Lulu Finol
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.
I can assure you that you've never seen a Romeo & Juliet production as lovably chaotic as this one! Performed by the young actors of Underdog Theatre Company and rehearsed in only two weeks (which is an astounding feat for a Fringe show), The Misadventures of Romeo & Juliet follows a young cast's attempt at putting on the classic Shakespearean play only to be met with various surprises along the way. Directed by Elaine Dunbar, the show charms its viewers with its cute sense of humour and fun cast.
Set in a play-within-a-play context, the young actors are busy rehearsing Romeo & Juliet; expecting to open the following night. However, much to their director's annoyance, the cast and crew bring up various obstacles throughout the rehearsal. From an incompetent stage manager to loud set builders to appearances from "Blatman" and even William Shakespeare! This show is a blast, keeping you on your toes for what'll pop out on stage next!
This young cast is very talented and its extremely evident in their energy and vocal capabilities. These kids never miss a comedic beat, and kept me giggling through the runtime. They never seemed to run out of charisma and stayed perfectly in character the entire time. Each character was unique in terms of performance and personality; and the director (played by Kohen Foley) was a standout actor who gave 110% on the stage, literally commanding the group. Additionally, the cast have the loveliest voice with amazing harmonization. Their choice to sing the play's prologue was a genius decision of the director's.
Overall, The Misadventures of Romeo & Juliet proved to be a really enjoyable, family-friendly play with an adorable cast up that delivered one of my favourite vocal performances of the festival. To think it was all put together in two weeks in mind-boggling. A huge congratulations to the talented cast and everyone who helped bring the show together.
Ever wondered how far the story of creation from the Bible could go? Genesis, a playful story from director Moemen Gaafar pushes the boundries of the classic tale into an existential loop, a play-within-a-play style show. Starring the talented duo, Kit Brooks as Eve and Ali Muhammad Khowaja as Adam, the metaphorical, layered piece reflects themes of freedom and the act of choosing your own story despite what is written for you.
The show primarily follows Adam, a playwright stuck in writer's block. He writes Eve into his story but can't decide on how to progress the story, leading him to discover a portal into the world he wrote: Eve's closet. He then convinces Eve that she was brought to life thanks to the notebook he drafted his script in, and that she must help him by going back into the closet and switching roles with him. But will things turn out how Adam hopes, getting the inspiration he needs?
Genesis is evidently referential to the Bible story several times, with the act of writing in the notebook to determine events very clearly being a metaphor for Adam and Eve's first experiences with freedom and control from God. Ali and Kit play these raw emotions out really effectively, and are both great actors in their own right. The two appear to have slightly different acting styles: Ali being very physical, energetic and dramatic, whereas Kit is grounded, natural, and realistic. There are especially some noticeable moments where they bounce off each other well, keeping your eyes glued onto the stage to watch what happens next.
The lighting and sound choices made in the show truly piqued my interest. Whilst generally, the transitions were a little stiff and lacked any sound, the moments where lots of sound effects were used were hard to ignore. The scene where Adam is...under the influence let's say (wink wink) is especially noteworthy with these moving green spotlights and loud, chaotic backtrack. It perfectly set the mood for the kind of uncomfortable position Adam was in in that moment.
Overall, Genesis was quite enjoyable and intriguing. I found myself constantly wondering what would happen next. Though described as a comedy/drama, the show is definitely more drama than it is comedy; though that does not in any way affect how much I liked it. Most of all, the message I took away from the show was one of writing your own destiny so as to not keep yourself in an endless loop; but maybe the ending is meant to be ambiguous. I'd recommend this play to anyone who wants to take on the challenge of interpreting the ending of this simply enthralling story.
We've all had that one year in our lives that was a turning point for us; filled with new beginnings, revelations, and out-of-left-field complications. 4% Rye is a personal, autobiographical show that tells the story of its star, Rye Fournier's, experience with this phenomenon over the course of 2022 to 2023. A layered show that goes into a variety of topics such as grief, academics, and health problems, it is ultimately a testament to perseverance and the art of never giving up as a young adult.
The story begins at the start of the scholastic year at Rye's university, September 1st, 2022. As the show progresses, the months pass and Rye encounters several roadblocks. Firstly, they have transitioned and are now under a new name. As school goes on and tragedy strikes, Rye struggles to complete assignments on time. Also, their curious new dietary restrictions and previous joint pain have come into light this year, adding more levels of stress into our protagonist's everyday life. It's a show that juggles a lot of different parts of Rye's life all at once. At times, the sheer amount of things going on in Rye's life that are presented in the show are nearly too much to swallow; making for a slightly overwhelming viewing experience.
Rye Fournier's passion in regards to the show's subject matter and their overall performance are honestly the best parts of the entire experience. It feels very intimate listening to such personal life stories, and Rye explains their emotions with such grace that it makes one very emphatic with them. The star, who directed and wrote the show as well, is genuinely sweet, honest, and relatable. However, there were a few moments where I was taken out of the story due to Rye looking over at what can be presumed to be an onstage script to keep them on track. It ruined the immersion at times but, that never took away from how personable of a performer Rye is.
In terms of tech, while there were a few audio issues and late prop cues, the three whiteboards on stage did help audiences comprehend and remember what was going on in Rye's life at the time with brightly coloured signs. Additionally, the on-stage calendar was a wonderful touch; with the act of flipping it over to the next day in the timeline being very charming and memorable.
All in all, Rye Fournier is an amiable lead and 4% Rye is on the right track, but some small adjustments could make the play even better. Regardless, this was still a decently enjoyable show, especially when considering that it was put together mostly solo. I was left charmed by Fournier as a talented force in the local arts, and I would love to see them in other theatrical works.
When I sat down to watch Martin Dockery's play 1 Small Lie, I was not expecting to hear such a nail-biting and thrilling true crime story. An innocent one-man comedy about how Martin saves a deer on a forest trail in Montauk, New York transforms into a chaotic, gripping tale sure to keep you at the edge of your seat. Dockery's delivery and unique choices during the show made for a story-telling experience like no other.
The story goes that while in Montauk away from family, Martin encounters a deer alongside the road that got injured and decides to save it and bring it home with him. Unfortunately, when he finds the car that hit the deer, the rude driver appears to have gotten into an accident; prompting Martin to steal the duffel bag filled with cash in his backseat. But will his actions have consequences? Can one small lie save him?
Martin Dockery has an undeniably infectious, engaging presence on stage. His energy is through the roof. The mere speed at which he tells this story is highly impressive. So as you can guess, his style of storytelling is fast-paced, yet still charming and funny. His wit and comedic chops are immediately noticeable once he's in the zone on stage; he completely dominates the stage. All in all, he's mesmerizing to watch and listen to.
1 Small Lie's set was simple yet effective: an array of various lamps around the stage. The colours of the lamps were controlled by Dockery on his phone (which at times admittedly, broke the immersion a tad) and the array of hues represented the time of day or weather conditions of the scene. It was a very intriguing choice, with the thunderstorm section of the story looking amazing on stage as the lamps flashed white periodically to represent the lightning. Besides that, a 58-and-a-half-minute musical backtrack accompanied Martin's story, serving as added ambiance.
Overall, 1 Small Lie was a play jam-packed with action, horror, and laughs. It's got everything you could want in a thrilling and engaging one-man show. The story is tied up with such a pleasant bow as the musical accompaniment drifts off, that your body will pull you subconsciously out of your seat for a standing ovation. I'd recommend this to all who love a good rollercoaster ride-type of one-man show, you don't want to miss this one!
A true crime, undergarments-related mystery even TikTok couldn't solve. The most relatable kindergarten first crush story ever. An absolutely hilarious, stand-up comedy style format. Kristi Boulton's The Underwear Fairy and Other Love Stories is a stand-out one-woman show has got it ALL, and it's sure to leave you giggling throughout its entire runtime! I was left dazzled by Boulton's natural charm, unique usage of props, and extremely intriguing titular Underwear Fairy tale.
As previously mentioned, Boulton's self-written and directed play starts with the mysterious Fairy's introduction and continues to build off from there, but only in parts. To synopsize without spoiling, an unknown entity begins to dig through young, 13-year-old Kristi's underwear drawer and chaos ensues. In between portions of the terrifying undies story, Boulton treats audience with recounts of her various - sometimes scary, other times super nerdy - experiences with love. From fictional crushes to questioning sexuality to nightmare Tinder dates, this show covers everything one could relate to in this generation. These stories weren't just hilarious but oftentimes, really touching to hear.
Watching Kristi Boulton on stage is a magical experience. She is emotional and filled to the brim with infectious energy. Obviously, there is personal subject matter in the play but regardless, you can just hear how passionate she is about these stories and just how much they meant to her. It's honestly moving. That passion of hers, alongside her very descriptive language, helps make the events she's retelling easy to visualize.
In terms of technical elements, the props and set fascinated me the most. Boulton decided that her set would comprise of three tables with various different functions. The right-most one displayed the most scandalous pair of "Funderwear" she owned, and the table acted as her anchor while she gave her audience more breadcrumbs about the Underwear Fairy. The middle table contained the rest of her props; various items related to each miscellaneous love story she told. Then, the left table had a clear podium. Whenever Boulton would start telling a new story, they'd put the item relating to that story from the middle table onto the podium. It was a small detail, but added a level of care and effort into the show that I didn't expect.
All in all, Kristi Boulton delivers an utterly charming play; a perfectly balanced mix between comedy and drama. I was entertained and completely hooked throughout, and absolutely enamoured by the message: "Sometimes love is hard but that doesn't mean you stop trying". Recommend this show to all those who had awkward love experiences growing up, or who are experiencing something similar today!
A heartwarming comedy about a sweet, quintessential elderly British couple, EVIE AND ALFIE: A VERY BRITISH LOVE STORY is a hilarious play you don't want to miss. Starring the Fringe veterans Alex Dallas and Jimmy Hogg and directed by James Gangl, the witty new show perfectly depicts a realistic, loving, and long-lasting relationship in the most entertainingly genuine way: by having them sit on vintage chairs and retell their epic love story. Dallas and Hogg give the show life with their enigmatic performances, captivating the hearts and laughs of their audience.
The play starts off with the couple doing simple elderly-people things; such as birdwatching, reading the newspaper, or freaking out over their neighbour bringing their garbage bin out early. As they reflect on their relationship, they revisiting memories like the first day they met, their casual proposal, and Evie's pregnancy. More dramatic or upsetting moments are explored, but they only add depth and layers to Evie and Alfie's bond. Evie especially, had very powerful moments of what the youth would call "female rage" that displayed her strength and resilience to stay with Alfie even during the hard parts of their relationship.
Dallas (who plays Evie) and Hogg (who plays Alfie) make for an adorable on-stage duo. Their bickering, flirting, and comedic timing are spot-on, making every interaction between the characters feel believable and completely authentic to a real couple. It was fun seeing their different personalities shine through as well, with Evie being more cheeky and collected whilst Alfie is laughably persistent and rambling. The miming work was also genius for the memory story-telling aspects of the show, and their more youthful mannerisms during those moments additionally helped immerse the audience into that time of the couple's life.
One technical detail that captured my attention was the sound of a grandfather clock ticking to signal Evie and Alfie transitioning out of their past memories and into their present day elderly selves. It stood out amongst the very few other sound effects in the show. Other than that, the set was extremely simple with just two chairs but became very effective and versatile when visualizing scenes like Alfie's first time on Evie's motorbike.
EVIE AND ALFIE: A VERY BRITISH LOVE STORY is, overall, a wonderful show that I would highly recommend to any romantic with a funny bone. Truly, I have yet to see another laugh-out-loud comedic play at Fringe quite like this one. Alex Dallas and Jimmy Hogg together on stage is enough of a reason to watch this crowd-puller of a show.
Have you ever wondered what it would have been like to be queer and in love in the 1920’s? The Spotlight’s Shadow is a show that takes this premise and builds it into one of the most beautiful and heartwarming forbidden love stories. Expertly directed by Vanessa King and starring Grace Bokenfohr and Daphne Charrois, this new musical centres around the powerful message that love is love; “no matter where it begins, how deeply it grows, or how long it endures”.
The story, follows Vera (played by Charrois) and Nettie (played by Bokenfohr), New York Ziegfeld Follies who through their work together on stage fall helplessly in love backstage. Despite the struggles they face like blackmail and discrimination, their love endures because they believe in each other. It’s a tale that is still relevant and touching even in today’s day and age; 100 years after the setting of the show.
Bokenfohr and Charrois are absolute dynamite together. Their chemistry is undeniable on stage, making their romantic moments all the more genuine and intense. Nettie and Vera's differing personalities, one more outgoing and the other more determined, blend into this beautifully balanced relationship which is nothing but a treat to watch. Most of all, these two are show-stopping vocalists. Their voices sound simply perfect together and enhance every song; you can hear the emotion in their tone every time.
Something about the set being a dressing room, a private intimate space, brings an extra layer of vulnerability to every scene. But that's not the end of the praise for this show's set and props; as everything on stage was period-accurate which is always a win! The costumes especially were not only accurate to 1920's fashion - down to the T-strap heels - but beautiful and eye-catching. The deliberate choice to have Nettie dress in cool colours and Vera in warm ones so they'd visually contrast on stage was a genius move. So props to Jeannie Charrois, Krista Johnson & Karen Suchla for the costume designs! Additionally, all of the original songs (and the script itself might I add) were written by Daphne Charrois and composed by Dan Charrois. Every single song was heartfelt in the context of the show, but one rocked my world and brought me close to tears. "Nothing/Everything Has Changed" is an absolutely sweeping number about a love that feels hopeless and it hits deep.
Overall, The Spotlight's Shadow moved me. I left the theatre emotionally enthralled by the music and the romance. The show's gripping conflict about the rights of 2SLGBTQIA+ couples is thought-provoking and still present 100 years later. I would recommend this show to anyone who believes in true love, regardless of who it's with or how it happens. No matter the time period, love is love.
One of the most unexpected comedies with a major looming mystery, BRAIN is a captivating show led by the two sides of the human brain. Written and directed by Blair Moro, it's fun and chaotic; filled with hilariously crude humour, audience interaction, and chilling moments. Both sides of the vital organ are personified as completely opposite divas: Left being smart and rational, whereas Right is emotional and imaginative. The stars playing the two sides, Jillian Burke and Marissa Sauvé, make for a laugh-out-loud duo that engages their audience effortlessly. They owned that stage like it was nothing!
The sides of the brain start off the show by making their audience - or rather as they call them, their neurons - comfortable with an interactive activity; making everyone feel like they were a part of the action. At first, everything seems to be at ease in the brain; minus the human's unhealthy lack of water consumption or forgetfulness regarding a doctor's appointment! These small instances add up however, and soon enough an unexpected threat to the brain begins to be pieced together as Left and Right bicker more and more. It was simply enthralling the watch the tension build scene by scene.
Burke and Sauvé are a show-stopping, match-made-in-heaven kind of comedic duo. The way they perfectly bounce off each other is not only adorable but hilarious. It makes the sibling-esque bond between the characters that much more believable. Their energetic performances breathed life into their characters’ personalities. Additionally, the little details in their mannerisms and their distinct voices make the two sides even more unique. They were phenomenally entertaining hosts.
The show’s costumes were absolutely one of the most noteworthy parts of the production aside from the humour. From Red’s bright dress and hearts adorned on their tights, to Blue’s rigid blue vest and towering boots, their contrasting personalities shone even in their clothing. In addition, and without spoilers, there’s a point in the play where a jaw-dropping human brain puppet appears. It’s simply astounding, highly impressive craftsmanship as the large puppet’s mouth moves very smoothly and is riddled with detail.
All in all, BRAIN is an unexpected combination of charm and chaos, with its important message on mental health tying the entire show together. This play is a masterclass on how teach your audience a lesson that is essential in our current culture while simultaneously making them laugh their butts off! BRAIN will make you leave the theatre with a smile on your face and a new desire to drink less iced coffees and more water!!