by Colin Thomas | Sep 17, 2022 | Review
Farces can be beautiful machines: marvels of comic timing and physical business so dazzlingly funny they leave you gasping for breath. But, of course, the thing about machines is that you want them to work all the time. This production of Peter Pan Goes Wrong hums...
by Colin Thomas | Sep 11, 2022 | Review
I got goosebumps, I laughed (a lot), and I cried — all in one show. Of the performances I’ve seen at the Fringe so far this year, this is my favourite. Writer and performer Bruce Ryan Costella frames Spooky & Gay Cabaret with a scary story about an eleven-year-old...
by Colin Thomas | Sep 11, 2022 | Review
Playwright Bill Marchant’s Summer Teeth is an odd assemblage. It starts with one of the most riveting monologues I’ve heard in ages. The givens are that we’re in a post-plague near-future somewhere along the Pitt River in what seems to be a rural community. At least...
by Colin Thomas | Sep 11, 2022 | Review
It starts off charmingly. In The Disney Delusion, which he describes as “an (unfortunately) true story”, playwright and solo performer Leif Oleson-Cormack describes a romantic misadventure from 2008. Although he had an MFA in playwriting by that time, he had never...
by Colin Thomas | Sep 10, 2022 | Review
My bet is that artists are more likely to get away with this kind of nonsense on the fringe circuit, where audiences are more predisposed to giving it a pass as “artsy”. But Ha Ha Da Vinci is just very badly made. Phina Pipia, who wrote and performs this piece, plays...
