The Buzz – Reviews

Meteor Shower

Hill Party Productions—PTE – Colin Jackson Studio

Inane irritating couple meets absurd annoying couple—then the mystery begins. I’m not the kind of person who watches a murder mystery and tries to figure out who-did-it through the show. I take things in as they occur. In Meteor Shower, the hints are very in-your-face, so you know there’s a twist to come; it’s a matter of figuring out what it is.

Listed at 90 minutes, the actual run-time is about 75 minutes and I suggest it could have been tightened to 60 minutes. There was enough to keep you engaged most of the time but a couple of scenes dragged a little longer than they needed to be.

There weren’t a lot of gags but the ones they had were giggly-cute.

Ray Yuen

7 Minutes In Kevin

Wackatoolis Incorporated—Red River College Polytechnic

Well, being Mr. Gillese name is “Kevin”…I was obliged to attend. Kevin, has stepped out of his improv shoes, and finally decided to do a solo show…nervously I might add, but looking like he was having ball, sharing his sometimes demented dark hilarious POV, with which he expects us to agree, positively or negatively! He had us all holding our collective guts as we bent over in laughter with his life’s slightly twisted tales of opinion.

He had a keyboard player for ambience, not that the show required it, but it was a nice bounce off for material.

I particular like the segments on one liner observations, much in the comedian Steven Wright style of delivery.

Even if your name isn’t “Kevin”, by all means, attend and visit the mind of Kevin. “the Horror, the horror…”

*Side note: Kevin is/has been performing with the “Whose Line”..star Colin Mochrie at his sold out 3 shows (in PTE) and informed us Mr. Mochrie will be attending this Sunday’s “7 Minutes with Kevin” performance. If you don’t have tickets for Mochrie, you may see him at Kevin’s show, if you show up!!

Kevin Campbell

Queen Shmooquan. The End Times Show!

Queen Shmooquan—PTE – Cherry Karpyshin Mainstage

Weird- Fringe comedy- sexy jazz- rock and roll -political weird-Fringe fun.

As a random fellow audience member said to me walking out…that was perfect Fringe!

This show both made me very happy and whisper what the F? in such a good way. Sexy end times indeed. Go experience what Fringe is about.

PS: look for the Statler and Waldorf (my interpretation) Boobs. Noticed them too late to appreciate them as they deserved.

Veronica Ternopolski

Bloodsuckers! The Musical

Kiss the Giraffe Productions—Tom Hendry Warehouse

Wonderful! Simply perfect! This show is a bargain as it is the quality you would expect at a pricy MTC performance. All the actors in this large ensemble were perfectly cast, excellent dancers, strong singers and always on point. I should mention it’s also extremely humorous. The time flew by for the obviously delighted audience and the hardworking cast were rewarded with lengthy, thunderous applause. I was so pleased to have been able to take this gem in. You should as well.

Lisa Campbell

New Wave Your Behaviour

Hamilton 7—John Hirsch Mainstage

I went to this show opening night on a lark, mostly because I’m firmly in the Gen X demographic the show is aimed at (although I hasten to add that I don’t think you need to have lived through that era to enjoy the show). By the midpoint it had me examining my recent life choices and thinking “sheesh, I need to quit my job” over and over – when I wasn’t laughing my arse off.

I imagine for most people, the main selling point of this excellent show will lie in the way writer/performer Tor Lukasik-Foss (hereafter TLF) perceptively and sometimes hilariously breaks New Wave artists down into four archetypes. Though he doesn’t name-check a single act, each archetype has a distinctive and instantly recognizable approach to singing, writing lyrics, and even dancing, and TLF does justice to all of them and switches between them effortlessly. (And toward the end of the show, you might realize there’s a good reason for that.) Each of these characters even gets to perform and/or be the subject of a pretty credible original song. In particular, with the first one, The Authority, TLF has Dave Gahan (of Depeche Mode) absolutely dead to rights – though of course, it’s not just Gahan, but a recurring set of tropes of which he happens to be a great example.

That said, the main thrust of the show is TLF’s struggle with dissociative episodes, documented in ways I found relatable and deeply thought-provoking. Even for viewers who don’t feel a personal stake in this aspect of the show, like me, it offers some real emotional heft, especially as you start to see how these struggles parallel the musical aspect that might, at first, seem unrelated.

This is an excellent show that a lot of people seem to be sleeping on. See it now and you get to have some bragging rights when it becomes a hit late in the festival.

Jeff Heikkinen

Editor Note: Jeff had this addendum to the review:
Interestingly, both Jen Zoratti of the Free Press and myself thought one of his New Wave archetypes – The Authority – was a dead ringer for a specific musician, but not the same one! (I named Dave Gahan while she went for Ian Curtis.) After reading her review, I find both choices about equally valid; the point of the archetypes, after all, is that they’re *not* specific musicians, but recurring sets of tropes.

Bremner sings How to Pack A Revolution In Your Suitcase

Big Empty Barn Productions—CCFM Salle Pauline-Boutal

This is a historical musical journey through the songs created during the Wiemar Republic in Germany from the late 1920s through its eventual fall due to the rise of the Nazi party. Bremner’s smooth baritone sings the songs from a period of artistic and personal freedom created in part by the artists that fought for it. Songs by Kurt Weill and Bertolt Brecht feature prominently, with a bit of story telling in between that uses a bull horn to deliver quotes from various leaders of the art movement of the time.

He juxtaposes the rise of Fascism 100 years ago to our current environment that is eerily similar. It can be perhaps a bit dour at times, but he provides a little gleam of hope with his last two songs, and notes that the Fascists could not kill the art as it managed to escape and still survives today.

Murray Hunter

House of Gold

Brighter Dark Theatre—The Output

I went into this one blind and came out extremely glad I pulled this one off the unreviewed list. This company’s first show (unless you count an attempted show in 2020), I’m extremely excited to see what they do in the future. The writing is sharp, in a way that I think audiences of all different age ranges can really enjoy, if maybe a bit more engaging for people like myself conversant in modern internet brain rot language (I would like to meet the retiree who truly understands the concept of a they/them baddy, or why everyone just loves Karma by Jojo Siwa.) The performances were likewise stellar, selling the parts they played in this dysfunctional family of capitalist failures while dropping their jokes with fantastic delivery.

Josh Fidelak

Burns and Allen: Comedy Duo

Dog and Pony Shows—Tom Hendry Warehouse

A tribute steep in wistful nostalgia, Burns and Allen was an endearing trek through the lives of one of the strongest acts of the era. Through little interludes we were given an insight into the lives of the pair behind the scenes, but the comedy was at the forefront as it should be. It’s a good piece- the source material is good, and the delivery was damn near perfect. While the unexpected introduction of audience participation lended some awkwardness here and there, the performers were able to smooth things out expertly and get us right back into the action. I left the theatre warm, and a little nostalgic for a time I never actually knew.

Arden Pruden

Ingi’s Fingies

SNAFU—PTE – Cherry Karpyshin Mainstage

Cliff notes version first, if you saw epidermis circus, this show is essentially an iteration upon that, new material that is less vulgar and more polished, better for kids and just generally a more cohesive version of the already fantastic concept.

If you’ve never seen epidermis circus in a previous years Fringe to make the comparison, Ingi’s Fingies is a one hander from professional puppeteer Ingrid Hansen, using uncommon materials or just her hands as puppets, all projected onto a screen by a small camera. It’s a simple concept, and Ingrid performs it extremely well, her vocal work as impressive as what she’s able to frame for the camera. Extremely funny and definitely family friendly (which could not be said of her prior work), highly recommended as always.

Josh Fidelak

The Mailroom

JHG Creative—The Gargoyle Theatre

Enormous props to this company out the gate- it’s very difficult to do a musical when you experience a total audio failure. Despite the circumstances, they pulled it together, threw in some jokes, and I had a very good time. The Mailroom, centering a group of corporate mail workers about to lose their jobs, was almost a working class call to action to demand better from the faceless corporations that oversee us. I say almost, as while the majority of the show was full of catchy songs and sticking it to the man, the solution of “That’s the best we could do, shame we still lost” left me disheartened. Maybe that was the point, but it deflated an otherwise good experience.

The cast played extremely well off each other and were obviously having fun on stage, but I found myself questioning certain decisions made. Despite the shows pleas to ignore the fact that one member of the group was a puppet, an obvious gag to the tokenization of minorities, I found it hard to when they kept bringing it up. I thought it must be coming to a head, and in a sense it did, but also felt entirely unnecessary in a show already trying to say so much. It left me wanting.

Arden Pruden