Robert Boisvert
Chase Padgett: The Next Guy is a startlingly original musical storytelling experience. Padgett blends sharp storytelling, rich vocals, and deft guitar work into a performance that lingers long after the lights go down. The show is unflinching about the fallout of divorce, the slide into another unhealthy relationship, and the raw ache of mental-health struggles, yet it never loses its sense of heart. Wry humour and genuine warmth thread through the emotional highs and lows, making the journey both cathartic and entertaining. Memorable, honest, and beautifully performed a must-see for Fringe audiences.
A delightful, first‑class hour of theatre. Mandy Williams delivers a brilliantly funny, utterly charming one‑woman musical comedy that has the audience laughing from start to finish. Her comic timing is razor‑sharp, and her singing voice is a genuine surprise: warm, expressive and perfectly suited to the show’s witty songs. The piece offers a fresh, affectionate look at relationships, compromise and what true love really means; it’s relatable, clever and full of heart. Professional, polished, and endlessly entertaining, the hour felt far too short; I left wanting more. Highly recommended.
Confirmed Bachelor unfolds as a lively period piece set in the British era, carried by the polished performances of Erin Lefler as the quick-witted Miss Eliza and Clayton James Plamondon as the earnest Gabriel Ringley. Eliza’s spirited schemes, slipping into borrowed identities to win Gabriel’s affection, give the production its playful momentum, weaving comedy and intrigue into every turn.
It’s a neatly crafted, confidently delivered hour of theatre, offering Fringe audiences an engaging, good‑humoured escape that never loses its charm.
Tita Jokes is a brilliantly executed blend of musical and sketch comedy that celebrates Filipino culture with sharp humour and first‑class performances. Every minute is a delight; witty writing, energetic staging, and standout singing and acting keep the pace lively and the laughs coming. This Fringe hidden gem is thoroughly entertaining; audiences will leave wanting more.
FALSE PROFITS pulls a cloistered, well‑heeled class out of the shadows and into unforgiving daylight, revealing them as fragile, absurd figures rather than the mythic titans they pretend to be. What once read like invincibility now looks like a midlife spectacle equal parts grandiosity and farce.
Jeff Leard gives a powerhouse solo performance, tearing open the curtain on trickle‑down rhetoric and the billionaire mindset with razor‑sharp timing and righteous humor. He skewers the icons of extreme wealth, Jeff Bezos, Charles Koch, and Elon Musk, exposing a worldview that’s startlingly detached from everyday people. Leard holds the room from start to finish, blending outrage and comedy so you’re laughing even as you flinch.
Smart, savage, and unapologetic, FALSE PROFITS is essential viewing for fans of subversive comedy. Fringe audiences will devour it and leave wanting more.
Three Ladies turn an ordinary tea break into a whirlwind of improvisation. As gossip bubbles up, so does the comedy, each juicy detail igniting new characters, surprising twists, and uproarious scenes. Bright, witty, and endlessly entertaining, it serves up laughter in generous, steaming cups. Good, clean fun for the fringe crowd, definitely not to be missed.
A beautifully crafted and deeply affecting work, Sadec 1965 offers a powerful reflection on Flora’s life, her bond with her father, and her connection to Vietnam. The production’s clarity and emotional honesty illuminate the human cost of war with remarkable sensitivity, making her personal journey feel both intimate and universal. Touching, heartfelt, and profoundly resonant, it offers Fringe audiences a moving window into inherited memory, cultural identity, and the courage required to confront the past.
Ingrid Garner delivers a riveting, razor-sharp revival of Vampira, restoring Maila Nurmi to her rightful place as one of Hollywood's most daring and unjustly forgotten innovators. A must-see for the Fringe audience and a striking homage to a trailblazing icon who refused to conform.
Couples Therapy Comedy at Garneau Theatre Aliya Kanani and Emo Majok teamed up for a lively performance of Couples Therapy Comedy at the Garneau Theatre—a show that felt like an expanded version of what audiences may have seen at Spotlight Cabaret. Perhaps this was a trial run to see how well their dynamic could fill a larger venue, and judging by the crowd’s energy, it worked. The chemistry between Kanani and Majok was electric, with their playful banter laying the groundwork for a concept that could easily evolve into a full-fledged comedy series. Their timing, rapport, and contrasting styles made for a compelling duo that kept the audience engaged throughout. Adding to the mix were guest performers Jen Sakato and Antonio Olivito, who brought their own flavour of humour and helped round out the evening with plenty of laughs. Kanani’s material felt sharper and even more hilarious than in previous shows, while Majok’s delivery added depth and rhythm to the performance. This collaboration has serious potential. If they continue developing the Couples Therapy Comedy concept, it could become a Fringe Festival favourite that audiences flock to. Can’t wait to see what they bring next
“Final Girl: A New Musical” is a must-see for fans of musical horror and slasher classics. With a seasoned cast delivering top-tier performances and choreography that’s both sharp and thrilling, the production oozes professionalism. From start to finish, it’s a wildly entertaining ride—never a dull moment, never a missed beat. Among the fringe offerings, this show stands out as one of the very best.