Lulu Finol

A Concert That Makes You Question Music Itself

Is music storytelling, poetry, art, something in between? “what the hell was that?!”, a sonic spectacle by Laren Steppler, will have you questioning and redefining what music means to you. There is so much talent outpouring in this show; from Steppler’s operatic vocal range, to Yvonne Boon and Aaron Addorsissio’s wonderful instrumental performances. Additionally, our lead’s unusual charisma is enchanting, with their awkward pauses and cartoonishly goofy antics bringing smiles to their audience.

The program, at least the first half, is a compelling amalgamation of vastly different genres and includes some original songs! From a call-and-response blues ballad about avocado, to a bizarre german song, there’s truly a variety for everyone. Once the show shifted into its anti-AI satirical commentary, everything came into place. The way the message about AI is presented feels intentionally on-the-nose and powerfully stern; pushing forth the need for genuinity, and originality in music. All in all, this show might leave you wondering “what the hell was that?!” as you walk out to a bizarre cover of a Beatles song that won’t be spoiled, but you’ll have a better understanding for why AI must be stopped in the music industry. It’s simply an engaging, wild ride through music’s most crucial purpose: expression.

The Hidden Tale of a Campy – err – Vampy Horror Icon

Do you know who was the first true TV horror host? In A Hollywood Horror Story, you find out it’s the seductively stylish actress Maila Nurmi, better known on screen as Vampira! Playwright and star of the one-woman show Ingrid Garner takes audiences through the old Hollywood actress’ career story; from being noticed in a costume competition to landing the Vampira role to befriending her on-screen peers.

The performance is delivered like your typical Vampira episode, but feels more like a behind-the-scenes look with the dressing room-style set and constant costume adjustments. Speaking of the costumes, the Vampira ensemble itself is so elegant and looks exquisite on Garner; further helping her embody the character. She already nails down the transatlantic-esque accent and classic, glamorous hand gestures. You can’t help but be in awe of her the whole 60 minutes! Moreso on the production side, I loved the mixed media touch to the show, and how it incorporated both filmed portions of Garner as Nurmi and real-life clips and images, all in black & white, to further immerse audiences in the 50s TV atmosphere.

Overall, A Hollywood Horror Story is not a show you want to miss at this year’s Fringe. It is simply dazzling in every regard: the vintage video clips, the beautiful dressing room props and costumes, and Garner’s wickedly good performance. If you love all things horror, camp, and vintage, step right up!

Ghost Hunting Class is in Session with the Hilarious ParaNorma PI

Tinder Goblins, Count Karen, Gaslight Ghouls, oh my! Only one person knows how to stop these menaces, and that’s ParaNorma PI. She’s a private investigator, ghost hunter, half-demon, and the titular character of Hilary Fillier’s sensational one-woman comedy show! Blending spooky, burlesque, and comedy all into one chaotic adventure, Norma and her freaky demon half will have you laughing until your sides hurt.

The story follows ParaNorma hosting her ghost hunting seminar, with the audience as her students; so expect plenty of guest interaction like clapping and sing-a-longs throughout the runtime. Everything is going smoothly in the class until Norma struggles to summon a demon, leading her to accidentally release her surprisingly horny demonic alter ego, Lilith. Fillier’s infectious energy and spot-on, distinct characterizations for ParaNorma and Lilith keep your eyes glued to the stage. Norma’s accent in particular was so charming and funny!

The costumes in the production were simply perfect for the stage and each side of Norma: memorable, colourful, and fun. No spoilers, but there’s a costume piece that comes on later in the show that is so goofy, but clearly well-crafted that you can’t help but be awestruck. Additionally, the soundtrack was energetic and fun, with the “Milkshake” remix being a standout, hilarious track.

All in all, anyone in a fun and goofy spirit will have an absolute blast at ParaNorma PI! The show is lovably chaotic and surprising, you truly won’t know what to expect next.

Stories of Queer Sex, Expression, and Self-Discovery From David John Phillips

“Sex is magical”, writer and performer David John Phillips exclaims near the tail end of his one-man spectacle, Oh! I Miss the War. A combination of one of eight monologues in the collection Queers by Matthew Baldwin and Phillips’ own work, this play is a compelling two-sided conversation. The story follows two characters: Jack, a posh London tailor who reflects on his younger self’s shenanigans after the Sexual Offences Act of 1967 is passed, and Matt, an S&M bottom in Toronto looking for pleasure in a rapidly-changing modern queer community. The show also heavily incorporates Polari, a form of British slang derived from mostly Italianate words that the queer community used as a safe code in the 19th-20th centuries.

The way in which the script is written evokes live poetry; it is bright and colourful with its vocabulary, only made more enchanting with Phillips’ performance. With his booming voice, natural charisma, and expressive mannerisms, Phillips’ was not only a captivating lead actor but made the distinction between each character clear. There’s a great overall balance in the show between the chilling, emotional moments and the more humorous bits. The simple set works in the show’s favour, bringing focus to Phillips. And the lighting supported this even further, with very intentional choices being made to not only distinguish between Jack and Matt, but add emotional weight. One detail that stuck out was the inability to see Phillips’ full face clearly due to the lighting for most of the show, which added a layer of depth to the characters.

In conclusion, Oh! I Miss the War is vulnerable and eye-opening, while still making room for a few laughs and Phillips’ endearing stage presence. While this show may appeal best to an older audience, the story itself is still fresh and modern.

Scratch: Unscripted, Unpredictable, and Uncontrollably Comedic

What happens when you give two comedians no script and let them go off the rails? Scratch, the effortlessly funny improv show, has been at the Fringe for 21 years and for good reason! Arlen Konopaki and Kevin Gillese not only bounce off each other perfectly, but feed off the crowd’s energy as well; which was insanely fun to watch! The audience was erupting into laughter so frequently, it’s hard to recall a joke that didn’t land. You know a skit’s funny when the actors themselves momentarily break character to giggle. The way the duo built off the prompts they picked out from the audience was pure comedy! Those stakes were raised so naturally, it was hard to look away from the performance to write notes. The transitions from skit to skit were smooth, making it easy to follow along. Konopaki and Gillese clearly and fully embodied their characters, even when they switched between them or to the next skit, making for a lot of silly interactions. To top it all off, the lighting team and sound team knocked it out of the park! The lighting wasn’t anything crazy, but properly set the scene for each skit. And sound might as well have been its own character, with the song choices being simply perfect with the best comedic timing! When they started playing “7 Years” during a more dramatic moment in one of the skits, the audience was dying of laughter! Overall, Scratch is all you could want from an improv show: a hilariously good time with some brilliant, silly chaos mixed in! Highly recommend it to anyone who’s willing to laugh for an hour straight!

A Local Queer Celebration That’s Ready to Crown Their Ms. Hennyverse!

“A skid mark on the underwear of pageantry” a dropped-from-the-competition contestant grumbles in Oh Henny!. Sure, within the story of the show, the Ms. Hennyverse pageant doesn’t have the best reputation or the most competitors. But the variety of talented participants they do have are hilariously outstanding and simply a wonder to watch. Hosted (and directed) by Lucas Paterson and Jeremey Zimmerman, this returning cabaret is sure to amaze and have you dying of laughter by the end.

Featuring acts like Stephen Allred’s passionate guitar solo about Oh Henry! chocolate bars, and show-girl Jizzelle’s glamorous ballad, there’s so much talent to behold at Oh Henny!. All of the costumes and makeup have so much care put into them, seen especially in Emmonia’s jaw-dropping guest star appearance!

Overall, Oh Henny! A Very Queer Cabaret is nothing short of a chaotic and hilarious amalgamation of pure queer joy! It's impossible not to smile or stifle a laugh during its 60-minute runtime. The cabaret runs outside of the Fringe festival as well, aiming to showcase and platform local queer artists, performers, and show-stopping personalities. Maybe it’ll be you up on their stage someday competing for the Ms. Hennyverse crown!

A Hilarious Reckoning with Masculinity on the Footy Field

“I hate this fucking show”, Australian comedian Jon Bennett proclaims over and over again in his brand new, dramedy one-man production, Playing With Men. It’s clear to see why, as throughout the performance’s runtime, Bennett struggles to wrap his head around what makes a “real” man using his teenage years in footy as points to reflect upon. With witty humour and quick storytelling, Bennett takes us through tales of crazy adolescent parties, a threesome, poetry-writing, and moving in and out of the AFL’s A-League. Presented to us in a silly slideshow complete with a projector, the stories flow from one to another seamlessly. This is especially due to Bennett’s very quick and entertaining delivery.

All in all, the show explores themes of accountability and male emotional vulnerability; challenging the question of “what if we were just brought up this way?”. While Jon Bennett: Playing With Men got a lot of laughs out of its audience, the emotional grip was what left a mark (aside from getting to hear Bennett’s preteen poetry).

Mirror Mirror, Who’s The Naughtiest of Them All?

Ever felt like the classic Disney villains made you feel some sort of way? Laren Steppler’s new burlesque-inspired spectacle, “Mirror Mirror: A Naughty Villain’s Cabaret, has this vision come to life with scandalous performances from your favourite evil characters. It features playful costumes, lots of horny puns and references to the Disney source material, and a good amount of sexy dancing (props to choreographer Julie Kiraly). The cabaret acts were varied, ranging from classic song & dance numbers, old-fashioned fan dancing, and an anti-gay piano ballad. There was even an audience interaction moment with Katelyn Cabalo’s Dr. Facilier bringing up someone for a card reading!

While fun and campy, the show teeters the line between humorous and sexy instead of fully committing to one. However, it’s not necessarily a negative, as the audience would roar just as loudly for both the Rule 34 fanart playing in the background, and the clothes coming off the iconic evildoers. What does stand out as incongruous with the rest of the performance is the small pause made to talk about the true meaning of the piece. The intention seems to be to subvert how queer people are perceived, as they are often seen as villains. Though emotional, and an important message after all, it comes at an awkward time in the show just before the end; and feels more like an interruption to the saucy action. If this message could have been better incorporated into the story itself, it would have been fabulous.

Nevertheless, “Mirror Mirror” is definitely a Fringe show you will not forget. Whether you loved it or hated it, there is no denying that this cabaret knows how to put on a wickedly entertaining show, leaving audiences with plenty to laugh about, gasp at, and maybe even question after the lights dim out.

Ever been to a destination wedding and felt some existential dread as your life regrets flash before your eyes throughout the trip? If not, you're in luck because that's exactly what the lead character, Candace goes through in "Who Drinks Mocktails on the Beach?". Directed by Damon Bradley Jang, this one-woman Fleabag-style show, which, if you don't know, centres storytelling by combining narration with frequent fourth-wall breaks, starring Sara Mayfield as Candace is as comedic as it is heart-wrenching.

The vacation starts at the airport, where we are first introduced to Candace. A college party-girl attending her best friend Jacki's wedding in Cancun, she reveals details about herself as the story goes on. Everything from Jacki's cat and how she met her fiancee Ken is told to us from Candace's point of view. Additionally, the wedding is not without drama as she meets a stranger and gets a little too drunk. Also, the play features some 2000's pop-punk performances to break up the story. As the show progresses, you begin to piece together things about Candace's mysterious past and self-image, such as her lack of human connection, reliance on alcohol, and grief for her animal friends.

Mayfield is an amazing lead. Her vocals are strong when the pop-punk ballads come on, she's hilarious, and she's comfortable with the audience. This show doesn't necessarily have a splash-zone, but she does love interacting with the viewers in small ways like eye-contact and brief questions; she's very loveable. Her storytelling is clear and easy to follow, and the humour blends into the rest of the script very smoothly. When writing the show (Sara is the playwright!), Mayfield clearly put a lot of intent into what moments were purely emotional and which ones were more comedic; which made the heavy moments in the play hit even harder.

All the props in the show fit into Candace's large black tote, which honestly is a huge advantage that makes the use of props in general feel really natural as opposed to picking something up behind a curtain or from a stagehand for example. The lighting was intentional, adding to the beachfront atmosphere. However, the star of the show tech-wise was hands down the sound effects. Every single possible sound effect was thought of and included. Airport ambiance, phone notifications, camera clicks, even the music in Candace's airpods. On top of that, all of the SFX cues were perfectly timed with Mayfield's miming. It was so satisfying to watch.

Overall, Candace makes for a loveable protagonist in "Who Drinks Mocktails on the Beach?". The show is not only technically impressive, but Mayfield is a certified star on stage. Her ability to play a character who's such a ball of sunshine who's also simultaneously experiencing insane inner turmoil is astounding. Mayfield's performance will make you smile and come close to tears all within the play's 55 minute runtime.

Have you ever heard of the fabled "Assisted Pee Over Water"? It's a dangerous move to pee outside, but Holly M. Brinkman is here to tell you every one of her strategies for completing the maneuver safely and effectively. Bush Whack is Brinkman's one-woman show filled with the most effortless humour and relatable stories that'll make you feel seen in the best way possible (which is NOT the peeking-while-you're-peeing way).

Set up as an author meet & greet for a supposedly fake guide on how to pee outside, Bush Whack, written and directed by Brinkman, takes you through her most personal life stories. She covers all sorts of firsts: first crushes, first times, and even the occasional first three-way makeout sesh. It wouldn't be a recap of Holly's life without some 90's references, which she also explains for the unaware audience members in the most hilarious, exaggerated way possible that's just bursting with energy. Most important of all, during Brinkman's high school era, we are introduced to her three personas that she used to blend through different crowds: a beauty queen, a guy's gal, and a pessimistic emo. These personas follow her through her life and eventually are revealed to be one of Holly's many ADHD symptoms. That's right, the whole show sets up how certain events and characteristics of Holly's have actually led her to an ADHD diagnosis in adulthood. It's mind blowing!

Holly herself is extremely personable and friendly. You can feel her genuine nature and compassion in her storytelling, and her energy leaves you completely entranced. Her style of comedy is very distinct: she's fast-paced, articulate, and has great physicality. You can't help but be enchanted by her as an audience member. Speaking of which, there is a fun audience interaction moment in the show worth noting where Brinkman brings up a lucky viewer to help demonstrate the "assisted pee over a body of water".

All in all, Bush Whack was so fun to watch. A comedy masterclass. If the reaction wasn't evidence enough, this show made me laugh out loud more than any other. Even then, Brinkman still manages to make those emotional moments weigh on you with all the humour thrown around. I highly urge for this simply amazing show to continue to tour in other cities.