Fringe #18 My 2 cents...are they worth 5 cents?

Is it that time of year again already... festival season in Montreal is already well underway and that means that there is probably so much to Fringe and so little time. In year #18 I'm committing to see eighteen productions (at least). (Updated Monday, June 23rd 2am) So now (21) productions in my coin purse:

Go CIT! I decided to put in my two (2) cents ... and combined with the Franco expression "it isn't worth five (5) cents" as the rating system that will be represented by 'cents' 1 through 5...The more 'cents' the better the recommendation. Make sense? 5 cents = Exceptional! 4 cents = Excellent, Go CIT!! 3 cents = very good CIT!. 2 cents = good, CIT. 1 cent = fair, maybe skip it. No cents = avoid at all costs!

"DISHPIG"  = 5 cents. Co-created by T.J. Dawe & Performed by Greg Landucci. My early pick of the Montreal Fringe. Go CIT! I would see it again. Leave the kids at home with the sitter! (Congrats on the nod from the Centaur.) My early 'pick of the Fringe' that survived all 21 productions that I visited.

"Shavirez, le tsigane des mers" = 5 cents. Unfortunately there are no more performances at the Fringe :-( I'd CIT again! This was truely a treat for the eyes and ears. No dull moments and brilliantly 'executed' (pun intended) by the cast. A Play 'for all' and all for one. If it ever gets a remount; Go CIT! (Congrats on the win from Chapters.)

"The Particulars" = 4 cents. Brilliantly directed by Patrick Lundeen! Performed by Alex Furber, very enjoyable to watch, and who looks a lot like a cross between Tom Welland (Young Superman) from Smallville and the character Berger from Sex and the City. Good writting by Matthew Mackenzie and cleverly delivered. Go CIT! (Congrats on the nod form the Centaur.)

"Cody Rivers Show" = 4 cents. Utterly enjoyable to watch these two hamming it up in quality camp style. Go CIT! (Congrats on the JFL win; I guess if you missed it you will get to CIT.)

"Cobra II Cobra Christ Superstar" = 4 cents. I'm not a big fan of cartoons, nor do I pretend to know anything of the background material, I saw part 'I' liked it and still enjoted 'it' (Part II) and that's all the more reason to ... Go CIT!

"The Sputniks" = 4 cents. Elison Zasko in collaboration with Jonno Katz is a spell binding solo performance from start to finish. The one hour mid-night performance zipped by with the very touching and elequent story. One flaw in the seamless direction was 'watch for your light' a cardinal rule in theatre performance, stear away from 'right of center' (pun intended) and more 'center' and 'left of center' and you'll be A-okay. One chance left to catch the Sputniks Sunday at 16:15. Go CIT!

"See How They Run" = 4 cents. An unexpected 'girl power' play. Great chemistry in the ensemble with equally strong, refreshing acting, and seamless direction from Liz Valdez in her distinctive influencing style. Go CIT!

"Throwing Gnomes" = 3 cents. Not a huge dance fan, this piece caught my eye at the F4A and I am glad I got to see it. Very original and entertaining; full of energy at the beginning, some levels seemed to falter as the ambitious piece progressed. Could have had an extra cent if it been a few (8) minutes shorter. CIT!

"Totem Figures - TJ Dawe" = 3 cents. For those who appreciate TJ's famous story telling stylized elaborate monologues this is a treat at almost 90min. If this is your first time I fear some may wonder what is it all about. This piece comes across almost like a 'farewell tour' (hopefully not) in that it is really deeply personal for TJ. Almost scary in that it could seem potentially self absorbed 'all about me' more so than his usual comical style. This piece requires being very awake and focused so a very late show is not a good idea, or if your are coming directly from the beer tent. A double latté will help you keep up to TJ's speedy delivery. My only complaint is that he stands virtually stationary (already a tall west coast guy) on the already high rise TSC stage throughout. This removes him from the 1-on-1 feeling that the story telling genre requires; add to that the large microphone held to a 45 degree angle in the right hand, only helps to depersonalize his natural smooth warm style.Go CIT!

"Peg Ass Us" Pack Of Others = 3 cents.  Okay I can wrap this production into one sentence..."An instructional presentation on how females can pleasure their men through penetration." However, they: John Leo & Sophie Nimmannit, manage to entertain us for a full hour, so I recommend it in the end. 'Get it?' Go CIT!

"This Hour Has 88 Years" Quint Productions = 3 cents. A very ambitious production. Maybe for a first time out, 58 years would have made for a more successful and tighter result. However, what is lost in the direction and lack of concern for a technically tight production and some noticably weaker than others performances, is made up for with some very powerful homages to history through dance and music, originality, and the energy and drive of the overall performances. The music/sound selections and quotes need some serious editing and quality improvement. But Go CIT! (Congrats on the nod from the Centaur.)

"Blast Back Babyzap" Uncalled For = 3 cents. A very well round and polished set of skits from beginning to end. Will win over even the most ardent skeptic. Go CIT! (Congrats on the win from JFL.)

"Barbie World" Scream Dance = 3 cents. Great moves. Go CIT!

"See Bob Run" = 3 cents. Very well performed. Great script. Only the constant black outs and dim lighting needed revision. Go CIT!

"Degrassi The Musical" = 3 cents. Not quit as enamored as the other buzz noted by the critics; the piece is too short in some respects, particularly in regards to the story line, and at times the 'singers' are drowned out by a sound track playing too loud. But avid fans of the 'show' will no doubt enjoy all the camp retro. CIT!

"Lard" Big Moves = 2 cents. Plenty of big dance numbers. Everyone seems to be getting their fill. At 90min the production could use some trimming and improvement on pacing and transitions. CIT!

"Apnée" Équipe de création = 2 cents. Natalie Baroud creation and direction. Performed by Jacqueline Van de Geer. A non-dance multi-media interpretive movement piece. Brilliant and intreaging performance by Van de Geer who holds her own against the 'upstaging' of the video medium. CIT!

"Beth" Zero-Sum Games = 2 cents. Interesting and sharply dramatic performance by Fringe vet Angela Potvin of this 'Scottish play' inspired production, which is unfortunately held down by the lack of direction and supporting cast. CIT!

"Argument with a Dolphin" Without Annette = 1 cent. Maybe it was an off night, but still no excuse when your touted as 'masters of improve'?! A very un even distribution and unoriginal delivery leaving us ready to argue for more than what the talent offered up.

"The Dragpiper" Dragpiper Productions = 1 cent. Take away the tassled tits, the highland dancers, the piping in drag, strip away the superfluous amount of copious cast and then re-cast a strong talented lead 'actor' and get a director who specializes in developing solo performances; then the playwright can go back to the pen and paper and rewrite the actually story...there is one here but it is unfortunately camouflaged and got buried in fluff.
(Congrats on the MainLine win from Jeremy. If anyone can pull this story together he will, even if he has to reach up under your kilt to do so. Looking forward to seeing the revised remount.)

"Transendental Masterbation" Glen Callendar = No cents. Literally! This apparently 1:30 production cut down to 1:00 is 0:30 minutes too long. What won us over in the first half was lost on us in the second.

Well another Fringe has gone by. I made my deadlines and exceeded my goal of reviewing 18 productions. It has been a slice folks! Next year 19+ ? TBA! Now for 'all that Jazz!'

Fringe For All with my eye on the ball...

Normally the Fringe For All (F4A) for a threatrephil is like falling into a giant pile of 'blow' for a crack head. More Fringe than you can handle in two and half hours. This season's edition was a well paced, well hosted and well attended F4A filled with delectable tidbits of drama, comedy, and plenty of dance...

Remarkably, although the Fringe usually has a more 'anglo' appeal with the majority of its' productions in English, it was the local Franco productions that stood out among the vast array of talent. Here are some of the standouts that I noted as must and maybe sees...

En francais:

Mademoiselle Lafleur - Théâtre du BuildinG  Oui
Belzébrute - Shavirez, le tsigane des mers   Oui
Les Filles-Canon - Les Dames                     Peut être
CoCu Clan - La Troupe du Scélofanne          Peut être
Apnée - Natalie Baroud                             Oui
Ggagné - Lancer du nain                           Oui
Spectacle pour emporter - Les Néos            Oui
Le musée des vieux animaux québecois       Oui

English:

Dishpig - Chipped Paint Productions            CIT
This Hour Has 88 Years - Quint Productions CIT
Lard (Like Grease, but Thicker) - Big Moves MAYB
Argument with a Dolphin - Without Annette CIT
Beth - Zero Sum Fears                            CIT
Barbie World - Scream Dance Company     MAYB
The Particulars - Syd Trinity                     CIT
Blastback Babyzap - Uncalled For              CIT
Teaching Fringe - Doctor Keir                   CIT

If you have to ask what CIT stands for then maybe this isn't 4U.
Stay tuned for next weeks review of the 1st weekend of Fringe.

FRINGE FOR ALL FOR ONE June 2 Café Campus

Du 12 au 22 JUIN
FRINGE The 18th ST-AMBROISE MONTREAL FRINGE FESTIVAL!
Le festival international de l'expression libre.

“La meilleure planque en ville pour s'exclamer 'What the f***!'”

In 1947 some artists feeling excluded from the Edinburgh Scotland International Festival decided to perform their shows at the exact same time. Later, journalists referred to these shows as the “Festival Fringe” and an international movement was born! The first Canadian Fringe Festival was held in1983 in Edmonton; since then, more than 30 Fringe Festivals have sprung up all across Canada and the United States. The 1st in Montreal was in 1991 and took place on St-Laurent Boulevard.

In 1996 I first discovered the FRINGE; I've attended every year since. Volunteering from 1999 to 2007, and on staff for 3 years: 2002, 04, 05. Volunteering for the FRINGE even if only for (4) hours will get you into a Play of your choice for FREE!

In 1996, Jeremy Hechtman, the current producer of the festival, moved it to the campus of McGill University. In 1999, the festival returned to the Main, and has since grown to become a bilingual French and English performing arts festival and one of the Plateau - Mile-End and Greater Montreal largest cultural events.

In 2008 over 50,000 spectators are expected to attend 90 companies from: 8 countries, 5 Canadian provinces, and 5 US states;  in over ten venues including: Cabaret et Studio Juste pour Rire, Théâtre La Chapelle, Théâtre Ste-Catherine, Éspace Geordie, Tangente, entre autre; presenting 700 performances in 11 days. Fringe Central offers numerous free concerts and special events with outdoor stage, beer tent and central box office located in Parc des Ameriques Rachael et St-Laurent. Ticket prices range from free to a maximum of $9 and 100% of this price is returned directly to the artists.

The 2008 Fringe season kicks off Monday June 2, 8pm, at Café Campus with our annual Fringe-For-All preview night: a free evening of performance where local Fringe companies will impress the assembled audience and is your best chance to determine the must-see shows of 2008. The festival opens at 6pm, Thursday, June 12, with a free outdoor concert and party at Fringe Central.

Here is a pre-view of some of those must see Plays:

‘The Dragpiper’
*Miss Gina, Dragpiper extraordinaire, is on a quest where Braveheart meets Priscilla Queen of the Desert, in search of a new home; except this ‘Dorethy is in high heels, fishnets and fake eyelashes. Two-spirited lipstick prophets tell secrets while Celtic hearts and blaring pipes escort you down the lost highway from Winnipeg through northern Ontario to La Belle Province.

‘Degrassi! The Musical’
Your favorite 80’s TV tales of teenage pregnancy, fake drug deals and swamp-related pornography all in musical form! Degrassi Junior High comes alive with instant classics like “There’s Nothing Wrong With Lesbians” “You Oughta Be Kicked in the Head” and a very special tap dance number, “He Touched You/Me.”
‘Le Cocu Clan’ est une pièce folle, burlesque, croustillante et puncher...bref, vous n'aurai pas le temps de vous ennuyer. Jouée devant plus de 3,000 personnes en région, elle vient  maintenant voir s'il y a autant de curieux que de cocus ici aussi.

“The official Napolean Dynamite Dance Class” This dance piece at Mange mes Pieds Dance Studio and has some interesting gay characters in the story line.

‘Peg-Ass-Us’ **A tale of boy-meets-girl, and the whole involves much more than the sum of their parts! In a no-holes-barred sexploration of ‘pegging’ these lovers tease along the delicious line between fetish & preference, queer & straight, give & take, wrong and oh-so-right. Produced by packofothers.org from NYC who coincidentially return to Montreal in October for La Récolte V with a production entitled ‘Fluid’.

The FRINGE FOR ALL is at Café Campus, Monday June 2nd 8pm.
A free entry event to see 2min. promotional samples of the Plays

18th ST-AMBROISE MONTREAL FESTIVAL FRINGE 12 au 22 juin. Billeterie et detailed programming information www.montrealfringe.ca Tél: 514.849.FEST.

‘Les z'enfants d'choeur’ au Gesu: le billet le plus 'HOT' à Montréal en juin.

Tel que publier dans Fugues (pg 114) juin 2008.
arts on aime le théâtre

Collaborateur Davyn Ryall Traduit par Stephan Turgeon

Du 12 au 21 JUIN
‘Les z'enfants d'choeur’/
‘Altar Boyz’ au Gesù.
 
Le directeur Stephen Pietrantoni (S.P.) a d’abord entendu parler de la comédie musicale ‘Altar Boyz’ quand elle jouait à New York au Musical Theatre Festival en 2004. Avec ses études en religion et en théâtre, il a été intéressé immédiatement par la pièce à cause de son thème et son message…“Aussitôt que je suis sorti du théâtre, la première fois que je l’ai vue off-Broadway en 2005, j’ai su que je voulais la présenter à Montréal. Son message d’espoir, de tolérance et de soutien mutuel  se rapporte si bien aux défis auxquels on fait face ensemble à chaque jour dans notre ville.” Un de ses plus grands défis a été de distribuer les rôles pour cette production locale. “C’est assez difficile pour une comédie musicale à Montréal… peu d’artistes sont à la fois acteur, chanteur et danseur... en plus, il me fallait cinq hommes bilingues car la pièce est jouée dans les 2 langues.” S.P.

Depuis ‘Les Misérables’, aucune compagnie locale n’a produit une comédie musicale avec une seule distribution bilingue jouant à la fois les versions française et anglaise. En produisant les 2 versions de la pièce, S.P. espère réduire les différences culturelles en créant une occasion pour les communautés francophones et anglophones de partager une même activité culturelle. “Les comédies musicales, à cause du langage universel de la musique, peuvent nous donner un point commun de référence pour que l’on puisse partager l’expérience ensemble.” S.P.

Les chansons dans ‘Les z'enfants d'choeur’ sont des airs pop, joyeux et contagieux. Le message de la pièce peut être pleinement apprécié de tous, peu importe les croyances religieuses. Cette comédie musicale hilarante raconte l’histoire d’un ‘boys-band’ chrétien fictif, à la fin de sa tournée “Gloire à Dieu et aux Cieux”. Ils chantent, ils dansent et ils feront tout pour vous faire chavirer le coeur. Venez vous éclater avec Mathieu, Marc, Luc, Juan et Abraham. Venez joindre les z'autres gars pour la première production Canadienne de ‘Altar Boyz’, présentée aussi pour la première fois en français sous le nom ‘Les z'enfants d'choeur’!

Version française co-traduite par Claire Armange et Stephen Pietrantoni; Directeur musical, Chris Barillaro;  Chorégraphie, Robin Henderson;  Décor, Jeremy Pinchuk; Accessoires, Pierre Martin; Vidéographist Nathaniel Siri ; Costumes gracieuseté de Evidence Clothing
et chaussures gracieuseté de Adidas.

Produit par le Centre Éducatif pour le Théâtre à Montréal (C.E.T.M.) qui fournit des services de support administratif aux compagnies de théâtre indépendant de Montréal.
CETM crée des événements qui donnent aux artistes locaux l’opportunité d’être vus et de souligner leur talent tels ‘Le Spotlight’, mercredi le 21 mai à 20h au Gésù (www.lespotlight.ca), un événement à la fois amusant et éducatif, et ‘The Festival of New Musicals’ à la mi-août.

“Nous aimerions faire de Montréal un incubateur de nouvelles comédies musicales, ce qui pourrait aider à mettre notre ville sur la carte culturelle mondiale de façon significative.” S.P.

‘Altar Boyz’ au Théâtre Gesù, 1200 Bleury, Montréal. En francais : les 12, 14, et 20 juin à 20h, et le 21 juin à 14h. En anglais: les 13, 19, et 21 juin à 20h, et le 14 juin  à 14h. Sièges assignés. Réservation au 514-861-4036 ou www.gesu.net/billetterie.htm . Prix : $40 plus $1.50 de frais de services.  

‘Altar Boyz’ at Gésu June's Hottest Ticket in Town!

As published in French in Fugues (pg. 114) June 2008.
arts on aime le theater

Par Davyn Ryall

Du 12 au 21 JUIN
Les z'enfants d'choeur
‘Altar Boyz’ à Gésu.
 
Director Stephen Pietrantoni (S.P.) first heard of ‘Altar Boyz’ when it opened in New York at the Musical Theatre Festival in 2004. As an undergraduate with a double major in religion and theatre he was immediately drawn to the Play because of it’s themes and it’s message…

“As soon as I left the theatre the first time I saw it off-Broadway in 2005, I knew I wanted to bring it to Montreal.  Its message of faith, tolerance and mutual support relates so well to the challenges we face together everyday in our city.” One of the greatest challenges for the director was casting this local production. “It is difficult enough to cast a musical in Montreal… there are so few ‘triple threats’ actors, singers, dancers… add to that it required an ensemble of five (5) males and the Play is performed in two languages.” S.P.

Not since ‘Les Misérables’ has a local company produced a musical with a single bilingual cast performing both the French and English versions. By producing the Play in both versions S.P. hopes to bridge cultural gaps and create more occasions for both the French and English communities to share cultural activities. “Musicals, because of the universal language of music, can give us a common point of reference so we can share in the experience together.” S.P.

The songs in Les z'enfants d'choeur are happy and infectious pop tunes.  The story is a joyous exhilarating ‘joy ride’ with a lot of heart and sole. The Play's message about faith, tolerance and mutual understanding is one that everyone can fully appreciate regardless of their specific religious persuasions. C’est comedie musicale hilarante raconte l’histoire d’un ‘boys-band’ cretienne fictif à la fin de sa tournée “Gloire à Dieu et aux Cieux”. Ils chantent, ils dansent et ils feront tout pour vous faire chavirer le coeur. Venez vous éclater avec Mathieu, Marc, Luc, Juan et Abraham. Joindre les z'autres gars pour la premiere production Canadienne de Les z'enfants d'choeur, presentée aussi pour la premiere fois en francais!

French version co-translated by Claire Armange and Stephen Pietrantoni; Musical director Chris Barillaro;  Choreography Robin Henderson;  Stage design Jeremy Pinchuk; Props Pierre Martin; Costumes courtesy of Evidence Clothing, and footwear courtesy of Adidas.

Produced by The Centre for Education and Theatre in Montreal (C.E.T.M.) which provides
direct administrative support services to independent theatre companies in Montreal.

CETM creates events to provide more opportunities of visibility for local performers to be seen and highlight their talent: ‘Le Spotlight’ mercredi le 21 mai à 20h à Gésu (www.lespotlight.ca)
an event that is both fun and educational. The Festival of Next Wave of Musicals, mid-August.

“We'd like to make Montreal an incubator for new musicals, which can help put our city on the world cultural map in a meaningful way.” S.P.

Altar Boyz à Théâtre Gésu 1200 Bleury, Montréal. En francais le 12, 14, et 20 juin à 20h, et le 21 juin à 14h; En anglais: le 13, 19, et 21 juin à 20h, et le 14 juin  à 14h. Sieges assigné. Réservation au 514-861-4036 ou gesu.net/billetterie.htm. Prix $40. Plus $1.50 frais de services.  

Forever Yours, Marie-Lou a Tremblay classic...

Michel Tremblay's classic 7 play Forever Yours, Marie-Lou (Toujours ta Marie-Lou) now at Centaur until May 25. As the mega-Anglo theatre complex Centaur Theatre closes for the 2007-08 season so do the remnants of any trace of its' previous artistic director.

Well almost anyway...out with the old and in with the old could be said about reviving this old horse. This Play gives a whole other meaning to 'Odd Couple'. It is an in your face perspective of the way Tremblay sees the Québecois family. I know that there are many still out there that resemble and mirror the image he projects in the Play, but I also know that in general the 'culture Québecois' has evolved by leaps and bounds in the past 35 years and this cliché image of that generation is an isolated dying out breed.

This old horse would best be either shot and sent to the glue factory or at very least sent out to pasture. Some 'classics' are best keep for school, church, community productions; they don't need to be trotted out every few years to a major production house, chewing up major production budgets, with elaborately clever sets and light design, in order to make them appear to be relevant.

The best thing going for this Tremblays' Play is that it is one of his shorter ones. Running as one act for 1h20 with no intermission.

If you are in withdraw from not seeing a Tremblay Play in Montreal in the past two months then by all means go; He is a master when it comes to writing for actresses who want to portray a 'Mother' of a character. But if you have never seen Tremblays' work on stage then wait for something 'en francais' or my favorite, 'Belles Soeurs'.

With so many other plays to choose from now playing in Montreal, see below, this one can be 'a miss'.

The Short & Sweet of Short Story Long

Short Story Long, is written and directed by Joel Fishbane of Montreal’s Pumpkin Theatre and stars Stéphanie Breton and Stefanie Buxton. At MainLine Theatre, 3997 St. Laurent, to May 17. Drama. 75 minutes.

As the winter theatre season gives way to the spring sprint to Montreal’s summer festival season there are a surprising amount of new independent productions still opening; not wanting to let go of what has been for most a very long and hard winter with plenty of deep snow in a deep well developed theatre season. Mainline is no exception and is warming up after a dark and cold winter season of suicides, murders and abuse, so dress in layers, or run the risk of either being hot or chilly.

The Play is the story of a widow who discovers that her now dead author husband, a famous Montreal writer Lincoln Kennedy, has left his literary legacy to another woman. He’s left his worldly goods and funds to his wife Julianne (Stefanie Buxton) but all his writing and the copyrights are left to an anonymous person with the initials  “AK” we know as Amalthea King (Stephanie Breton) a former lover of his who shows up to ask the wife not to contest the will. The twist at the end is justified by the plot and may not come as a surprise to most.

What matters here is the clever repartee written by Fishbane for the two characters he has created. Understanding and writing for the female when you’re a male writer is always a challenge. If I may be so bold as to add especially if he’s a heterosexual. Women writers are assumed to have a natural insight into the male mind but when one of our ‘men’ take on the task of writing women’s roles we usually steps back and examine more in detail. They (the female characters) can’t be too ‘bitchy’ or too ‘emasculating’ or too ‘sluttish’ or too ‘feminist’ or too passive. The women in Fishbane’s Short Story Long do not come across as too much of any of the above.

The two characters are brilliantly portrayed by both Stefanie and Stephanie B’s. The pacing is quick and the dialogue is fired rapidly throughout the first part of the one act Play. Although I found this quick pace started to drag around the middle of the Play and it then started to pick up but never quiet got back on tract in the later part however overall most of the direction and interpretations were up to the demands of the material.

Having seen a number of Fishbane’s Plays which he has both written and directed; one can’t help but wonder if and when he’ll allow a producer/director to take on his work and add another perspective and vision to the production. Is it a control or insecurity factor? I guess we’ll just have to wait and see. It is refreshing however that Pumpkin Theatre continues to produce both original and entertaining theatre and that represents our Montreal talent in a positive light.
Short