Category: theatre

Live & Let Fringe: Day 2

Walking the grounds this year, it appeared that vendor numbers are down, with less food and merchandise kiosks on site. At least, the glut that usually line Gateway Boulevard and 104th Street are missing; I wonder if less permits were distributed this year?

I asked Dickson and Mack to join me for two shows on Friday evening. The first was The Power of Ignorance (Stage 5), a show that was impossible to get tickets for when it premiered in Edmonton in 2003. I am not a fan of solo performances, but after this, I now know that I simply have to choose the ones involving stand-up comedians. Chris Gibbs was hilarious as the (de)motivational speaker Vaguen. He had the perfect voice for the part, and could have easily been cocking his eyebrow for the duration of his satiric performance. Much of the punchlines were delivered rapid-fire, so I can’t say that I picked up everything, but the script was extremely clever, pulling apart popular expressions and universal truths. I also enjoyed the segue ways into his childhood – the anecdotes humanized Vaguen, and rounded out the play nicely by providing a storyline of sorts to follow. Get tickets while you can – the play garnered a 4.5 rating in the Saturday Journal.

We had some time to wander and relax before our second show, so ended up sitting in the near-empty beer tent on “Westjet Way” (compared to the standing room only one next to the Walterdale), and saw at least four Die-Nasty cast members leaving the tent. So if you want to do some celebrity-spotting…

Die-Nasty has been on my hit-list for years, but the late showtime has always been a deterrent, so I was glad to finally be able to participate in this Fringe tradition (Stage 8). I was sad to see that Jeff Haslam was absent from the cast, but Davina Stewart/Mark Meer/Leona Brausen had their A-games going, so that made up for the void somewhat. At the other end of the spectrum, I suspect the actress who played the Constable was smashed, because she was annoyingly disruptive and intruded on quite a few scenes; hopefully she straightens up for the rest of the Fringe run. There were many inside theatre jokes (including Ron Pederson’s comment about the pretentious “scarf-wearing” public, a reference to his recent letter to See Magazine and the subsequent ripple effect), but much of the humor came from the snide remarks directed at the changes in this year’s festival (buying tickets at “West Edmonton Mall”). It occurred to me that this troupe of actors are very lucky to have such a venue to publicly air out their grievances with the Fringe leadership – but if anything, they’ve earned it. In all, this episode wasn’t as funny as the season finale I attended back in May, but I can now remove it from my Fringe to-do list.

Live & Let Fringe: Day 1

It is no secret that the Fringe is my favorite time of year in Edmonton – I can just about hear Julie Andrews’ voice in my head as I pass the painted busker squares, jewelry vendors, and mini-doughnut stand.

Of course, the main attraction being theatre, I was interested to see if the vibe of the Fringe had shifted at all since the axe fell on sales at the venue door. Picking up my tickets at the unmarked “will call” window in the Arts Barns took a little longer than it should have – it seems one of the patrons at the counter had had some trouble with his online purchase confirmation. To be fair, the festival should be allowed time to work out the inevitable kinks of a new system, but the staff seemed terribly inefficient and ill-trained, deferring their queries to the one person who seemed to actually know what was going on. The queue at the main box office was also very slow-moving; I hope this is not the case later on in the festival, otherwise last-minute decision makers will be forced to adopt a new show selection strategy. As for the satellite box office locations (which weren’t open until later that night), I know I’m not the only one who thinks that they look a tad…corporate. With the necessary gate protecting computer equipment (and employee) built into the wooden structures, purchasing a ticket somehow feels less personal than simply approaching volunteers at a makeshift stand in front of a venue.

We watched one show – Matt & Ben (Stage 1), a satire about Damon and Affleck’s rise to fame in the form of Good Will Hunting ‘falling from the ceiling.’ Being a fan of Jocelyn Ahlf (Ben) made this an easy early pick, and she did not disappoint. She demonstrated great comedic timing once again, and her zealous embrace of silly quirks really distinguished her from her co-star. Belinda Cornish was weaker in her portrayal of Matt, but she did better as the ghost of J.D. Salinger. The storyline as a whole was less about “male bonding” as the program portrayed, and more about two foil friends trying to find their way in the world together and as individuals. It was light Fringe fare, and a good way to start off the weekend (both Colin MacLean and Liz Nicholls were in attendance, so expect reviews in the papers tomorrow).

On to day 2!

More Fringe Notes

    • Well-respected theatre tour-de-force Ken Brown collected his observations on the changing philosophies of the Fringe, printed in the Letters section of the Edmonton Journal today.

 

  • I didn’t get a chance to stop by the festival grounds of the Calgary Fringe on the weekend. I did read about it though, and it seems this is the second crack for Cowtown’s summer theatre festival. It seems the company that pioneered the first Fringe in 2000 fell on hard times, but a revitalized group endeavored to bring it back last year. They have apparently secured enough funding until 2010. It would be exciting to be a part of such from-scratch development. I was spoiled in Edmonton to have stepped into an already established and successful event.

 

 

  • I was separated from my beloved Fringe program for a few days, and I now realize how difficult it is to plan beyond one show when using the online information system. No show lengths are listed, so it’s difficult to schedule one after another.

 

 

 

Notes on the Fringe

  • Frequent and Double Fringer passes sold out ahead of last year, reported Metro today. It no doubt has to do with the fact that for the first time ever, the passes can be used to purchase advance tickets. I myself bought a Frequent Fringer pass, committing myself to ten shows. But considering the savings of $4 per ticket, it is unbelievably worthwhile.
  • I did experiment with the new online box office, and I am not impressed. I not only had error messages preventing me from logging in, but also, when I did get to the purchase screen, I found that I was only given the option of buying one accompanying ticket per show. I resorted to falling back on ordering tickets over the phone. Somehow it’s more reassuring to speak to a representative anyhow.
  • Reviews from the Winnipeg Fringe and the Saskatoon Fringe are available, including those that rated five stars in the Winnipeg Free Press and Saskatoon’s 10 best. I’m annoyed that TJ Dawe didn’t get a slot in Edmonton’s festival – Maxim & Cosmo sounds like it would have been a riot.
  • In addition to watching Die-Nasty for this first time this year, I also think it’s about time I attempted a deep-fried twinkie. And after reading the description gleaned from the New York Times as referenced on that Wikipedia page…well, you’ll see: “Something magical occurs when the pastry hits the hot oil. The creamy white vegetable shortening filling liquefies, impregnating the sponge cake with its luscious vanilla flavor. . . The cake itself softens and warms, nearly melting, contrasting with the crisp, deep-fried crust in a buttery and suave way. The piece de resistance, however, is a ruby-hued berry sauce, adding a tart sophistication to all that airy sugary goodness.” Whoo.

See you there!

2007 Live & Let Fringe: the Countdown Begins!

Only two weeks left until the 26th annual Fringe kicks off! I picked up my program today, and have already had a cursory glance at this year’s lineup. Belke’s back (was there ever any question?), there is no doubt The Power of Ignorance will sell out again, there are a surprising number of burlesque shows, and I am very happy to see that some of my stage favorites (namely, Davina Stewart, Leona Brausen and Matt Alden) will be making an appearance at the festival.

Back in April, Executive Director Julian Mayne announced that an on-line ticketing system would be used this year. At the time, I wasn’t sure if this technology would translate into higher ticket sales, and I guess we won’t know until the final numbers are in. However, I think the 100% advance ticket release policy will make it even more difficult to get into the “hot” shows near the end of the festival. In the past, plays that garnered a four or five star rating typically sold out of its advance tickets, but by lining up at the venue, there was still a chance of purchasing one of the 25% of the tickets held at the door. I don’t want to speak too soon, but this new policy potentially gives even more power to mainstream reviewers, something many in the Fringe community are wary of.

I’ve played with the new website a little since it went live this afternoon, and it isn’t a bad first version. I’m sure I’ll have more to say once I use it to actually order tickets.

I can’t wait!

Theatre: “The Exquisite Hour”

After dinner, Mack and I headed to the Varscona to check out Stewart Lemoine’s latest, The Exquisite Hour. From the website:

“A seemingly well-adjusted bachelor finds his life forever altered on a summer evening when an alluring stranger materializes in his backyard to ask the question ‘Are you satisfied with what you know?'”

Not a new work but a remount, the play had the feel of a Fringe production. It really was only sixty minutes in length, but more than that, the light, summer quality of the content was devoid of the existential elements I have come to associate with Lemoine. As well, though Jeff Haslam did his best to make the mood shift from one of lighthearted make believe to mourning the loss of time realistic, even he couldn’t hide the fact that the switch was much too sudden.

That said, The Exquisite Hour did feature some great exchanges between the two leads, and allowed Haslam to showcase his talent in line delivery. This was my first time watching Kate Ryan on stage, and she was every bit as spunky and charming as the role demanded.

I should say that Mack didn’t enjoy the play at all, but I am certain he felt he got his money’s worth with our proximity that night to fellow audience member Ron Pederson(!).

I may also have to make it a habit of watching Teatro productions on a non-pay-what-you-can night. That Thursday, they offered free wine before curtain, and a dessert reception following the play. I guess that’s what our ticket dollars go towards.

Two changes at Teatro this fall: Lemoine is stepping down as Artistic Director of the company, and will be replaced by longtime associate Haslam (but not to worry, Lemoine will still be writing!). Secondly, the production calendar will be shifting to a spring/summer/fall schedule after a winter hiatus. More information about the news available here.

Europe Day 3: London

Before separating from my friends to meet up with my relatives for dim sum and sightseeing, we were treated to a Jesmond “full English breakfast,” included in our nightly fee. When compared with a meal of Muslix and toast at our final London hotel, or even the Contiki breakfasts, the hot, made-to-order plate of beans, eggs, sausage and bacon, supplemented with fresh fruit, toast, coffee and juice spoiled us dearly early on in our trip.

Imagine waking up to this every day (calories notwithstanding)
As I had some time to kill before needing to head to Chinatown, I returned to the nearby British Museum for another spin. Turns out I had (oops) missed the Rosetta Stone my first time, among other things. Due to the car bomb incident in Glasgow the day before, there were police randomly checking bags at the entrance, a measure of heightened security not present during my last visit.

I’m not sure what it was besides nasty coincidence, but it was uncanny that the days that I spent with my relatives were never entirely free of rain. So much so that my cousin May started jokingly blaming the wet weather on me. This day was no different.

On one of the few Chinatown streets in London

After lunch, we headed in the direction of the London Eye, snapping pictures, briefly admiring the buskers on the South Bank, and stopping in the Namco Station arcade in County Hall to (surprise, surprise) get out of the rain.

With the London Eye

We walked past Big Ben, and stopped for a coffee break in a pub en route to Westminster Abbey. I am not immune to blame, as I should have been able to recognize the famous landmark, but we couldn’t locate it. When we stopped for directions, the gentleman pointed, almost laughingly, to the “big white building” we couldn’t miss. Shame. (It still boggles my mind how many Kodak landmarks are within walking distance of each other.)

Big Ben


Coffee (never liked beer, probably never will) in a pub with Cousin Kelly


Westminster Abbey

Here, I met up with the girls, and we Tubed to the Globe Theatre, arriving with quite a bit of time to spare before our 6:30pm curtain. As seems custom by now, we spent the free time before our play in a museum.

Tate Modern is an amazing space, a gallery of (post)modern art built out of a former power station. The exhibit we visited was called Global Cities and focused on the sustainability of large population centres. Even more than the prints, photography, sculpture and multimedia displayed, I was floored by the exposed scaffolding used to make up the two levels of the exhibition – a visual representation of density and differing perspectives, and an effective use of a stark metal jungle to signify the underbelly of growth.

Global Cities exhibit


May, Annie and Janice at Tate Modern


The Millenium Bridge and me

After a frugal dinner consisting of Tesco sandwiches and juice by the Millenium Bridge, we walked to the Globe Theatre and readied ourselves for a few hours of groundling toil. We had purchased the five quid cheap tickets, meaning we would be standing for the duration of the play at the foot of the stage. In the end, though I should have worn a different pair of shoes (my ankles were crying after three hours), it was pretty cool to watch Love’s Labour’s Lost from where we did. As most people know, I just don’t have an inbred love of Shakespeare most English teachers are born with. But to see it on stage, illuminated in speech (thus noticing the poetry of iambic pentameter), direction (the scene involving column hide and seek was hilarious), and use of vulgar visual gags (the age-old horn prop) made me fully appreciate Shakespeare for the master that he was. And darn it if casting Trystan Gravelle as Berowne didn’t help his case.

The Globe Theatre at nightfall


The stage


The girls with Henry and his beary friends

I did pick up a program (I don’t know if I will ever get used to having to pay for playbills), and successfully avoided buying the too clever “Out, damned spot! Out, I say!” handkerchiefs and 50p felt strawberries “from” Othello.

We took our time getting back to the hotel, but had we known the long day that was to come, perhaps we would better prepared ourselves with a good night’s rest.

Shoe Shopping: Flat-out Difficult

Bettina can attest to how many shoe stores we traipsed through while in Montreal last year after being bitten by the “flat bug.” Still, due to my more than picky nature when it comes to shoes, I only managed to find a pair I bought as a last resort, and one that I really haven’t worn all that often.

With my upcoming Europe trip, I decided a pair of black flats would be indispensible, as I’m planning on a wardrobe to bridge the line between touristy-comfort and casual chic (I never like looking out of place, but as we will be traveling with a tour group, I’m sure I won’t be able to escape the “foreigner” label, but I’ll do my best). Of course, I’m sure by the time I get there, facing 40 degree temperatures, all careful planning will go out the window, but at least I had some good intentions, right?

Anyway, after a few weeks of shopping, I settled on Steve Madden’s Twillo flats, purchased on sale at Da Vinci’s in Edmonton City Centre. I figure they’re dressy enough to pair with the skirts and dresses I’m bringing along, but casual enough to go with my jeans and capris as well. I’ve worn them a few times so far, and though the leather soles tend to crunch rocks underneath rather loudly, they’ve proven to be quite comfortable. The real test will be the state of my feet when I return, so stay tuned!

Steve Madden Twillo flats

On the topic of shoes – during one of my last trips to Gravity Pope on Whyte Avenue, the manager talked about an exciting event taking place in late June. Having moved all of their clothing merchandise to a separate location two blocks away, the newly shoe-only store found itself with a lot more space. So much space that they decided they could act as a venue for a play about shoes. Vancouver playwright Elaine Avila’s Shoe! asks the question, “Can self-worth be purchased through the perfect pair of shoes?” I’ll be finding out the answer next week. More information at TixontheSquare.

Sterling Awards Nominations

This year’s Elizabeth Sterling Hayes Awards nominations were announced last week. Recognizing the best in local theatre, the nominees span the gamut from risky productions (Catalyst’s Frankenstein) to heartfelt dramas (Theatre Network’s Closer and Closer Apart) to experimental, edgy material (Citadel’s The Pillowman).

I don’t feel as if I am in a position to pick the winners, as I haven’t seen all of the shows listed (Frankenstein would have been hit or miss with me, but I regret not seeing it for all of its critical acclaim), but I am happy to see some names singled out that I did have the pleasure to watch on stage this season. James DeFlice and Patrick Howarth were great in Closer and Closer Apart and Dreamland Saturday Nights, respectively, and I can’t disagree with Andrea House’s nomination for her supporting role in David Belke’s The Raven and the Writing Desk because she is just that good. Lastly, what can I say about 10 Days on Earth that I haven’t already? Simply amazing.

Teatro La Quindicina is glaringly absent from the ballot (both in productions and their family of actors), but as with most entertainment awards, comedies are as a whole ignored in favor of the dramatic. Maybe next year.

Winners will be announced at the gala on June 25.

Theatre: “East of My Usual Brain”

After dinner, Mack and I watched the new charmingly-titled Stewart Lemoine play East of My Usual Brain at the Varscona Theatre. From the website:

“East of My Usual Brain sets forth the utterly unexpectable tale of young bookstore clerk Eric Thaw (Ryan Parker), whose perceptions of life in an unremarkable city undergo an extraordinary transformation when he accepts a position as the research assistant to tempestuous European author Istvan Madaras (Ron Pederson). Istvan has himself been completely untethered from his moorings after a chance encounter with the alluringly pensive Bianca (Belinda Cornish) one afternoon in a public garden. Inspired, amused, and occasionally horrified by this romantically tortured pair, Eric must broker a resolution in a suddenly unfamiliar landscape that grows more peculiar and more beautiful with every scene.”

Let me just preface this review with the advice to never attend a show tired. That said, it was no fault of the play itself that I missed most of the first half due to, well, a lack of caffeine in my system. From what I did gather, it was a typical Lemonian-exercise of a verbally shy courter, with Pederson for the first time cast not as the yuppie bystander, but as the starry-eyed would-be Romeo. Pederson did great, pulling off both a mustache and accent without falter (his silent struggle with low table seating in the tea shop was a notable comedic moment). Parker was a seamless addition to the Teatro family (as this was his Teatro debut), and I can see why Lemoine reacted with a “You–get in the car” comment after seeing Parker’s spoof of the 80s duo Wham. My only lukewarm reception was towards Cornish – noticeably older than Pederson, her inclusion in this role appeared mainly to be because of her English accent. She was as upright, mysterious, and transcendent as her character demanded, but I wasn’t entirely sold that both Eric and Istvan would fall for her. Moreover, whoever’s decision to allow Bianca the number of costume changes that would rival an Oscar host’s should regret it – Maggie Walt‘s designs were flashy and ultimately distracting. Bianca’s wardrobe superseded the focus that should have been on the words.

The set deserves its own praise as well – both beautiful and functional, the red lanterns hung behind the paper screen were a nice touch. However, I am still wondering whether designer Mike Takats deliberately chose to use low tables, despite its alignment with Japanese and not Chinese culture.

All in all, it was an enjoyable play, with the expected poignant metaphor (in this case, excuse my mangling, but of the orientation necessary in love and in life), charming characters, clever dialogue, and laughs.