Andrea Noga

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.

A Pair of Guys Lost: A New Musical Fringe Review, by Andrea Noga (AYTC).

Are you a Canadian who’s tired of hearing about American politics? I get it. However, before you swear it off completely, consider if this show might be right for you.

Pair of Guys Lost is a new musical by local theatre artist David Son (Book, music, lyrics, director, choreographer, “Steve”). The show follows “Adam”, the first man (or is he?) on Earth and the #1 worshipper of God, who happens to resemble a certain American president. However, everything begins to change when the angels send Adam a partner to live with on Earth and together they begin to unravel the lies of the so-called “paradise” they live in. It is a both a political statement and an exciting, funny, updated version of the creation story.

Pair of Guys Lost offers a large (for Fringe) ensemble cast, and features some of the strongest vocals I’ve heard at Fringe 2025, especially from cast member Nicole Gaskell. Gaskell portrays Kelly-Anne, (where have I heard that name before?) the woman-in-waiting to God– however, we soon realize that Kelly-Anne is really the one pulling all the strings. Gaskell’s Kelly-Anne is sickeningly evil, and her belty villain song is the standout number of the show. The trio of gossipy angels (Sika Clarke, Erin McLean, and Kaitlyn Power) also deliver impressive harmonies and strong characterization.

The original score of Pair of Guys Lost offers something exciting for Fringe, with techno beats that make you count down the days until a cast recording releases. While the music spans a few genres in a way that starts to feel disjointed, there are some solid feats of composition, especially for the slower numbers. The original script also offers interesting viewpoints and political commentary, if not as much as I expected. When I saw the character of God was clearly inspired by President Donald Trump, I expected politics to take center stage in the musical. While they still feature prominently, the show critiques religion mainly and the Trump-like character only appears a few times. Within the premise, I do believe there were more opportunities to integrate direct political commentary and avoid having the addition of American politics feel like a gimmick. Still, the show has a clear perspective and sticks to it throughout.

John Milton wrote “All is not lost, the unconquerable will, and study of revenge, immortal hate, and the courage never to submit or yield.” in Paradise Lost. Pair of Guys Lost has a similar message. Even in the face of oppressive politics and pressure to succumb, there is always the option to follow what you believe is right. This message may be delivered through vogueing and various wig changes, but it is delivered nonetheless. Pair of Guys Lost is a new musical that truly feels innovative and exciting, and that means a lot.

Pair of Guys Lost: A New Musical plays at the Mile Zero Dance Studio.

The Haunting of the Old Strathcona Performing Arts Center.

A Wuthering Frights: An Improvised Gothic Play Review, by Andrea Noga (AYTC)

A slimy coffeehouse in the 19th century. If you’re intrigued, this might be the right show for you.

Wuthering Frights: An Improvised Gothic Play is an improv show from Calgary– featuring 6-7 talented improvisers as they walk you through a tale from the past, inspired by Gothic literature. Asking only for an adjective and a non-geographical location, the improvisers of Wuthering Frights create a 60 minute comedic narrative that’s guaranteed to make you laugh.

The version of Wuthering Frights I attended was a slimy coffeehouse, which later revealed to be a ruse for Satan to kidnap souls in an orb. You know, normal stuff.

While there were no weaklings in the bunch, improvisers Kelsey Schoen and Jessie Whipp impressed with their ability to crack jokes while keeping the story moving. Both moved with the flow and never turned an idea down, taking “Yes, And” to a splendid degree. However, the entire cast spoke the same language. Interruptions were rare, and even when every cast member was in the scene, they were all given their chance to shine. This was a true ensemble cast, with balanced and hilarious performances from every improviser.

While the show was quite funny, even for this admittedly not-an-improv-fan reviewer, it did not quite earn its name. The costumes were dark, belonging to the 19th century where the show was set. However, the Gothic elements seemed to stop there. Moments of horror were few and far between, and the show focused mainly on the logistics of running a coffee shop. The show was not any less entertaining, it just was not significantly Gothic– especially as a strong fan of horror and mystery myself. Milo Sinclair, one of the improvisers, was the darkest, and I mean this as a compliment. When he was onstage, he brought a mix of horror and comedy with him. If you’re looking for laughs with this show, you’re sure to get them. However if you’re drawn to it because of the Gothic element, I would not deem it to be a considerable part of the show. Though again, it did not make the show any less hilarious!

Gothic or not, this show packs a strong cast who work well as a cohesive unit. They use every inch of the stage, and commit fully to their characters. There is no imbalance of talent, and all the performers are rich in it. There’s no fright in this one, just lots and lots of laughs.

Wuthering Frights: An Improvised Gothic Play plays at the Old Strathcona Performing Arts Center.

Waiting For Godot… The sequel!

A Are You Listening Juanita? Fringe Review by Andrea Noga (AYTC).

Are You Listening Juanita? is a new play that follows a family preparing for the return of estranged connection, Marlowe. As they wait for her, they discuss family history and the past medical issues of the youngest member, Juanita. It is a sweet play about family, and embracing life.

Are You Listening Juanita? begins with a beautiful Hawaiian dance performance, before settling into the narrative. The actors work well as an ensemble, leaning on each other for connected performances. While the scenes and lines could go just a tad faster, the cast members are committed thoroughly. Joanne Poplett as nurse Sonny is a standout performance, delivering lines with smart comedic timing and strong projection.

The script, written by cast member Judith Richardson, is both heart-warming and funny, blending family squabbles and meaningful conversations. However, while the script is sharp, the plot is slightly off-point. The show centers the family awaiting the estranged “Marlowe”, who the family has mixed opinions on– some quite heavily opposed to her return. The audience eagerly awaits Marlowe’s return, however the play ends days before the return happens. The show includes many heartfelt scenes and deep familial talks, however they all feel as if they are building to a climax that never comes. This leaves the show feeling slightly hollow.

While the script may bury the lede, the connection between the cast members makes the story worth watching. Seeing the way they help each other throughout is as heartwarming as the sweet fictional family of the show. Are You Listening Juanita? may not thrill, but it will tug at your heart strings.

Are you listening Juanita? Plays at the Chianti Yardbird Suite.

Out of this world!

A Buttons and Pockets Fringe Review, by Andrea Noga (AYTC).

If you’ve got little ones fringing with you, Buttons and Pockets is the perfect show to bring them into the theatre world in a fun, and educational way.

Buttons and Pockets follows a clumsy designer (“Pockets”-- Marya Folinsbee) as she frets to try and bring her creation to life (“Buttons”-- Aaron Pickett). After Buttons is brought to life, a new problem arises– the creation of a new universe. Through a series of science-themed plots, Buttons and Pocket work tirelessly to design this new cosmos.

While I may not be the target audience for this show, I was surrounded by young children who all clearly had a blast. They reacted strongly to all that was presented, clearly engaged by the story being told to them. There were multiple opportunities for the audience to talk directly to the performers, and one child was even allowed to come onstage and participate in part of the show. Though, the show includes a few smart jokes for the grown-up scientists in the audience too.

Folinsbee and Pickett are both charming performers, staying in their sweet character personas throughout. Folinsbee, a frantic designer, and Pickett, cool, calm, and rhyming. They play off each other easily and understand the nuances of how the other performs.

The show also includes a fair amount of scientific knowledge, presented in a way that kids can learn from. If you have young ones that you’re bringing to Fringe, this is a worthy show to add to your list!

Phantom of the Paradise meets Phantom of the Opera.

A The 11 O’Clock Number review, by Andrea Noga (AYTC).

If you’re a lover of improv and musicals, this is the show for you.

The 11 O’Clock Number is a consistent Edmonton theatre show, playing at the Grindstone weekly throughout the year, currently exiled across the street at the FOH PRO Stage for Fringe. Though a new venue, the charm of this improvised musical is the same. They take a title, a location, and a song name at the start of the show and then it is just improv, improv, improv from there. While not offering the polish of a scripted musical, The 11 O’Clock Number makes up for it in energy and raw laughs.

The version of the show I saw was entitled I Didn’t Do It, an opera set murder-mystery. While the improvisers admit at the beginning mystery is a hard genre to improvise, (it ended up being more of a murder musical, and less of a mystery) they try with joyous commitment anyways. Erin Maxwell, one of the improvisers, stood out for her ability to center the improv back in the story. Even great improvisers sometimes struggle to keep on the narrative and avoid excessive tangents, and Maxwell knew how to keep the story moving. Her solo number, “President for a Day”, wouldn’t have been too out of place in a proper musical. However, the real standout was musician Curtis Den Otter. Improvising music throughout to fit into the scenes, Den Otter displayed an impressive talent as a pianist and as a keen listener.

In terms of the musical aspect, while all the performers were clearly gifted singers, some of the vocals were not quite what you would typically hear in a traditional musical. In fairness, it is much harder to improvise harmonies than to improvise jokes. However, even if the performers weren’t always in tune with each other, they were always attuned to each other. If they weren’t actively involved in a scene, they would become background singers, dancer, anything to make it feel more than a real musical. They would listen carefully to each other, which was imperative when they would improvise ensemble musical numbers. Towards the beginning, they would occasionally step on each others toes– metaphorically, meaning to interrupt each other or cut ideas short. However, as the show continued they found their rhythm and allowed all cast members to shine.

If you’re looking for a musical with a beginning, middle, end and a sensical summary– you’re in the wrong spot. The show I saw had Batman and Abraham Lincoln subplots. Absolutely not a traditional musical. However, that’s not what this show is trying to be. It is improv, with lots and lots of time for hilarious bits. And if you get some plot with it, that’s a bonus. You will laugh, and that’s what’s important.

The 11 O’Clock Number plays at the FOH PRO Stage

Mothers are mothering– in a musical!

Motherhood: The Musical, A review by Andrea Noga for AYTC.

Motherhood: The Musical, created by Sue Fabisch, finds its place at Fringe with the Waterworks Players, a local theatre troupe based in Wetaskiwin. Put on with heart and joy by the players, this is a show that mixes comedy and tenderness, and mixes them well.

Motherhood: The Musical follows the baby shower of expecting first-time mother, Amy, as the moms in the neighbourhood welcome her into the club and swap stories about their experiences with motherhood. From divorce, to make-up soccer games, to balancing the work-child balance, the musical covers all that can come with the experience of raising children.

This production features an ensemble of talented female actresses, all portraying complex women. While the show includes many, many solo numbers, where the show really shines is in the ensemble moments. The actresses are all completely in tune with each other and play off each other well. While the score includes a few more songs than it needs, each actress brings something to the stage which is worth seeing. A standout performance comes from actress Kate Down, who plays “Tina”, a mom dealing with the new normal of her divorce. Down plays the role with a careful sensitivity, allowing the audience to empathize with her character, as well as showcasing an impressive vocal range. Down’s performance of the song “Every Other Weekend” is one of the more memorable of the character solos. April Lynn as “Amy” also delivers a strong performance, competently portraying the naivety and stress of the new mother.

The design, done by Kyra Thompson, was also a standout for this show, as the set was fairly developed for a Fringe production. The set brought us into the world of this baby shower, making the stage feel homely and real.

While all of the women showcased strong vocals, unfortunately the venue was having frequent microphone issues during my viewing which had a negative impact on the overall quality. I was lucky to be sat close to the stage, however even so I had difficulty hearing the lyrics when mics would cut out. It was a shame, as almost entire songs were missed as the mic for the lead vocal would malfunction. I hope this was an anomaly for the show I attended, as it unfortunately put a damper on great performances.

Mic issues aside, the passion and confidence on the faces of the full cast is something that did not need to be amplified. Every member of the cast brought a different and fun perspective to their respective characters. While the in-jokes and references make this show a little more enjoyable for mothers than the rest of us, there are still some great jokes that all of us can laugh at. The Waterworks Players are a group to watch!

Motherhood: The Musical plays at Holy Trinity Anglican Church.

Tymisha Harris is a LEGEND herself!

A Cabaret of Legends Review by Andrea Noga

If you need any urging to see this show, thought I doubt you will, let this be it.

In an almost sold-out Westbury theatre, Tymisha Harris (you may know her better as Josephine Baker from a past show) sings the audience through a history of black female music legends who have not always fairly been given their due as legends. Mixing history lessons and smooth vocals, Harris gives a star performance that is both educational and entertaining.

Crafted by Tymisha Harris (performer, co-playwright,) and Michael Marinaccio (co-playwright, director, designer, stage-manager), A Cabaret of Legends is a tour-de-force cabaret. Walking us through the legacy of black women giants in the music industry such as Ella Fitzgerald, Tina Turner, and, of course, Josephine Baker, the songs are as well picked as they are performed. A particularly stunning number was the inclusion of “The Times They Are a-Changin”, written by Bob Dylan and chosen in reference to Josephine Baker. The song, performed in tribute to victims of gun violence, felt incredibly relevant, in addition to being beautifully performed.

From the moment Tymisha Harris came onto the stage, performing a rendition of Rodgers and Hart’s “My Funny Valentine” in reference to Ella Fitzgerald, I knew I was in for a special show. Her voice carried beautifully throughout the theatre, and her charisma made us all fall instantly in love with her. However, what separates this show from other cabarets was the important historical and personal elements. Learning about the phenomenal women Harris sang about, and the struggles they went through without recognition, was as fascinating as her voice. As well, her vulnerability in opening up and sharing her personal experiences with the audience connected us to her. Harris knows how to work an audience, and we never left her side.

You do not need to know about the musical history Harris sings about to enjoy this show, in fact even strong music fans might learn a thing or too. Harris’ love letter to black female artists is poignant, especially now as she relates the music of the past to the politics of the present. Her voice is extraordinary, and she sings to the very back of the room– trust me, there are no bad seats at a Tymisha Harris cabaret. However, the passionate care which went into the creation of this project is really what makes it sing. Check this one out, you will get range, you will get history, you will get phenomenal vocals, and absolutely, you will get your money’s worth.

Light-hearted fun for the whole family!

“Oz” Review, by Andrea Noga (AYTC).

Step into the magical world of Oz (no legal relation) with playwright, director, designer, and actor Jordan Rooks. Joining us from Las Vegas, Rooks brings a fun, magic-filled show that little ones and grown-up ones will enjoy.

Oz is a Wizard of Oz magic parody show. Rooks steps into the role of the magical “Wizard”, a delightful wizard performing magic while explaining more of his personal background, and involving the audience in his many tricks. From the usual card plays, to more psychic centered tricks, Rooks performs a variety of magic tricks while also delivering an important message of acceptance and chasing your dreams.

Rooks’s show is heartwarming, light fun. The show is not excessively flashy, like you might expect out of a Vegas magic show, instead it is small, and focuses on the magician creating a good relationship with the audience. Audience members, especially the “Munchkins” as he calls them (younger audience members), are frequently called up to participate in the show, which goes off without any noticeable hitches. Some of the tricks you have likely seen before, however there were more than a few that inspired genuine awe.

The script is fun, and heartfelt, especially with a surprisingly touching ending. While some of the off-the-cuff remarks may feel a little hesitant, Rooks gets back into his groove when he’s back to delivering his tricks. The design is also minimal, however works for the show he has created. A few Oz decals remain onstage throughout, and there are mention to flying monkeys and a few members of Dorothy’s band. With some of the more impressive tricks in the show, you might begin to actually believe he is The Great Oz.

It is theatre for young audiences, so I will not deny the little ones might enjoy this one a bit more than us older munchkins. However, the show is still an accomplished magician delivering a sweet message. You will leave smiling, and wondering “How did he do that?”.

Bone-Chilling!

The Bone House, a review by Andrea Noga.

Ted Bundy, Jeffrey Dahmer, John Wayne Gacy Jr… why do we remember their names, but not the names of their victims? Why are we so fascinated by murder, rather than repulsed by it? We are asked these questions in Marty Chan’s immersive, psychological horror play The Bone House.

The Bone House follows lecturer Eugene, and his assistant Jacob, as he walks through a history of serial killers and explores the fascination society has with brutal crimes. He introduces us to “Midnight Cowboy” a local, fictitious, serial killer who has been killing largely undetected– his crimes seen only by Eugene and a few witnesses who were not believed by the police.

Local actor Jack Walker stars as “Eugene”, the central lecturer, in a committed and steady performance. Walker captured the audience from his first word, and kept us in his grip throughout. Beginning as a calm teacher, leading us through the history of serial-killers, we soon learn how deep this runs for Eugene, much deeper than running a simple presentation. Walker portrays the evolution of Eugene with a clear eye, and a strong grasp on his character. Another memorable performance comes from Sarah Dolman as “Gabrielle”, an almost victim of The Midnight Cowboy. Dolman, who gives most of her performance with her eyes closed, relives the trauma of Gabrielle in a way that feels real and deeply personal. The audience aches for her, all due to Dolmon’s sincere performance.

The Bone House stands out at Fringe due to the immersive elements. Eugene is the lecturer, and we are the audience. The actors do not come out to bow, and you will be asked to leave your phone at the door (this is optional). There is active audience interaction, and you may even be asked to move during the performance. While I enjoyed many of the immersive elements, they appeared too few and far between. Especially within the central character of Eugene, I believed there could have been more opportunities to bring the audience into his world and interact directly. However, it still created for a unique experience.

Marty Chan’s script is still a work in progress, (they asked us to leave numbers for a feedback form at the viewing) however there is promise to the writing. Why are we fascinated by serial killers? It is a good question, and an entrancing premise to explore. Where the script lacks is landing genuinely unnerving lines. There is too much preaching in the script, and not quite enough horror. However, as it is, there is still plenty to make your bones chill.

How do you recognize a serial killer? Could it be your neighbour, your friend, your child? The Bone House tells us how we never really know the people walking beside us, and it shows us through strong performances, and a very, very promising script.

The Bone House plays at the Sugar Swing Ballroom.