Mikaela Cabalo

Ob-La-Di, Ob-La-Da!

Pizza might not solve life’s biggest problems, but in Pepperoni and Cheese, it becomes the origin of culture clash and friendship.

This is a heartwarming and diverting production that tells the story of Asad (Ram Gill), who moved away from Pakistan for university, and his roommate Marshall (Kelton Libich). After a call with his mother, Amina (Piya Banik Ghosh), Asad and Marshall share stories of their personal lives over a half-pepperoni and half-cheese pizza. To make this new place feel like home, Asad is convinced by Alex (William Oboh) to try something new, which could be fun and potentially dangerous.

Despite being quite simple, the technical aspects of this show were interesting. Though the staging could be improved with some more lights, the chosen colours still created atmosphere and helped shape each scene. The set was unlike any previous shows I had seen at the Fringe. Many shows at this year’s Fringe have taken on minimalist set designs. Contrastingly, this production went full on with its set to mimic the messiness of being a young adult and the disorder that Asad and Marshall face.

The performances by every actor were nothing short of enjoyable and chucklesome. Gill, Libich, Ghosh, and Oboh embodied their roles exceedingly well. Ghosh’s portrayal of the old-fashioned and loving Amina was the standout performance. The wonderful four actors expertly delivered every joke, receiving big laughs from beginning to end.

Overall, this dramedy play is a vivacious and amazing depiction of the ups and downs of life. It is universally relatable, capturing both the humor and angst that define the human experience.

(By the way, pepperoni is the better flavour.)

To Eat, or Not to Eat (People)?

As someone who has never read the Tempest, I found it quite difficult to connect with Kaliban and his story. There were a few moments where I lost track of the story and couldn’t fully grasp the overarching message or theme. Nevertheless, Andrew Hamilton’s portrayal of the brutish Shakespeare character was riveting. Listening to the subtle changes in his booming voice as he acted as different characters was intriguing. Although I may not have been part of the target audience, Kaliban is a fine production that would undoubtedly appeal to fans of Shakespeare.

Opening Pandora’s Box

Reminiscent of Bridget Jones and Fleabag, Amanda Bridge (Ruth Alexander) has an entire lifetime of disaster, comedy, and romance to share. This one-woman musical is, without a doubt, one of my favourite productions at the Fringe this year. When I walked into the theater, I did not expect much from this show. Surprisingly, I was slapped in the face with one woman’s heartbreaking and witty story.

The audience follows Amanda Bridge as she navigates the ups and downs of her life across Europe. After having her tarot cards read, she embarks on a search for her one true love. On the way, she experiences multiple failed relationships and not-so-successful gigs as a pianist. She tries picking up the pieces of her miserable life together, but plummets to her end in the water.

In this heart-rending and scintillating production, Alexander clearly displays the exemplary level of talent and craft she has. From the second Alexander stepped on stage, you could tell her performance would shine just as bright as her sparkly silver blazer. In a 75-minute show, it is easy to lose track of the story as an audience member. However, Alexander’s storytelling and voice are extremely coherent and engaging. It feels as if you were experiencing the same moments with Amanda Bridge. Watching Alexander sing, act, and play the piano really makes you wonder: what can’t this woman do? Her voice is exquisite when she sings and when she smoothly changes from one character to another. Her voice heightens the emotional depth of every song. In particular, the first part of the song during the wedding scene was so touching it made couples in the audience give each other loving glances. There are not enough words to describe the perfection that is this production. This show is definitely one to remember.

Comedy for $1000, Please!

United by their mutual dream of being on Jeopardy!, Nam Nguyen and Aaron Brown tell their stories about how the famous quiz game show has shaped their lives. Just like Icarus, their dream came so close, only for it to escape from their grasp. Nam and Aaron’s storytelling was very enthralling. Nam’s striking dramatization of events, dancing the Macarena, and pop culture jokes were engaging and amusing. His personality shone brightly, and he was tremendously appreciative when a few audience members and I understood his reference to Bill Wurtz’s “History of Japan.” “Trivia Daddy” Aaron Brown’s engrossing account of his experience had you rooting for him to win despite the ending being long behind him. He was good at building up anticipation and spoke articulately. Though they may not have become masters at Jeopardy!, they are masters of storytelling. Nam and Aaron’s love for Jeopardy! is loud and clear, and it is only fair that the Fringe shows their love, too. Catch Quiz Icarus until August 23.

Cubicle Confidential

Two negatives certainly do make a positive! Tom and Terry are two individuals who are strictly co-workers. Nothing else. Period. Their job is to sell gravel. Funnily enough, Tom is in a financial ditch and grovels around the stage while Terry grovels to their boss for approval. These individuals are troubled by keeping what they did on Saturday a secret at their workplace. For them, it seems impossible to work together after their weekend escapade. From the rough circumstances the two characters faced, a wildly entertaining and hilarious show arose.

Alluring the audience with his expressive physicality was Clayton James-Plamondon as Tom. Costar Erin Leflar crushes their role as Terry. The direction occasionally felt uneven, though the performances carried the show. These actors were delightful to watch as files and Red Bulls flew through the air. They were terrific at executing dialogue like it was a tennis court, constantly bouncing off of each other. Their phenomenal performance left the audience with a feeling of satisfaction. After learning what they really did on Saturday, you can’t help but release a lovely “ahh.”

Zoo’s Got Talent

If you’re doomscrolling while missing pygmy hippo Moo Deng and Pesto the penguin, get off your device right now and head to the Fringe! You will have a better time at Enrichment Hour than watching funny cat videos, I promise.

This comedy production by Three Cheese transports the audience to an open mic at the Calgary Zoo. Ranging from mammals to insects, every creature’s performance is sure to elicit a raucous reaction. Just make sure to turn off your flash… otherwise, your “happiness will become ephemeral” (the animals are very, very sensitive.)

From kaleidoscopic lights to gut-busting acting, this show bursts with energy and keeps the audience hooked like a fish. Every set is incredibly memorable, containing very interesting prose and poetry about each animal. Marlo Hepburn, Ciarán Volke, and Joseph McManus deserve praise for their seamless transformations as they transition from one animal to another and exhibit supreme comedic flair.

Face Your Fears, Change Your Future

An entertaining tale for an ecstatic audience. From the moment you step inside the theater, you are swiftly thrown into a dark and eerie Victorian setting.

Fraternal twins Victor (Eli Yaschuk) and Victoria (Rain Matkin) are filled with a burst of jittery energy after awaking from the same nightmare. To explore their thirst for terror, the twins enact the plot of a storybook. Unbeknownst to them, the book is full of horrifying twists that reveal things that change everything they know.

The technical aspects of this production are truly spectacular and sometimes terrifying, too! Though the set may not be the most extravagant, its creepy design creates a chilling atmosphere that heightens the drama and suspense. Even some individuals in the audience thought an eerie set piece was a performer. From flashes of lightning to light pouring in through an imaginary door, the fascinating lighting design made every audience member feel like a child hiding from the monster under the bed. Do not be alarmed if you don’t indulge in scary stories! This show has plenty of comedy to ease your nerves. Although one part of the story was lost due to a deafening sound, the actors’ expressive performances ensured the audience never lost track of the scene’s mood.

Yaschuk and Matkin have undeniable and bewitching onstage chemistry as horror-hungry and zestful siblings. They are so entertaining as they take on the roles of the characters in the storybook—it’s impossible to look away. The dynamic duo is equally strong in their theatrical skill, yet can push each other further to drive the story into new heights. Yaschuk and Matkin’s bouncing dialogue, youthful characterization, and silly actions immediately hold the audience’s attention from start to finish.

WELCOME TO RAT COUNTRY!

Got a passion for rodents? This show is for you. Got a passion for comedy theatre? This show is not just for you—it’s for everyone! The Fringe’s fan favourite duo have returned with more jokes and outrageous antics that will keep you clutching your stomach and wiping away tears from too much hysteric laughter.

The rats are back, but it does not seem like they will be staying for a while. Fingers (Dayna Lea Hoffman) and Shrimp (Katie Yoner) are just getting comfortable in their little trash-ridden alley to celebrate a house-warming when they suddenly receive an eviction notice. Fingers and Shrimp hilariously scramble around the stage and up and down the stairs as they try to find a solution to this lethal problem.

With the rats, where you sit does not matter—their humour will reach everyone no matter if you’re sitting in the very front row or in the very back. Though Hoffman and Yoner’s rat accents may be a tad hard to understand at first, their fascinating body language will enchant you and quickly draw you into their absurd world.

This production upholds one of the Fringe’s strongest principles: family. Though Fingers and Shrimp have a mentor/pupil dynamic, Hoffman and Yoner’s eccentricity clearly show that there is something deeper and intimate. Even if the Fringe’s favourite rats face extermination, every Fringer will always love them and follow their journey no matter what.

“The best way to lose a dream is to grow up.”

Forget about flying with happy thoughts; there are only existential crises here! Director Alexander Gerchak’s The Peter Pan Cometh is a comedy play closely similar to Eugene O’Neill’s The Iceman Cometh. After the disastrous deaths of the crewmates of the Jolly Roger, Captain Hook, Smee, and Tinkerbell dream of a life outside of Neverland. A transformed and older Peter Pan swoops in to help free them of their troubles. However, Peter holds secrets that quietly haunt him.

While many in the audience were swept up in this production’s comedy, some moments felt too long and dull. Fortunately, these moments were forgettable. There definitely were some aspects of the play that stood out. The lighting design was beautifully detailed, reflecting the despondency and despair of the classic fairytale characters. Although the costumes were not very elaborate, they fitted each character extremely well and added to the believability of the performances by the actors. The lighting and costumes manifested a vivid environment that drew the audience further into Neverland. The cast also showed immense dedication, especially during high-energy scenes and emotional moments.

Thomas Buan plays the miserable and infamous Captain Hook. With a gritty accent and tottering gait, Buan’s performance as the cacophonous pirate was unforgettable. Joined by Captain Hook were the pixie dust-addicted Smee (Alec Berchem) and tragically depressed Tinkerbell (Isabelle Hopewell). This glum and gloomy trio was thoroughly captivating as they flounced around the room, and their energy set the stage for Nick Hill’s equally mesmerizing performance. Hill’s portrayal of Peter Pan was a true display of masterful characterization. Whether skating around the stage with roller shoes, snorting insane amounts of pixie dust, or flopping like a fish on the floor, this cast kept the crowd laughing.

The Silver Belles are Coming to Town

It is certainly beginning to look a lot like Christmas in August! (Considering Alberta’s ever-changing weather, it seems totally normal.)

From the moment you step inside the Varscona Theatre, you are immediately thrown into a Christmas snow globe with classic holiday tunes. This dramedy play, written, starring, and directed by Trevor Schmidt, had the audience laughing within minutes of its opening and ensured they were cackling for the rest of it.

Carole of the Belles begins with Francine (Kristin Johnston), who has replaced the Silver Belles’ leader, Nora, after her bizarre car accident. Things become out of sorts during pre-show rehearsal as the other Silver Belles members enter the stage. It only becomes more complicated when Carole (Jake Tkzacyk) mysteriously appears with warmth and geniality. Though the tension is thick and the banter plenty, Francine still manages to keep everything together until the very end. As the ladies play the handbells, friendship and community ring throughout the characters—and even the audience.

Every character was so distinct and wonderfully portrayed that it is impossible not to want more of them. Jason Hardwick’s portrayal of the snarky and traditionalist Barbara was marvellous. His dramatic zest was the cherry on top. Alongside Hardwick’s Barbara was Violet (Michelle Todd), who is undeniably a diva you do not want to cross. Shelley (Cheryl Jameson), though kooky, is a lovable wackadoodle with a love for astrology. Even though Carole oddly lurks in the background at first, Tkzacyk’s performance shines with his feminine body language and pleasant demeanour. Despite Francine arguably being the most normal out of all the ladies, Johnston’s pure theatrical talent and comedic timing controlled the audience’s attention. Some people may think it is impossible to make a crowd laugh without speaking a single word and without any crazy movements. Trevor Schmidt as Mother Fowler proved them wrong.

So if you love Christmas music, potato salad, and theatre, come down to the Fringe and see Carole of the Belles!