One good aspect of this performance was the sporadic use of the Prague inspired Black light puppet figures . They introduced the evening , appeared in certain sketches and announced a playful atmosphere which dominated the evening of non stop comic sketches . The comic timing was very good, the pace was good, the skits followed each other rapidly, the evening progressed with no pauses and a lot of the individual characters that the actors produced worked very well. In fact they all appeared to be talented comics. Of course Gélinas is one of the more talented fixtures with the Company of Fools and his work is always excellent. I There were a few simple props and a curtain, suggesting the stage set for each “act” and that was it,but it was the writing that made them stumble. The skit I liked was the one in the science lab where two scientists are trying to uncover the mystery of the man eating flower…that looks like a daffodil. Also Richard Gélinas as the hyper turbaned Calif looking for a new “wife” was deliciously perverse …somehow though a lot of it didn’t fly. The ideas were not sharp enough, the humour fell flat. Very unequal show with people who could definitely have worked with much better material.
Wunderjammer by Richard Hamphill
A production of Punchbag Playhouse
Comedy sketches with Richard Gélinas, Jordan Hancey, Gabrielle Lazarovitz and Victoria Luloff
A Shapshot on the Fringe:
A Mind Full of Dopamine written & performed by Rory Ledbetter
An energized, speedy and focused performer, Ledbetter knows a thing or two about how to win at cards. But the key to this mile-a-minute tour of the poker table is that he also knows about losing, and the monkey mind set that compels the desperate to pile up their chips and swim with sharks. When debt meets desperation, Ledbetter is a consummate performer, driving for his life with the devil in his rear view mirror. What he makes visible in this descent of man into hellish habit is the terrible thrill of fighting for your life as you crash headlong into a disaster that just keeps giving. You can almost see the piles of poker chips amid the smoke and taste the double lattes. We want Rory to stop, but somehow can’t pull ourselves away as we experience the terrifying rush of actually watching a human being plunge into self-inflicted chaos – again and again. What level of will power, luck, or mysterious divine intervention does it take to re-claim your life when you’ve given it over to an all-powerful force – that lives inside you. Here’s the deal – place your Fringe chips on Dopamine. – Snapshot on the Fringe by Laurie Fyffe<=
Plays at Arts Court Library
Photo: Emily Cooper
NIAGARA-ON-THE-LAKE, Ont. — The chief reason for seeing the Shaw Festival’s revival of The Philadelphia Story is the presence of the incandescent Moya O’Connell in the role of Tracy Lord, the captivating self-absorbed heiress who finally learns to be a human being on the eve of her second marriage.
Philip Barry’s comedies can be hazardous undertakings, requiring a particular tone and cadence in delivery, and rippling with the kind of nuance and subtlety that helps flesh out a particular social strata. Barry was writing about the rich — indeed, some would say he was in love with the rich in plays like The Philadelphia Story and Holiday — but that didn’t stop him from gently mocking the pretensions of the very world he embraced.
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