2024 Editorials | ||||||||||||||||||
Goin', Goin', Gone! | ||||||||||||||||||
Catchin' A Surprise | ||||||||||||||||||
Steppin' Up | ||||||||||||||||||
Workin' Hard or Hardly Workin' | ||||||||||||||||||
Now We Are Rollin' | ||||||||||||||||||
FAQ | ||||||||||||||||||
Jenny Awards | ||||||||||||||||||
Jenny Awards 2023 | ||||||||||||||||||
Jenny Awards 2022 | ||||||||||||||||||
30th Year Special Features | ||||||||||||||||||
Jenny Awards Gallery | ||||||||||||||||||
Making Contact Write your comments/reviews. Sign your written submission and include a phone number or e-mail address where you can be reached in case we need clarification (phone numbers etc., will not be printed or given out); and get it to us by one of these methods:
Social Media Please Follow us on Social Media to get updates on Reviews, News and other content about the Winnipeg Fringe.
| ||||||||||||||||||
The Jenny Revue is a publication of The Jenny Revue Inc., a not-for-profit corporation, funded solely by advertising and donations. It is not affiliated with The Winnipeg Fringe Festival, MTC, or any other organization. Privacy Policy The Jenny Revue is published on Treaty 1 territory, the lands and traditional territory of the Anishinaabeg, Cree, Anisininew, Dakota, and Dene Peoples, and on the Homeland of the Red River Métis. |
The Wind Telephone
Audacious Serendipity—Eckhardt-Gramatté Hall
From the write-up, the premise is quite clear: grieving man creates a telephone to talk to the dead. The phone becomes a spiritual portal for all who grieve.
By all means, this should have been a profoundly sorrowful tale, evoking enough teardrops to cause a tsunami—but it wasn’t. Through most of the show, I couldn’t figure why I only felt moments of sadness and many streaks of apathy. The tales are thoughtful and the circumstances are all dire. What’s missing?
Towards the end, I figured it out. I didn’t feel for any of the characters. For most tragedies, you build a relationship with the characters and by the time tragedy hits, you’re sharing a life/experience with the characters. Here, you only get the sorry—you don’t get the development, and you never get to bond with the characters.
I applaud Adam Keefe for a bold effort. He has great intentions with a great story to tell. Unfortunately, it falls a bit short because a key piece of the puzzle is missing.
Ray Yuen