Martin Dockery: Wide-Eyed

Martin Dockery—Creative Manitoba

Martin Dockery has been coming to the Winnipeg Fringe Festival for ten years now. Although he is still energetic and engrossing in his storytelling, it seemed to me that the level of sheer manic energy he displayed during earlier shows like The Bike Trip, some years ago, was not quite so during this show. Maybe it was because he was older and maybe it was because this was a different kind of show.

At the start of Wide-Eyed, he admits to having been vague in his Fringe Festival program description. He says this was so because he didn’t quite know at the time he submitted what material he would be presenting. He knew he would be going on a trip – somewhere – and he knew his wife would be having a baby, but he had not yet experienced these things and didn’t know what interesting things might come from them.

So he talks about his trip to Beijing, particularly to Tiananmen Square and its next-door attraction the Forbidden City. He spends a lot of time focusing on his frustration with the Forbidden City audio guide, returning to this topic often, and suggesting that he doesn’t have anything more interesting to relate from this famous site. In this, he treads the line between beating a dead horse and poking fun at himself, but safely lands on the side of being amusing.

During this show, Dockery frequently goes into digressions, some lengthy, but he always eventually comes out of each to return to the topic that spawned it. For example, when talking about the Forbidden City, he begins to talk about the friendly Chinese people he met there, the tea ceremony they invited him and his wife to, and then somehow he makes a bridge to talking about how one’s YouTube history can define oneself. Later on he reveals what the tea ceremony was really all about, and it is not so friendly. He also introduces the topic of his wife’s pregnancy, slowly at first, but it becomes one of the main topics by the end of the show. It could be easy for anyone to be lost in the details but Dockery’s enthusiasm, despite not being quite so manic anymore, and the way he fills the space in this rather small venue, keep the audience quite awake.

Konrad Antony

Two White Guys Solve All the World’s Problems

Quondam Dreams—Planetarium Auditorium

Every Fringe seems to have at least one show that angers people and stirs up controversy; and Two White Guys Solve All the World’s Problems appears to be THAT show this year. The plot is simple; two ageing old friends spend some time together at the cottage. Lucas is the owner of the cottage, a relaxed, easy-going fellow content to isolate himself from the world’s problems and enjoy life. His friend is Mark, an uptight, increasingly angry and frustrated man who becomes more repellent as the show goes on, as he reveals more and more of his misguided attitudes. It’s Mark’s expressed opinions and inappropriate, racist, bigoted, and biased commentary that triggers the anger and controversy towards this show. What the playwright (Deejay Dayton, who also plays Lucas) is doing here is exposing the ugly reality behind so much of the world’s problems, expressed in the uncensored ramblings of Mark (an astonishingly courageous performance by Jeff Whyte). I’ve known many people just like Mark, unfortunately, content to blame the world for their problems rather than turn their gaze inward and realize that the real problems are within themselves. This show is funny, insightful, nostalgic, explosive, maddening, and thought-provoking, all at the same time, thanks to its hard-hitting script and gutsy portrayals of two very diverse characters. Shows like this are what Fringe Festivals are made for. Go and see it, especially if you feel like being challenged by something daring and unconventional. You owe it to yourself.

Mike Seccombe

I respectfully challenge the Free Press Frances Koncan’s review of “Two White Guys Solve All the World’s Problems.” I found the play to be a very well-constructed satire and most thought-provoking.

In this play, two middle-aged white men, Lucas and Mark, who have been friends since their teenage years, meet up after not having seen each other for several years. We know within minutes that we are in the world of satire when it becomes obvious that neither of these two individuals can solve even their own problems, much less the problems of the world.

I strongly differ with Koncan’s argument that the satire here needs to present a counter-argument to the racist, sexist, and homophobic toxic masculinity of the character called Mark. Satire relies on its target self-imploding with his or her own bombast. Well done, it requires no counter-argument. Mark is so horribly disgusting that he destroys himself, both physically with meth and socially with his toxic attitudes. This is obvious to the audience, and there is no need for a diatribe from the character of Lucas. Lucas is differently flawed. He is, as Koncan points out, passive and quiet, as so many of us are when confronted by horrifically inhumane perspectives such as Mark spouts. But Deejay Dayton, the playwright and the actor who plays Lucas, deftly controls a prolonged and intensely nuanced response to Mark. At first he is simply surprised that his friend has become so insensitive and socially skewed. Then he begins to point out flaws and inconsistencies in what he says. Then he calls him a “jerk” and an “asshole” for his blatant misogyny and erroneous perspectives, and, finally, in a poignant moment that brings the audience to stunned silence, responds to Mark’s challenge to “do something” about what he thinks and feels.

Koncan says that “theatre should also consider which voices and perspectives need to be amplified in our political and cultural climate.” It is perfectly obvious that Mark’s “voice” is unacceptable. Having Mark destroyed by a heroic character would turn the thing into a trite morality play.

Nothing is solved or resolved in this play. There are many moments for laughter during the conversation and the audience when I attended laughed often and freely. But they left the theatre pondering the “unsettling implications” just as Koncan wrote. Yes, I have heard that a couple of people have left the play early. That’s a pity. It moves to an end that provokes thought. And isn’t that what theatre is all about?

Bravo to Deejay Dayton for his courage to take on this timely but challenging topic and to both Deejay Dayton and Jeff Whyte for bringing it successfully to our Winnipeg Fringe.

Katherine McLennan  

Tumbling After

MTYP Summer Studio—MTYP – Richardson Hall

“Tumbling After” is a great opportunity to catch up with your favourite fairy tale characters just as they are about to graduate high school. They have all grown up, except perhaps the Frog Prince who is still more frog than prince. Their last days at school are fraught with drama. A wolf-related lockdown interrupts Captain Hook, the shops teacher, as he struggles to teach a sex-ed class (mostly hand holding).

Fast forward a few years and trouble is brewing. Many questions need answers. Who is killing all the Jacks? Who puts a well at the top of a hill? Who cleans Puss in Boots’ litterbox? All is revealed at a spirited and hilarious clip by MTYP’s Theatre School Summer Studio. Solid comedy chops from all in this company!

Barbara Fawcett

Squeeze My Cans

Squeeze My Cans—PLATFORM Centre

Scientology: L. Ron Hubbard writes a science fiction novel. Then by a series of unbelievable circumstances, a cultish hoard embraces it as their religion. They recruit weak-minded celebrities and those celebrities (Tom Cruise, John Travolta for two) give it legitimacy.

As a thriving cult, scientology victimises average, normal people and somehow seduces them to give up their freedom and their souls—oh, and all their money. How does this happen?

Cathy Schenkelberg tells a gripping story of how she got into this trap, how she finally got out—and what it cost her (you wouldn’t believe it). If you’ve ever wondered what goes on behind the doors of Scientology and what lies at the promised land, you must see this show. You even learn the meaning behind the volcano on the cover of Hubbard’s novel. It’s an incredible story.

Ray Yuen

The Neighbourhood Watch Improv

The Neighbourhood Watch Improv—Asper Centre for Theatre and Film – U of W

The champs of long form improv are back again with a new set of zany neighbourhoods created by us the audience. Since I saw the 11:45pm show, I was treated to ‘the sexy special’!

The slightly racier show was still as fun as ever with some dirty bits thrown in for kicks. I loved watching them flesh out this entire world.

The cast each take turns setting scenes and creating characters. I found their descriptions both hilarious and helpful as they were explained to the audience in great detail.

While they all seemed to be enjoying themselves, there were a few moments of artistic tension. One of the actresses seemed to dislike the rest of the cast poking fun at her and she seemed to shut down a lot of ideas. Having no personal connection to the actors I’m not sure if this was part of the show or if it was grounded in reality. While it might be nothing, I haven’t seen in group fighting (fake or real) from an improv group and it seemed to slightly take away from the experience.

At the end of the day the rest of the audience and myself howled at the jokes and everyone left the theatre smiling! A joy every time I see them, this is improv at its finest. Set your watches now to watch the neighbourhood watch!

Kaitlyn Kriss

Cast Away: the Musical

Patrick Hercamp—School of Contemporary Dancers

I’m a sucker for sing-song adaptations of things that I love, Tom Hank’s Castaway being one of them. Musicals are one of my favourite things, (queue the soundtrack from Sound of Music), and although I know that this particular film was heartbreaking and powerful, I have seen previous work from Ryan Adam Wells and Patrick Hercamp and have heard tale of the musical talent of Brad Toress, so I knew I could not miss this production.

Perhaps unsurprisingly (based on the cast), I realized very quickly that it was also a comedy and a parody of the original film. The script and song lyrics delightfully and cleverly paid homage to Tom Hank’s enormous body of work. The props were comically simple yet effective, there is no such thing as a fourth wall for these guys, and they have a knack for hilarious creativity as they guide the audience through the action of the play. Wells wowed the audience with his powerful singing, Hercamp made a slightly unsettling yet endearing Wilson, and the score and soundtrack written entirely by Torres was beautiful.

I highly recommend this show for the simple reason that I find performances like these complex and engaging. You’ll find yourself laughing, crying, reminiscing and surprised. I don’t think I speak only for myself when I say we all feel the loss of watching Wilson float away. But sometimes even stories of loss are full of fond memories, good times and personal growth. Go check it out, and if you’re lucky, scoop up a tiny Wilson of your own on the way out.

Calantha Jensen

Rocko and Nakota: Tales From the Land

Indigenized Indigenous Theatre—School of Contemporary Dancers

To a young enthusiast of comic books, heroes wear capes, masks and they’re invincible. This tale of discovery teaches the child that heroes take all forms, come from unlikely places, and sometimes in the guise of family. This production gives you a glimpse into the lessons of life and a look into the stories of our Indigenous culture.

Josh Languedoc delivers a flawless narrative as he smoothly transitions between the characters. His commanding voice takes you into the moment and cradles you along the journey. This excellent effort should be on your viewing list.

Ray Yuen

See Bob Run

Snakeskin Jacket—MTC Up the Alley

Young Roberta (Bob for short) is hitchhiking her way to the coast. Along the way, her travel partners hears the bits and pieces of the haunting past she is running from.

This gut wrenching play was difficult to watch. I felt physically ill I was so uncomfortable. This is because the actress was so convincing as a survivor of sexual abuse in her child hood, teens, and adult hood.

The actress was so horrifically believable I spent most of the show just wanting to reach out and comfort her. The script went to amazingly dark places. It was beyond sad and I just felt so helpless watching the impending car crash of an ending.

I was not prepared for the content of this show and had to plug my ears during the show. While stories like this are important, and the actress is very talented, this is a show I never need to or want to see again.

Kaitlyn Kriss

God Bless Cambodia

Randy Ross—Red River College – Roblin Centre

This is a one-man storytelling show that takes us on a journey through one man’s life as he struggles to find love and connection in the dating world.

Our protagonist loses his job, and with months of no plans on the horizon, uses his severance pay to travel around the world. He shares stories with us about misread situations, sexual misadventures, misinterpreted intentions and scenarios, visits to his psychiatrist’s office and deep self reflection as he tries to understand himself.

Most of us have spent time being single, trying to seek out a real, true, and lasting connection with someone else. I can relate to the loneliness, the longing and confusion when a new relationship begins but then ultimately ends. Why do we choose people who are bad for us? Why do we find ourselves unsatisfied?

The show is a raw, honest and descriptive look at how one man, and perhaps many others, see relationships and their needs and desires. Based on a novel written by Randy Ross, the audience can relate to the quest to find love and connection, and likely agree that along the way to finding happiness with another person, there can be a wild roller-coaster ride of romantic chaos along the way, and that it is worth it.

Calantha Jensen