Gerald Hill

This is a lovely show. Elena Porter has curated a selection of some of the more dramatic musical theatre songs—almost art songs, it seems—by Stephen Sondheim and others to create a woman’s journey through love and heartbreak. She and keyboardist Steven Greenfield, both skilled musical performers, add a touch of dialogue to help shape the narrative. It works! All in all, it’s a warm and moving 55 minutes.

Brilliant. I’ve never seen anything better at the Fringe. The Weidman book and Sondheim lyrics and score are beautifully served by the ten actor/singer/movers in this production. Director Sarah Dowling, Musical Director Mackenzie Tennessen, Choreographer Samantha Kesta, Stage Manager Kandice Laurie—twelve hours later, I’m still applauding. The show has a potentially disturbing premise which in the hands of lesser talents would come out as nasty. But the basic theme, that even assassins have rights to dream, presents as utterly convincing the way these wonderful artists have staged it. Five stars, more if possible.

This show pokes thoughtfully and stylishly at complex issues surrounding the fossil fuel industry in northern Alberta. Ecology, landscape, treatment of women, remediation of left-behind (hence orphan) oil and gas wells, media coverage, wildfires, and the presence of faith communities within the industry environment—all these issues are raised for our consideration. Expect both darkness and the light of awareness in this striking production from Theatre Free Radical.