Last month, the editor of My Entertainment World asked if I was interested in joining her staff to cover Toronto theatre, beginning with the Toronto Fringe Festival. I enthusiastically, but with some anxiety, said yes for a few reasons. As much as I love writing reviews here, and will continue to do so, I’m aware that most of my wonderful followers are not local and read my stage reviews out of curiosity or out of a (very flattering!) desire to know my opinion on a show, not because it’s something they’re considering attending. Writing for My Entertainment World offers a really cool opportunity to support Toronto theatre and ballet by sharing my honest opinions on what’s worth seeing to an audience who just may buy a ticket for the show. I had a wonderful time reviewing 11 shows for My Entertainment World this year at the Toronto Fringe Festival, an annual independent theatre festival featuring 160 shows in 12 days, and I’m looking forward to writing more for them in the future.
The opportunity to help cover the Fringe also brought with it some nerves . You see, I am a former Fringe virgin (well, almost virgin – I’d previously seen exactly one Fringe show The Musical of Musicals (The Musical!) in 2013). The sad part is that I honestly don’t know why I never attended the Fringe Festival before. I follow enough theatre-related publications and social media accounts that despite not attending before, I generally knew which shows were the year’s standouts. I’d even talked about seeing a show since the festival’s “Best of Fringe”(not held this year due to restructuring at the usual venue) is in my neighbourhood. Sure enough, this year as I looked through the programme I noted several shows that I was interested in seeing!
In the end I attended 16 shows, 11 of which I reviewed for My Entertainment World. Interested in reading my reviews? You can check them out, including my feelings on one of my highlights of the Fringe, Grey, here.
The remaining 5 shows, I’ve reviewed below in order from least impressive to most impressive. Since I already have this nifty stars and half-stars system, I’ve recycled my star ratings for the plays and musicals I witnessed.
Everything There Is To Know
I enjoyed Everything There Is To Know, an original 90 minute musical by Aaron Jensen, more than you might guess from my 2.5 star rating, but I can’t justify giving it a higher rating than this when it needs so much work. To quote Meatloaf, ‘two out of three ain’t bad’ and that’s where this musical currently stands. I found the cast strong overall, especially Sheridan College graduate Quinn Dooley in the lead role of Sophie. Plucky and precocious, but with real moments of feeling, Dooley is believable as a preteen with an overactive imagination. Much like Dorothy in The Wizard of Oz, Sophie makes up stories and likely unconsciously casts her friends and family in the various animal roles. It’s a shame that the last note of the show didn’t seem to fit comfortably in Dooley’s range, although judging from a few stifled coughs following the show, it’s possible that the actress was sick. I also enjoyed Christopher Wilson as Dad/Buffalo, and while Sara Stahmer (Mom) was outmatched vocally by the score, she made up for it with an energetic performance. Most of the cast play multiple roles and threw themselves with abandon into each part, but it’s Karolina Kotus (Beatrice/Turkey) who steals the show as an intimidating camp counselor in a patter song that also shows off her ability to belt called “The Forest Is Not Your Friend”.
I generally liked the music, although at times it comes off a little Sondheim-lite. There are no obvious earworms here, but the score is enjoyable and the lyrics often witty. The lyrics did have some of the cast tripping over their diction, but I’m not sure if this is an indication that the tempo is too fast, or that they didn’t have enough rehearsal time.
Unfortunately this family-friendly musical loses all it has going for it with an awful book. It starts out strongly enough as a play about a girl whose parents are going through a rough patch. Former free spirit Mom leaves, Dad lies about it, and it seems to be about a girl who escapes into imagination and stories when her parents split up. Unfortunately, there’s a completely unnecessary, and so unclearly depicted that I didn’t even pick up on it, twist. Suddenly it’s about the end of the world. Honestly the way it’s currently scripted and staged, I thought the whole ‘the world is ending’ thing was one of Sophie’s nightmares right up until father and daughter were in a bunker! The passage of time is unclear, leading to questions such as ‘Why did Dad bother painting the kitchen when the world is ending?’, ‘Does Mom know the world is ending?’ ‘What happens to her?’, and even ‘It’s been long enough that he built a bunker in the backyard!?’ I know the story is supposed to be from Sophie’ perspective, but I don’t think that excuses this muddled writing and staging! It’s unfortunate because a more grounded approach that focuses on separation/divorce from the perspective of an imaginative child might have served the show better. I honestly do hope Everything There Is To Know goes somewhere. As it stands now though, it’s a bloated musical and the great cast and good music aren’t enough to redeem this muddled mess of a book.
Confidential Musical Theatre Project
Waiting in line for the Confidential Musical Theatre Project (or CMTP) to open its doors, is a bit like waiting to be inducted into a cult. “This is my third Confidential,” said one man in line to an older woman, who replied that she had been to all of the Fringe Festival performances so far. Certainly after the 60 minute show ended I felt as though I had been brainwashed. ‘Maybe I should go to another performance,’ I found myself thinking. Perhaps the odds would be in my favour and I’d get Les Miserables, Company, or a show that I was more familiar with than the musical I’d just witnessed. After about ten minutes, happily ensconced in the nearby used bookstore, I returned to reality. I can understand the appeal of the Confidential Musical Theatre Project, which offers the guarantee that no two shows will be the same as well as the ability to be let in on a secret. It’s a strategy sure to incite repeat visits, but I wasn’t as thrilled with the output as I expected to be. The show I saw was good, not great. It was generally well sung and acted, but the performances (with one exception) weren’t stunning, and the show wasn’t as funny as I expected. Part of my meh response comes from the fact that the classic musical they performed is not one I’m very familiar with, or one that I particularly like. Ultimately I thought the rest of the audience got more out of it than I did. There was a general atmosphere of joy and willingness to laugh easily, which makes me suspect the audience was mostly made up of fellow actors and/or artists at the festival, who had a different perspective on how difficult it is to step into something after only an hour of group rehearsal. That said, I was very impressed by Jada Rifkin, our lead for the night, who was funny, charming, and unafraid to go all out, even when the risks didn’t always pay off. Rifkin alone was worth the price of admission. Would I go to another CMTP show? Possibly, but as much fun as the element of surprise is, I think I’d like to know what the musical is before committing.
Maddie’s Karaoke Birthday Party
Above all, Maddie’s Karaoke Birthday Party is a really good time. Set in The Monarch Tavern, cast members mingle with the audience before the show, snapping selfies and giving out birthday hats, while audience members play keep it alive with the dozens of yellow happy face balloons covering the floor. Although the pre-show talk and banter between songs is a little weak, the original pop songs, which range from a power ballad (sung beautifully by Erica Peck) to charming comic number “I’m a little bit Basic” (a hilarious Tess Barao), are catchy and well-sung by this talented cast. Throughout the show, Maddie’s friends provide insight into how reliable, kind, and smart the missing Birthday Girl is, but when Maddie finally arrives at her party (spoiler-alert!) she’s drunk and not nearly as put-together as she has always seemed. It’s a musical made with the millennial in mind and, as part of this oft-disappointed in the world generation, I was won over by Maddie’s Karaoke Birthday Party. The site-specific nature of the show does mean that sight lines are sometimes compromised, but not significantly enough to impact the experience, and the casual immersive atmosphere would be hard to duplicate in a more traditional venue.
Recall was the last of a four show evening for me, and with an 11 PM curtain on a day when I got up at 5 AM, I worried that I wouldn’t be able to stay awake. Fortunately Recall is such a clever and captivating show that all thoughts of my bed were banished for its 85 minute duration. Eliza Clark’s intelligent science-fiction dystopia Recall examines a world where children with sociopathic tendencies that have not yet manifested are hunted down by the government. The cast is terrific, with Kyla Young giving an unnerving performance (with an excellent dead-eyed stare!) as Lucy, and Warren Kang providing a sarcastic, yet vulnerable, presence as Lucy’s friend Quinn, who is also suspected of being abnormal. The standout though is Genevieve Adam as Justine. A few months ago I mentioned that one of the things I would like to see more of in fiction is mothers in SFF and with Justine my prayers were answered. Adam plays her as a spitfire, spunky and flirtatious, but also practical and tough when she needs to be. Her attempts to balance having some semblance of a life with keeping Lucy safe by dodging the authorities drives the story forward. Dialogue flies back and forth at a brisk pace throughout this script, which also finds moments for humour and affection despite the bleakly atmospheric world. As someone who loves fiction about morally grey characters and situations, and as an admirer of effective science-fiction, Recall spoke to me. It’s a clever play with charismatic performances and strong world building. It’s also completely unlike anything I’ve ever seen before and I would gladly watch it again.
The Seat Next To the King
The worry with a play like this, a play that received a coveted Fringe 5N review from Now Magazine’s Glenn Sumi and won the ‘Best New Play’ award before it had even premiered, isn’t that it won’t be good, it’s that it won’t live up to the hype. I attended the second last performance of The Seat Next To The King and for me it falls into the rare category of shows, along with the likes of Hamilton, that actually live up to the hype. The Seat Next To The King imagines a sexual encounter between a pair of men in a 1964 public washroom. One of the men is Bayard Rustin, Martin Luther King’s right hand man. The other is Walter Jenkins, top aide to President Lyndon B Johnson. Playwright Steven Elliott Jackson’s script deftly explores themes of race, sexuality, and politics in 1960’s America, and it’s brought to vivid life through a perfect marriage between playwright, director, and actors.
The Seat Next To The King was easily the most professional show I saw at the Fringe Festival this year as well as the most affecting. Some of the credit for this clearly belongs to director Tanisha Taitt. What struck me most about her vision for this show is how well it uses transitions between scenes. Simple set pieces, such as a bathroom sink, are turned into a hotel bed by the two actors, but continuity is maintained through period-appropriate musical selection, and the actors remain in character, using the time to reveal more about their characters’ mindsets. I was fortunate enough to attend a talkback after the show with the cast and creative team, and it sounds like Taitt also deserves credit for her role in the casting process. The chemistry between Kwaku Okyere (Bayard Rustin) and Conor Ling (Walter Jenkins) is intense, and both actors, as well as the creative team, described the chemistry as “immediate” from the first read. I know that down the road there will likely be other productions of this play with other actors, and I imagine they will be very good, but it’s hard to imagine anyone fitting as well as Okyere and Ling do onstage. As wonderful as the script is, this two-man play wouldn’t work without a strong cast who are believable together. Between Okyere and Ling the atmosphere is charged. Bayard is charming and self-assured, while Walter is cautious and afraid of what he has to lose. Watching the initial cat and mouse game develop into something deeper and more meaningful is truly beautiful to watch. Like most reviewers who attended this show, I can only add my voice to the chorus of those hoping The Seat Next To The King will be picked up by a professional company and added to their season. It’s a gorgeous moving work that begs to be seen again.
Hope you enjoyed reading my (not at all concise) coverage of the 2017 Toronto Fringe Festival.
Next up in August: a trip to New York City to take in some Broadway shows!