Sydney Boisvert
Celebrating Ten Years With Nonstop Laughter - Sydney Boisvert
After 10 years together, Marv N’ Berry knows exactly how to deliver laughs, and their “Greatest Hits” show proves it. The performance was a tightly organized, fast-paced showcase of sketches that flowed one after another, keeping the audience laughing from start to finish. It was evident that this troupe had honed their craft over the years, selecting bits that not only stood the test of time but also showcased their unique style.
The chemistry among the performers was remarkable. They understood each other’s boundaries perfectly, pushing jokes just enough without crossing the line into excess. This trust made their sketches feel sharp, vibrant, and brilliantly timed. With a wide variety of humor, ranging from goofy to absurd to sharp satire, there was never a dull moment, and the pacing made the entire hour fly by.
Even as a first-time audience member, I left feeling energized, entertained, and thoroughly impressed. Marv N’ Berry didn’t just look back on their 10 years of comedy; they celebrated it with skill, passion, and the kind of chaotic joy that makes sketch comedy unforgettable. Whether you’re a die-hard fan or just exploring Fringe comedy, this show is a must-see.
Variety, Chaos and Comedy - Sydney Boisvert
When life presents obstacles, Jon Bennett turns them into comedy. Stuck in the U.S. and unable to reach Canada, Bennett hosted CANADON’T virtually while his all-star lineup of friends performed live. What could have felt like a compromise instead became a clever twist; the virtual hosting added humor and set the tone for a night that was lively, playful, and full of laughter.
The variety of acts kept the show fresh and engaging. Highlights included a horror story that involved audience participation and a finale set to a song featuring the outrageous premise that “the homecoming queen has a gun.” The mix of stand-up, sketch, and unpredictable Fringe energy gave the show its own personality while reflecting Bennett’s irreverent style.
Despite the hybrid format, the pacing never lagged. The evening flowed quickly from one act to the next, leaving no room for boredom. Instead, it showcased a diverse range of performers whose talents shone individually but also harmonized under Bennett’s playful, tongue-in-cheek banner.
At its core, CANADON’T felt less like a workaround and more like a celebration of the collaborative spirit of Fringe. Even in Bennett's absence, his influence was palpable, yet the performers made the stage their own. The result was a lively, laughter-filled night perfect for any Fringe-goer seeking variety and surprise.
History Has Never Been So Hilariously Obscene - Sydney Boisvert
Stroke of Genius is exactly what its title promises, an absurdly smart and hilariously funny academic exploration of one of humanity’s silliest universal gestures. Equal parts intellectual satire and Monty Python-style buffoonery, the show had the audience alternating between laughter and gasps of surprise as it made a comically serious case for the significance of pantomime masturbation in the history of performance.
The multimedia “lecture” format was both clever and engaging. Pre-recorded clips of the actor miming masturbation were projected as though they were part of a scholarly slideshow, creating the feel of an absurd university seminar that had gone delightfully off the rails. The concept never grew stale; instead, the ridiculous commitment to treating the material seriously enhanced the comedy as the performance progressed.
Central to the show was the Professor, who was played with fantastically over-the-top enthusiasm. What could have been awkward subject matter instead became delightfully playful due to the performer’s willingness to embrace grandiosity and bring the audience along for the ride. His delivery kept the energy high, and the sheer audacity of the premise felt fresh and inventive throughout.
Ultimately, Stroke of Genius: Pamtomime Masturbation Throughout Performing Arts History isn’t trying to change the world, but it does push the boundaries of what comedy can explore. By mixing clever parody with unabashed silliness, it manages to be both ridiculous and impressively committed to its premise. I left the theater amused, a little shocked, and genuinely impressed by the show’s innovative take on comedy as a lecture.
An Hour of Fast-Paced Fun - Sydney Boisvert
Neurohilarity certainly lives up to its name, offering an hour of brilliantly awkward and sharply funny performances that showcase some of the most talented neurodivergent artists at the Edmonton Fringe. From the very first act, the audience experienced a blend of laughter and connection, drawn in not only by the comedy but also by the authenticity behind it.
The lineup on the night I attended was impressively diverse: a burlesque dancer, a clown, a stand-up comic, and a burlesque performer who also sang. This variety kept the show fresh and unexpected, with each act presenting a unique perspective and energy. Among them, the singer particularly stood out, blending humor with performance in a memorable way.
As hosts, Adam Schwartz and Carole Cunningham brought complementary styles to the stage. Schwartz’s dry, relatable humor set a grounded tone, while Cunningham contrasted it with her lively energy. Together, they maintained a quick pace, seamlessly weaving their stand-up routines between acts with sharp timing and a genuine connection to the audience.
Although the show leaned heavily on stand-up comedy, its fast-paced structure,smoothly transitioning from one performer to the next, kept things lively and engaging. It never felt slow; rather, it built momentum with each act, holding the audience’s attention throughout.
As I left the theater, I felt both entertained and impressed by the sheer range of performances packed into that hour. Neurohilarity is more than just a showcase; it’s a celebration of neurodivergent voices and perspectives, wrapped in comedy that is relatable, surprising, and consistently entertaining. Whether you come for the laughs or the representation, this show truly delivers.
Laughing Through the Apocalypse - Sydney Boisvert
Comedy might not save us from the apocalypse, but A Comedy Show at the End of the World proves it can certainly make the end times a whole lot more entertaining. From the moment Johnny shuffled in as a “forgotten” community member putting on a post-apocalyptic variety night, the audience was laughing and fully engaged. The immersive concept felt fresh and original, drawing everyone into its quirky barrel-fire world.
Johnny’s comedic style was delightfully goofy, blending traditional sketch Comedy might not save us from the apocalypse, but "A Comedy Show at the End of the World" proves it can certainly make the end times a lot more entertaining. From the moment Johnny entered as a “forgotten” community member putting on a post-apocalyptic variety night, the audience was laughing and fully engaged. The immersive concept felt fresh and original, drawing everyone into its quirky, barrel-fire world.
The production elements significantly elevated the entire experience. From the set design to the costumes and makeup, the atmosphere of a ruined but playful future was vividly brought to life. It made the post-apocalyptic premise feel more than just a backdrop; it became a world the audience stepped into for the duration of the show.
Ultimately, "A Comedy Show at the End of the World" is lighthearted, engaging, and clever, offering laughs with just enough bite to keep it interesting. It’s the kind of show that leaves you amused, energized, and perhaps a little more hopeful about humanity’s sense of humour in the face of collapse. Fans of playful, imaginative comedy will want to gather around Johnny’s barrel fire. Humour with satirical touches and even some political jabs that gave the silliness a thoughtful edge. The highlight moments were his comedy-infused songs, which had the crowd in stitches while keeping with the absurd “end of the world” framing. His persona, the overlooked comedian trying to prove he still serves a purpose, was played consistently and hilariously, grounding the chaos of the show.
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.
Sin has Never Been so Fun - Sydney Boisvert
Holy O is an award-winning immersive dramedy that delivers both laughter and deep reflection. From the very beginning, the audience was fully engaged, eagerly playing along and acting as “saints” guiding Vera, a young woman torn between her dream of becoming a nun and her attachment to the pleasures of her past. This interaction pushed me outside my comfort zone, but in a thoroughly enjoyable way. It was playful, funny, and surprisingly connective, making the entire experience feel less like a performance and more like a shared story.
The performer portraying Vera commanded the space with energy and humor while also knowing when to slow down and introduce sincerity. Her recollections about the objects tied to her past added a tender, human layer that balanced the comedy. She welcomed the audience with warmth and charisma, making us feel not only included but essential to the unfolding of her story.
The narrative struck a balance between comedy and drama, embracing absurdity at times yet always returning to meaningful questions about faith, sexuality, and self-discovery. The staging enhanced this tension beautifully, set in an intimate yet slightly chaotic apartment that reflected Vera’s internal struggle.
In conclusion, Holy O is more than just entertainment, it’s a wild, participatory exploration of what it means to reconcile desire and devotion. This is not a passive viewing experience; it’s a shared journey. If you're open to being drawn into the action and reflecting, while laughing along the way, this is a show you won’t want to miss.
Fame, Obsession, and Disappearance - Sydney Boisvert
Primadonna is a gripping suspense thriller that kept me engaged from start to finish. Expertly written by Liam Witte, the story delves into the dangerous allure of celebrity culture, revolving around the mystery of a vanished pop star and the desperate search to uncover her truth. The tension is heightened not only by the clever writing but also by the powerful performances and seamless technical design.
The story was brilliantly complex, taking the audience through layers of deception, obsession, and shifting loyalties. Just when it seemed like the truth was within reach, another twist would send the narrative in a new direction. The script maintained high stakes and sharp suspense, constantly prompting the audience to question who could be trusted and what was real. It was the kind of story that remained unpredictable, making the final moments even more powerful.
The cast brought remarkable depth to their roles. Kate Boswell delivered a stunning transformation, shifting from innocent and unaware to meticulous and chilling, leaving the audience deeply unsettled. Avery Nault balanced power and comedy, providing sharp moments of levity while maintaining an edge of suspense. Mariana Perri was unforgettable as the overlooked younger sister, tugging at the heartstrings and grounding the story with emotional depth.
The atmosphere was enhanced by fantastic lighting and sound cues, which intensified both the drama and the unease, immersing us in the world of Daisy Donna’s disappearance. The sound design in particular, done by Abby Witte, underscored moments of tension, making every twist land with even greater impact .Every moment felt intentional and precise, drawing the audience deeper into a spiral of obsession and paranoia.
This parasocial thriller is more than just entertainment; it serves as an incisive reflection on the costs of fame, devotion, and the narratives we create about public figures. I would recommend it to anyone who enjoys a twisty suspense filled with emotion, sharp performances, and an unsettling truth.
Confessions, Gasps, and Gut-Busting Comedy Sydney Boisvert
Watching Dirty Little Secrets felt like being part of a collective inside joke, where the audience's deepest, strangest, and most embarrassing confessions were transformed into comedy right before our eyes. The energy in the room was lively and engaged, with people leaning in, laughing loudly, and gasping at some of the juicier secrets that were revealed.
The performers were razor-sharp, never missing a beat. Their quick wit and ability to spin awkward or shocking admissions into hilarious scenes was impressive to watch. My favorite moment came when a workplace dating confession turned into a full-blown improv musical about an office that specializes in building robotic human body parts. The absurdity of the concept, combined with the performers' commitment to the bit, had the room in stitches.
What stood out most was how the show took material that could have felt heavy or shameful and flipped it into pure comedy. Rather than dwelling on guilt or awkwardness, the performers created a space where vulnerability became entertainment, not cruelly, but playfully. It reminded me that laughter often works best when it springs from truth.
At its heart, Dirty Little Secrets is pure fun. It’s the kind of show where you never know what’s coming next, but you can trust that the performers will find humor in even the strangest admissions. If you’re looking for a night of unpredictable comedy that makes you feel both seen and entertained, Dirty Little Secrets is well worth every confession.
The Beauty in Being Flawed Sydney Boisvert
Watching Beth & Josie: EXPOSED felt less like attending a show and more like being welcomed into an intimate circle of truth-telling. Created by Josie Nixon, the piece carried a raw honesty that was both disarming and comforting. It reminded me of the power that storytelling holds when people share their experiences without concealing the rough edges.
What struck me most was the delicate balance between humour and heartbreak. There were moments when the stories dipped into deep pain that felt almost unbearable, and then, suddenly, a burst of laughter would ripple through the room, cutting the tension and reminding us that joy and sorrow often coexist. The humour didn’t diminish the emotional weight; instead, it made it possible to regard the harder truths without feeling overwhelmed. This rhythm of lightness and ache felt human, akin to how we often laugh at funerals or cry in moments of joy.
Josie was a great blend of comedy and vulnerability. She created a space where her raw emotion was seen, and in turn, the audience felt seen. Her willingness to embrace imperfection, both her own and that of others, was refreshing. Rather than striving for a flawless performance, she highlighted the beauty of being flawed, of admitting mistakes, and of recognizing that shame only grows when it’s hidden away. That message lingered with me long after leaving the theatre.
One of the most unexpectedly moving parts was when JUICE the Trauma Clown read aloud anonymous audience confessions. Sitting there, hearing strangers’ secrets spoken out loud, I felt a strange mix of relief and solidarity. Those anonymous words reminded me that we all make choices we regret and carry burdens we’d rather hide. Yet, when those confessions were shared, they lost some of their sting. Instead of feeling like shameful flaws, they became markers of our shared humanity.
The show’s centrepiece, Paducah Cheerleader, was a beautiful and heart-wrenching memoir about interracial dating in rural Kentucky. It wasn’t just about one relationship; it was about identity, community, and the longing to belong. It felt deeply personal yet universally relatable, a reminder that stories rooted in a single life often echo the experiences of many others. What made it even more powerful was Beth Marshall’s performance. She was an excellent storyteller, captivating the audience through her words with a rare mix of vulnerability and strength. Every pause, every shift in tone carried weight, drawing listeners into the quiet pain, tender hope, and courage. By the end, it felt less like watching a performance and more like being invited into someone’s memory, trusted to hold it with care.
By the end, I realized that Beth & Josie: EXPOSED wasn’t only about storytelling; it was about connection. It was about breaking the silence around shame and demonstrating that we are all messier, braver, and more resilient than we give ourselves credit for. I left feeling lighter, as a piece of my own unspoken shame had been witnessed, released and not criticized.