Tag: Ottawa Fringe 2019

Ottawa Fringe: Scaredy Cat a Delightfully Unafraid Memoir

Ottawa Fringe: Scaredy Cat a Delightfully Unafraid Memoir

 

 

Carlyn Rhamey is a force of nature. Her facial expressions are anything but small, and her voice is able to fill uOttawa’s Studio 1201 with ease. Rhamey is a natural storyteller with an endearing, sometimes childlike spirit (in the best way!).

Scaredy Cat is an autobiographical solo show – sometimes stand-up, sometimes re-enactment, sometimes memoir – that follows a core thread of fear and its ramifications on the totality of our lives. Rhamey is a self-diagnosed scaredy cat, and indeed one that her audiences immediately empathize with as she takes us on a journey through her fear-filled life. 

For Rhamey, scary situations take many forms: haunted houses, clowns, sharks, creepy men, you name it. Rhamey has a charming, self-deprecating sense of humor that amusingly disarms the legitimacy of her fears; she laughs at herself as much as we laugh at her unfortunate antics. Scaredy Cat’s pacing is very much one influenced by stand-up comedy, complete with pace-breaking water breaks; Rhamey is clearly comfortable talking to people and making them laugh.

Rhamey’s reliance upon a stand-up framework is both a strength and a weakness of Scaredy Cat as a Fringe show; Scaredy Cat falls into a tradition of solo shows with lighthearted facades and emotionally sharp inner cores. It takes longer than I’d have preferred for Scaredy Cat to find its footing in more serious commentary; once Rhamey falls into the heavier stories, it is oh-so-powerful, but it feels almost as if Rhamey wants to stay in her comfort zone of boisterous, physical comedy, and is eager to get back to this place of lightheartedness. Carlyn Rhamey is a lovely actor with the capacity for sustained depth, and I am ever-excited for her to explore this further in her future work. 

Scaredy Cat is one of many wonderful solo shows helmed by women at this year’s Ottawa Fringe. Rhamey’s experiences are entertaining and brutally honest in a way that lures us in and keeps us wanting more. The lighting is also very effective; different emotional moments are effectively punctuated by changes in lighting, fleshing out an otherwise-simple, text-driven production. 

Scaredy Cat falls on my list of must-sees at this year’s Ottawa Fringe; if you love to laugh, both at others and at yourself, see this show, and “suck it up, buttercup.”

Scaredy Cat runs through June 23. For full scheduling, visit www.ottawafringe.com/schedule. Scaredy Cat is in Venue 5 – Studio 1201. 

Ottawa Fringe: Night Feed a Beautiful Commentary on Modern Motherhood

Ottawa Fringe: Night Feed a Beautiful Commentary on Modern Motherhood

 

 

 

Night Feed

Night Feed, presented by Canvas Sky Theatre, is a puppet play with a golden emotional core. Armed with a cast of working mothers, a conglomerate of objects and designated puppets (more on this later), and rock-solid direction, Night Feed seeks to demonstrate the struggles of motherhood. The performance I attended elicited tears, laughs, and everything in between from our mostly-female audience; Night Feed is a necessary piece of theatre that combats any misconceptions of puppets being only for young audiences. 

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Ottawa Fringe: Get Well Soon a Promising Start to a Long-Term Project

Ottawa Fringe: Get Well Soon a Promising Start to a Long-Term Project

 

Get Well Soon, presented by Hamda Elmi, has an admirable presence at Ottawa Fringe, with a prescient message and strong cast of black women. It is a short and honest piece of theatre, and utilizes a sometimes-successful mediation of technology and live performance. Get Well Soon absolutely has a life and future beyond the confines of its run at Ottawa Fringe, but would benefit from further workshopping and refining of its technical components. 

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Ottawa fringe. Suitcase of Wonders: captivating magic with comedy and audience participation

Ottawa fringe. Suitcase of Wonders: captivating magic with comedy and audience participation

 

Suitcase of Wonders

Magician Ryan Pilling has created a highly entertaining magic show based around fate and the extent to which we control our own lives or are instead controlled by forces beyond us. It’s also a funny show with a lot of audience participation, and Pilling is able to easily carry us from trick to trick by setting them within a story—no silent magic show here. It’s a perfect combination of easygoing theatre and exciting magic.

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Ottawa Fringe: Lights!Camera! Odd jobs! – an alright solo show about finding good actions jobs

Ottawa Fringe: Lights!Camera! Odd jobs! – an alright solo show about finding good actions jobs

 

LIGHTS! CAMERA! ODD JOBS? is a decent solo show form actor Andrew MacKinnon about his personal journey as an actor. It falls into the category of confessional storytelling and uses as its frame the number of odd jobs a young actor has to take while trying to kickstart their career. The show had a few flaws but was decent overall.

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Ottawa Fringe: Timmy the dog disappears, a Martin Dockery absurdist sit-com

Ottawa Fringe: Timmy the dog disappears, a Martin Dockery absurdist sit-com

 

 

Timmy, the Dog, Disappears is a dark absurdist Fringe sitcom about a family failing to stay normal

Black Sheep Theatre’s Timmy, the Dog, Disappears is a bit of an absurdist sitcom—a play that messes with the conventions of 1950s suburban family television, creating a world that feels almost dystopian and more than a little troubling. It’s also hilarious in its nonsensicalness, a zany comedy from frequent Fringe creator Martin Dockery.

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Ottawa Fringe. Entangled: a surefire fringe hit and a valuable lesson in great theatre-making

Ottawa Fringe. Entangled: a surefire fringe hit and a valuable lesson in great theatre-making

Entangled, a new play from Almonte-based writer, Jacob Berkowitz, is a story of two friends, two magnificent thinkers, with some seriously unfinished business. Who are these two individuals? Why, none other than Carl Jung (Paul Rainville), the famed psychoanalyst, and Wolfgang Pauli (David Frisch), the lesser-known, though equally influential, quantum physicist. With a first-rate script and rapid-fire dialogue, Entangled, directed by Cathy Clark, lays bare the complex relationship betwixt these two intellectual titans, and instills within each a sense of humanity and three-dimensionality that is at once heartfelt and utterly captivating.

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Ottawa Fringe: In Defense of Spontaneity – Bat Brains

Ottawa Fringe: In Defense of Spontaneity – Bat Brains

Bat Brains photo Andrew Alexander.

 

 

 

Two versions of Bat Brains exist; the show Sam Kruger originally meant for the world to see, and the one that occurred during Bat Brains’ opening. I can only review what transpired rather than what was intended; the show I saw was deeply personal and visceral, a magnetic hour of stylized movement and Brechtian alienation. It was revealed in the show’s conclusion that many of the highlights of the performance had been accidental or “unfinished,” and I found myself wishing we hadn’t been told this, as those moments of freneticism and spontaneity felt absolutely inspired. That being said, as far as I know, Bat Brains has evolved since its opening, and I hope to see it again before Fringe’s closing.

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Ottawa Fringe. Bat Brains: is a must-see combination of physical theatre, comedy, and a serious look at mental illness

Ottawa Fringe. Bat Brains: is a must-see combination of physical theatre, comedy, and a serious look at mental illness

 

Bat Brains

Sam Kruger is a gifted creator and performer. In front of a full house for his first performance at this year’s Fringe, Kruger lived up to the hype set by his incredible show last year, Fool Muun Komming. This year’s Bat Brains or Let’s Explore Mental Illness with Vampires proves once again that Kruger is one of the best and most idiosyncratic physical theatre/solo artists out there. He captures everything that Fringe should be about.

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Ottawa Fringe: I Am the Most Unfeeling Doctor in the World a Moving Tell-All

Ottawa Fringe: I Am the Most Unfeeling Doctor in the World a Moving Tell-All

 

Dr. Melissa Yuan-Innes is not an actor; Fringe is a new territory for her, one that she has appeared to full-heartedly embrace both in performance and, rather endearingly, in spectatorship . In her hour of storytelling, we as an audience don’t notice or mind an occasional word fumble or lapse in finesse; Yuan-Innes’ honesty and candor make her a captivating presence onstage. Yuan-Innes masterfully connects moments of humor, nostalgia, grief, confusion, and hope into three distinct tales from the Emergency Room, with a winning charisma and infectious sunny disposition. 

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