So today at the Fringe I was left wanting more. Not more shows, but more out of the shows I saw. All of the performances today had things to recommend them, but also things that worked against them. Here’s the run down.
Lucky 9
by TJ Dawe
(www.tjdawe.com)
presented by Big Sandwich Productions from Vancouver, BC
I really enjoyed TJ’s performance last year, and the scripts of his that I have read since then. He typically presents a mix of fictionalized autobiography, insight, and storytelling. This year, however, the material seemed too expositional. Instead of being placed at the foundation of the stories being told, references to The Wire, the works of Dr. Gabor Mate, and The Wisdom of the Enneagram by Riso and Hudson, were allowed to come to the forefront, resulting in a performance that was sometimes more book report than theatre. A lack of staging also contributed to the "lecture" feel of the piece.
That aside, there were some joyful moments to be had. In particular, a monologue recasting Olympic athletes as tax lawyers brought deep laughter, especially in the recent wake of the G-20 summit. If you have enjoyed Dawe’s work in the past, I am sure you will continue to enjoy this show. It is just not one of his strongest offerings.
Step
by Audra Simmons
(thedarksidestudio.com)
presented by Lavish Dance Company from Toronto
One of the best moves that the Fringe ever did was to introduce dance performances to the festival. I always try to see at least one each year now. This year it was Step, a belly dance performance by xxxx?
The dancing was generally good, with all dancers showing technical ability. However, as a whole, they lacked the presence and intensity that is needed to push the show firmly into “performance” territory. There were exceptions through the hour to this point, however. One performer who was always “on” and stood out in my mind. Unfortunately, I shall have to call her “little red” because I cannot figure out from the program whether she was Victoria Buston or Danielle Davies. If you see the production, or even the flyer, you’ll know who I’m talking about.
Audra Simmons’ choreography was enjoyable, but became repetitive after a while. The program notes talked about how each performer was a style and interpretation of her own. Unfortunately, they were not given a vehicle to truly allow this to happen. What we are left with is what could be an excellent 30 minute performance, pulled into an hour.
The Complex: A Toronto Tale
by Jack Grinhaus
(www.boundtocreate.com)
presented by Bound to Create Theatre from Toronto
Complex indeed. Jack Grinhaus’ script intertwines 4 storylines, all potentially causes of a house fire on Canada Day 2010. Unfortunately, I think it is probably 1 or 2 story-lines to many to follow and develop given the one hour performance. There is a lot of strength here, but it is strength that needs to be developed, with some of the structure cleaned up, and some of the interactions between the storylines enhanced. I will be very interested if this is expanded in the future.
The cast is uniformly strong, and makes the best parts of the material shine. The direction, as well, has some very interesting moments, though one dream sequence struck me as a touch absurd. Overall, however, this is a strong performance of material that I hope will be expanded further.
Lucky 9
by TJ Dawe
(www.tjdawe.com)
presented by Big Sandwich Productions from Vancouver, BC
I really enjoyed TJ’s performance last year, and the scripts of his that I have read since then. He typically presents a mix of fictionalized autobiography, insight, and storytelling. This year, however, the material seemed too expositional. Instead of being placed at the foundation of the stories being told, references to The Wire, the works of Dr. Gabor Mate, and The Wisdom of the Enneagram by Riso and Hudson, were allowed to come to the forefront, resulting in a performance that was sometimes more book report than theatre. A lack of staging also contributed to the "lecture" feel of the piece.
That aside, there were some joyful moments to be had. In particular, a monologue recasting Olympic athletes as tax lawyers brought deep laughter, especially in the recent wake of the G-20 summit. If you have enjoyed Dawe’s work in the past, I am sure you will continue to enjoy this show. It is just not one of his strongest offerings.
Step
by Audra Simmons
(thedarksidestudio.com)
presented by Lavish Dance Company from Toronto
One of the best moves that the Fringe ever did was to introduce dance performances to the festival. I always try to see at least one each year now. This year it was Step, a belly dance performance by xxxx?
The dancing was generally good, with all dancers showing technical ability. However, as a whole, they lacked the presence and intensity that is needed to push the show firmly into “performance” territory. There were exceptions through the hour to this point, however. One performer who was always “on” and stood out in my mind. Unfortunately, I shall have to call her “little red” because I cannot figure out from the program whether she was Victoria Buston or Danielle Davies. If you see the production, or even the flyer, you’ll know who I’m talking about.
Audra Simmons’ choreography was enjoyable, but became repetitive after a while. The program notes talked about how each performer was a style and interpretation of her own. Unfortunately, they were not given a vehicle to truly allow this to happen. What we are left with is what could be an excellent 30 minute performance, pulled into an hour.
The Complex: A Toronto Tale
by Jack Grinhaus
(www.boundtocreate.com)
presented by Bound to Create Theatre from Toronto
Complex indeed. Jack Grinhaus’ script intertwines 4 storylines, all potentially causes of a house fire on Canada Day 2010. Unfortunately, I think it is probably 1 or 2 story-lines to many to follow and develop given the one hour performance. There is a lot of strength here, but it is strength that needs to be developed, with some of the structure cleaned up, and some of the interactions between the storylines enhanced. I will be very interested if this is expanded in the future.
The cast is uniformly strong, and makes the best parts of the material shine. The direction, as well, has some very interesting moments, though one dream sequence struck me as a touch absurd. Overall, however, this is a strong performance of material that I hope will be expanded further.