Vee Va-Voom

There's a reason why Keith Brown consistently sells out his shows in so many different cities. He's figured out the perfect formula for a magic show that appeals to everyone, regardless of age or background. And the best part is that there's nothing contrived or insincere about his performances...his shows are great not just because he practices and knows his stuff, but because he's so likable.

I'm the kind of audience member who enjoys leaning in to their childlike wonder. I never want to be told how a magic trick was accomplished and I never want the surprise to be ruined. Fortunately, with Keith's shows, there's no danger of that, because even if you wanted to figure out the trick, he doesn't give you the opportunity. He's so skilled that each illusion seems to defy physics.

Adults, don't be put off by the fact that this is a "family-friendly" show. The only thing that means is that he refrains from cursing or mentioning sex, etc. Keith keeps it classy, and it works for everyone.

If you can see a Martin Dockery show you haven't seen, ALWAYS go see it. This one is no exception.

My favorite feature of his style as a playwright is his use of rhythm. He crafts his sentences so expertly that most audience members won't even notice that they are being pulled into a musical repetition of syllabic patterns until it's too late. They suddenly find that they've been set up for a pleasantly disorienting jab of surprising emotion when they least expect it.

This expertly crafted show has everything you need. It's suspenseful, intriguing, very funny, and full of unexpected twists and turns.

Martin creates a stylized worldbuilding that is juuuust far enough removed from reality to take the audience outside their typical perceptions and challenge them to change their thinking.

I've seen comments about the actor-controlled lights breaking the fourth wall, and it surprises me that those individuals didn't take the time to ask themselves, "This is obviously an intentional choice that's baked into the rest of the piece. What is the significance of the artist making such a decision?"

From my viewpoint, it's symbolic. Whether that symbolism indicates "with every change of scene, the character makes a conscious choice to go further into an irreversible course of action" or "it's symbolic of the 'let's get by the best we can' nature of the early pandemic" or something else is unknown. It is, up to the audience member to make their own interpretation.

This piece is great. It's tightly structured and beautifully delivered. Go see it.

Charming and great "flow!"

If you're at Fringe with a group of friends who can't agree what to see together, take them to "Canadian/Eurovision." This is one of those shows that could appeal to just about anybody. It's got plenty of laughs, the subject matter it covers is interesting, and the artist's sincerity-- with exactly the right amount of vulnerability-- is very engaging.

The structure of the script flows nicely from segment to segment, without any of that "forced" feeling that certain "this isn't a musical, but it has songs in it" pieces often have.

Super entertaining and just the right mix of broad appeal.