see it again.

Andrea Noga, Alberta Youth Theatre Collective.

"Gnomon's Land", produced by Staged Theatre Productions, follows four clowns, all numerically named, in four vignettes that focus on each clown individually. From 00's complicated birthday party, to 30's emotional day at the office, the show offers a clown's perspective on something we all know too well, time.

To begin, Gnomon's Land is a feat of performance and direction. Following four clowns (Marshall Eglinski, Jenn Houle, Natasha Morra, Jack Walker) who speak in only gibberish and body language, each actor shows an impressive understanding of movement and physical comedy, communicating the emotional heart of the show through only their facial expressions and body movement with great success. While all incredibly strong, Jenn Houle and Marshall Eglinski stood out in particular for their effective storytelling and physical communication throughout. Of course, much of this must come from their director (Grace Fitzgerald) who uses every inch of the stage, and creates fascinating stage pictures, almost using the actors as set pieces in a way that truly works.

For the story, created by Grace Fitzgerald and Thomas Moore, it is unlikely audience members will leave truly understanding everything, especially as clown is an inherently enigmatic form of art. That being said, the emotional core comes through clearly. The show is curated to often lean closer to dance than physical theatre, and the show's message is told similar to dance performances, with great emphasis on facial expression and pace of movement to let the audience into what the clowns are feeling. It is a very compelling piece of theatre, and clearly created with much heart. As well, the lighting design (Thomas Moore) was crucial in bringing certain beats to life and truly elevated the show.

In an otherwise masterclass of silent (ish) storytelling, one of the only aspects which took me out of the performance was the projection screen which played animations while the scenes were happening. While I appreciate the reference to the Fleischer style, animated history of clown, as the actors were already doing a strong job selling the beats, it felt like a distraction from their work and took me out of their world. The idea was there, but in execution it felt unneeded.

All in all, Gnomon's Land was a strong showcase in clown storytelling, from an incredibly well picked team. The emotional beats hit, the design was strong, and the concept well executed. I'm excited to see what Staged Theatre Productions does next!

Andrea Noga, Alberta Youth Theatre Collective.

"The Last 1.5 Librarians North of Lethbridge" is a new musical, previously a play, which follows (almost) two librarians attempting to keep a little library often in an apocalyptic wasteland. With a charming premise, strong singing, and a good message, there is a lot to like about this show, even if the execution does not quite live up to the premise.

In "The Last 1.5 Librarians North of Lethbridge", Frankie (Karalee Adams) is an excitable librarian in training who runs a tiny, free library out in Nanton following the apocalypse. Frankie is soon joined by Jean, (Courtney Swan) a former librarian who begrudgingly agrees to help out Frankie in exchange for batteries. The musical follows the 1.5 librarians as they work to save the library, and figure out meaning in their wasteland.

To begin, the performances are one of the most memorable aspects of this production. While the music didn't always feel needed, and there wasn't much of it, it was a welcome chance for Adams and Swan to show off their impressive vocals, with Swan nailing a beautiful ballad and Adams often leaving the audience slack-jawed with their powerful voice. In addition to beautiful vocals, Adams and Swan played off each other well, with Swan the grounded, darkened foil to Adams' energetic Frankie. While their scenes with each other occasionally played at too slow a pace, when they got it just right, it was truly special.

As for the script (Anna Leslie, Michael Long), it is an incredibly intriguing premise. The kind of premise that could easily become a two act, full scale production. That being said, the script could use some fine tuning before it becomes that. The script focuses on the human aspects of the wasteland, which is a smart choice to help the emotional beats of the show hit. However, in its current form, the show moves quite slow and could benefit from some more action. There are long stretches of dialogue which had low importance in the grand scheme of the show, and featured very few songs for a musical. The concept of "slice of life in an apocalypse" is a very promising concept, though the show leaned into the slice of life concept almost too much that it became mundane. There's a lot to build off here, and I truly hope the show continues to workshop, but it does not seem to have hit its peak yet.

To finish, The Last 1.5 Librarians North of Lethbridge has a heartwarming message: Even in times of great struggle, there is a community for someone everywhere, and there is benefit to keeping books & knowledge alive. It is an impacting show, and there are some great vocals, and I personally cannot wait to see where it goes.

THE LAST 1.5 LIBRARIANS NORTH OF LETHBRIDGE, THE LUMOS DENTAL STAGE. FOUR MORE PERFORMANCES.

Andrea Noga, Alberta Youth Theatre Collective.

"Boys' Club", created and performed by Alick Mac, is an examination, and critique, of modern masculinity through rap music and literature, addressing the manosphere, abuse, and more through Mac's original music. While an exciting premise, the show could use some message editing to become the best version of itself it can be.

Throughout, Mac is a very likeable performer. He performs with a genuine energy, and a clear care for everything he speaks about. He is relatively new to the Fringe circuit, but has no struggle with endearing an audience to him. The audience can feel what the show means to him, which makes it mean more to us too.

For the material, there are some strong subjects addressed. As mentioned, his songs deal with the current state of masculinity in the world as he critiques both the patriarchy and how men uphold it, and are subsequently harmed by it too. There's a particularly strong, emotional number where he imagines a text exchange between two men who are afraid to be honest with each other in fear of "looking weak". However, as a whole, his message is a little bit undercooked. There are some well picked book passages, from Bell Hooks and Liz Plank, but overall the understanding of modern gender roles (admittedly, a complicated topic) still feels introductory. There are some well written lyrics, and well-performed too, though not quite complex enough to be saying something new about modern masculinity, or even something not already generally understood, especially from a female perspective. While I didn't find myself disagreeing with anything he said, I didn't find myself learning anything either. If you're relatively aware of modern issues, you're likely also aware of most of what Mac speaks about. Often, the show has a tendency to over-explain as well, giving an almost after-school special feel to the production. The moments where Mac delves into personal anecdotes, and allows the songs to speak for themselves, are the most compelling moments, and future iterations of the show could be benefited by leaning into that approach more.

As a whole, the show had a unique approach, and a promising exhibit of a newer Fringe artist. While some fine tuning would bring this show to the next level, there are strong messages included that could truly hit for the right audience members.

BOYS CLUB' AT THE WALTERDALE THEATRE. TWO SHOWS LEFT.

Andrea Noga, Alberta Youth Theatre Collective.

"Softie", created and performed by Timothy Felton, is a hard to describe show. Part stand-up comedy, part clown, part group therapy. Completely enjoyable.

Softie begins with extended audience participation, with one recurring bit that almost overstays its welcome but ends just in time. From there, it goes into a standard stand-up comedy set, with random oddities interspersed throughout. At one part, while doing a normal stand-up set, he slowly pulls a full bandana out of his hat without addressing it. That tells you a lot about what kind of show this is. It is, mostly, stand-up comedy with some charming/strange moments which differentiate it from a standard comedic show.

Audience participation in comedy shows is a very hit or miss field, and for the most part, this show hits with them. A very large portion of this show is audience participation, sometimes with one individual and sometimes in collaboration with the entire audience. Felton is well versed in awkward-style comedy and he plays off the audience well, leading to some big laughs and instantly getting the crowd on his side. His "Softie" persona is built around consent and creating meaningful relationships, which plays much funnier than it sounds, and lends itself well to a show with so much audience participation. Without giving away too much, there's a truly touching moment towards the end where Felton speaks about the meaning behind the show, and you can see that meaning throughout, even in the bizarre parts.

As for his traditional stand-up material, there are some big laughs in there too, especially as it is not a typical stand-up show. He is unabashedly honest, and adds some physical gags which hit well. Though, while his audience participation led to many genuine laughs, there was much more shocked laughter in his stand-up section, as he occasionally seemed to go for crude surprises. This is all a matter of preference, as most comedy is, though some of his stand-up seemed inconsistent with his "Softie" persona and felt out of place within this particular show.

That all being said, there was a lot to enjoy with Softie. Well done crowd work, a backpack full of surprises, and even a genuinely playful game of spin the bottle (not the way you're thinking of it) where myself and a friend were able to come onto stage and play the game. In the current landscape of stand-up, Softie is a refreshing and very welcome change of pace.

SOFTIE AT THE FACULTY EVENTS LOUNGE. FOUR MORE PERFORMANCES.

Andrea Noga, Alberta Youth Theatre Collective.

Unless you were lucky enough to catch it at past Fringes, you might not have heard about this show. "A Cabaret of Legends", co-created by Tymisha Harris (performer) and Michael Marinaccio (director, designer, stage manager), was a late stage edition to this year's Fringe festival, only barely sneaking in after another show dropped out. The show is not in any programs, but that does not mean you should look past it. Despite its secret status, this is a cabaret everyone should know about.

"A Cabaret of Legends" is a musical journey through pioneering black women in a variety of genres, from jazz, to soul, to rock. The cabaret includes tributes to Ella Fitzgerald, Whitney Houston, Beyonce, and many more music icons through the years, all performed by Tymisha Harris.

This was my second time experiencing this show, after luckily grabbing a ticket at the nearly sold out 2025 Fringe run. This show was a little different, as Marinaccio came out before the show (then running ten minutes late) to inform the audience that Harris was under the weather and would be performing a seated, more subdued version of the show. However, if it wasn't for this announcement, and the fact that I'd already seen the show, it is doubtful that anyone would have guessed something was wrong. Even while not feeling her best, Harris gave a world class vocal and storytelling performance, keeping her signature charm throughout. One particular standout moment was her performance of "Mississippi Goddam" by Nina Simone, which she performed with show-stopping vocals and oodles of personality,

While her vocals are awe-inspiring, the most compelling aspect of this cabaret are the personal touches. There are many Fringe shows where talented singers sing difficult songs, but Cabaret of Legends infuses each song with a history lesson or personal anecdote from Harris' life which makes the numbers feel emotionally significant, in addition to being well-performed. This separates the show from other cabarets and makes it feel truly one of a kind.

For a secret show, tickets are going fast, and it's no surprise. Tymisha Harris owns every inch of the stage, and the cabaret is incredibly well written and designed. It won't be a secret for long, I'm sure.

CABARET OF LEGENDS AT THE WESTBURY THEATRE, TWO MORE PERFORMANCES

A review by Andrea Noga, Alberta Youth Theatre Collective.

Not just for hockey fans!

A Hockey Night at the Puck & Pickle Pub review by Andrea Noga (Alberta Youth Theatre Collective)

If you’re a Canadian excited by the announcement that NHL players will henceforth be permitted to play in the Olympics, this might be the show for you. Also if you’re just Canadian, this might be the show for you.

Hockey Night at the Puck & Pickle Pub imagines the 2026 gold medal Olympic match between the United States and Canada, McDavid and Matthews head to head in a game watched around the country. The show takes place in the title pub, with two actors (Ryan Gladstone and Jon Paterson, with Gladstone as the sole writer as well) playing a variety of different pairs of pub customers. From themselves, to crass older ladies, to statistic obsessed hockey nerds, the pair of actors demonstrate a keen comedic range in a show that will keep you laughing throughout.

The show is in constant movement between characters– to the point that the actors have to keep a cheat sheet onstage to remember which pair of characters they’re switching between. They stay on track mostly, with a few mistakes here and there that are more funny than awkward. The actors offer clear physical choices that help differentiate the many characters, and add an extra comedic dimension. Gladstone and Paterson work well as a duo, operating on the same wavelength and being completely attuned to the other’s timing and nuances. They are well matched and make the other’s performance better, and the individual performances were pretty good to begin with.

Though where Hockey Night really sings is in the script. While both actors are equipped with strong comedic reflexes, the actual jokes on the page are smart and well crafted. For what is mainly a sketch show, Gladstone’s narrative commitment and comedic follow through is impressive. Jokes pay off right when they need to, and none of the characters overstay their welcome. The joke to laugh ratio is impressive, and the sheer number of jokes which hit would challenge for a Fringe 2025 record. For a relatively simple premise, Gladstone milks it for all that its worth, and it is worth quite a lot.

If you’re worried about not getting the references, don’t be. Sure, hockey history and key players are discussed throughout, however the show is not just some display of jock jargon. Fellow hockey fans will enjoy some of the deep cuts brought up, however the comedy in the show comes largely from character dynamics and wacky situations– which can be enjoyed by anyone, hockey fan or not. No matter your Fringe tastes (or taste in sports), this is a quintessentially Canadian show that is bound to make anyone laugh eventually.

Hockey Night at the Puck & Pickle Pub plays at the Campus Saint-Jean Auditorium.