by Colin Thomas | Sep 21, 2022 | Review
I didn’t get what I thought I was in for, but I did get a very good time. Cirque Alfonse is a humble Québecois company: the acrobats and musicians are all either members of the Carabinier Lépine family or their friends. And Animal is a humble show that riffs — in...
by Colin Thomas | Sep 18, 2022 | Review
I do not want to write this review. I know that it takes enormous effort to mount a show — even if it’s a bad one. And I’m sure that everybody involved with the United Players production of The Thursday Night Bridge Circle has the best of intentions. But...
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...
