We are at the Toronto Fringe Festival. Watch this space for regular updates with capsule reviews of Toronto Fringe shows as we see them. Happy Fringing!
Rosamund – A New Musical
The premise: Rosamund is a new musical that reimagines and re-tells the story of Princess Rosamund (Sleeping Beauty) for modern times.
The experience: Writer and director Andrew Seok has made magic here. Rosamund casts an imagination-firing spell over Trinity St-Paul’s Church from an unadorned stage that holds the narrator, a cast of eight seated actors (who stride forward to microphones to speak and sing their parts), and three musicians. The fairy tale of Sleeping Beauty, about the princess cursed to sleep for 100 years until she is awakened by the kiss of a handsome prince, centres tired gender stereotypes rooted in a lack of female agency. Seok preserves the tale’s big sleep, but ingeniously focuses on what happens before it, in order to complexify the motivations and deepen the personalities and character arcs of all – especially Rosamund and the Prince. The result is a gripping, fresh new fairy tale that is realized exquisitely by a stellar cast, anchored by a luminescent and un-Disney turn by AJ Bridel as the impulsive, dynamic Rosamund, and an endearingly foppish Jeff Irving as the Prince, who has a lot of growing up to do. Gabi Epstein vamps and chews the scenery as the villainous fairy Parisa, and the rest of the cast knock their various roles out of the park, as well: Rhoslynne Bugay as Queen Alexandra and Seok as King Alrod; Saphire Demitro, Lily Librach and Heeyun Park as fairies Cyrena, Dariyah, and Aerwyna; Kyle Brown in several roles; and David Rogers as the narrator (who also brings the house down with a late musical number).
Why see it: Rosamund is exquisite in every way. The story delights and surprises. The cast is magnetic. And the music – memorable and magical – simply soars. If you’re lucky enough to get tickets, you’ll be transported and enchanted. And when this stage-ready musical gets picked up and mounted as a full production for a wider audience (as it seems it must), you’ll be able to say you saw it here first, at the Toronto Fringe.
Visit the show page and reserve tickets at FringeToronto.com.
Yoga for Billionaires: An Immersive Comedy
The premise: Yoga is an ancient Hindu practice dating back over 5000 years. The philosophical foundations of yoga are found in Hindu scriptures like the Upanishads, Bhagavad Gita, and Yoga Sutras of Patanjali, which outline yoga as a holistic system encompassing physical postures (asanas), breathing techniques (pranayama), ethical principles, and meditation practices aimed at uniting the individual self with the divine. Western capitalism has co-opted yoga for the multi-million dollar health & wellness industry . . . and Yoga for Billionaires is here to push things to their ultimate, most absurd extreme.
The experience: Indian-Canadian standup comedian Sara Raj is our acerbic yogi, and Albanian-American actress Lindita Kulla is her hilariously dour, low-talking assistant. After a crash course in the origin of yoga and its 8 limbs or components, Raj adds a ninth to recognize what western culture truly prizes as divine: money. Then, while burnishing her billionaire bona fides in hilariously dubious fashion, she teaches us (the class) a new set of asanas (body postures) that support this new limb . . . by emblematizing and manifesting our worst capitalist excesses.
Why see it: If you’re a westerner like me, you’ll actually learn a little about yoga . . . but no matter who you are, you’ll laugh a lot, sometimes ruefully – at the excesses and inadequacies of our crass culture, which Yoga for Billionaires skewers remorselessly. And the show features priceless audience participation – for the seated, and for the brave souls who jump onto the onstage Costco yoga mats (bought on sale, of course). – SS
Visit the show page and reserve tickets at FringeToronto.com.
AbracadabraHaHa
The Premise: Performed by Rob Fishbaum, aka “Fish the Magish,” AbracadabraHaHa deftly combines magic and humour, featuring sleight of hand, mentalism, and Fishbaum’s unique form of pa-dum-pum comedy. A fully participatory experience, AbracadabraHaHa features 50 minutes of laughs and tricks that will leave you chuckling while wondering, “how did he do that?”.
The experience: While AbracadabraHaHa does not include magic tricks that are necessarily new or complicated (imagine beloved favourites involving balls, ropes, scarves, cards, bills, balloons, and Rubik’s cubes), the combination of magic and humour is a winning one – especially as performed by the charming and affable Fishbaum. His ability to establish a rapport with the audience through compelling storytelling, a quick wit, and comedic timing elevates his tricks from simple illusions into warm, relatable narratives. Given Fishbaum’s obvious skill, opportunities to incorporate even more complex illusions into future shows is a happy prospect to imagine.
Why see it: AbracadabraHaHa is a delightful experience for audiences of all ages. Fishbaum clearly loves performing magic (perhaps even a little more than his day job as a school guidance counselor!), and his penchant for lively banter and the frequent opportunities for interaction are guaranteed to keep audiences entertained, engaged, and amazed. – AG
Visit the show page and reserve tickets at FringeToronto.com.
Koli Kari
The Premise: Ravi’s cooking show, “The Spice Route,” is on the brink of cancellation, and his last hope is to share the secret recipe for his irresistible koli kari (chicken curry). But just as he’s about to do it, the chicken magically springs to life and conjures the real creator of the recipe, Ravi’s Amma, forcing him to confront his past and family secrets.
The experience: Featuring a South Asian cast, Koli Kari takes an innovative approach in storytelling, offering a sensitive and sensory experience that incorporates mask performance, as well as the immersive element of live cooking on stage. (Sitting in the front few rows enhances the aromatic effect.) Written by Ganesh Thava, the story is rich in emotional depth, merging the past and the present to explore the inviolable bond between a mother and son – and through it, widening the scope to touch on intersections of identity, gender, culture and sexuality. The play’s depiction of a child caught between wanting to be his authentic self but fearing to disappoint those whose approval matters most is heartwrenching. The performance offers tremendous cultural significance, ripe with opportunities to spark conversations about generational and cultural topics.
Why see it: Under Sungwon Cho’s sensitive direction, the cast of Thava as Ravi, Anne Saverimuthu as Ravi’s longtime friend Annika, and Asha Ponnachan in a scene-stealing turn as Ravi’s mother Jaya, perform the show exquisitely. Koli Kari stands out for its creativity and emotional resonance, and for challenging the stereotypical depictions of South Asian characters and culture. Thava leverages the strong association between food, family, comfort and security to excellent effect. As a mother and a daughter of Indian immigrant parents, I immediately responded to the core conceit of food as a vehicle for expressing love more compellingly than mere words ever could. And it made me long for my grandmothers’ cooking (and my grandmothers) more than I can say. – AG
Visit the show page and reserve tickets at FringeToronto.com.
Colonial Circus
The Premise: Colonial Circus is an immersive comedic journey with two Bouffons who dance, sing, and speak gibberish. The show offers a fun – and deeply thought-provoking – introduction to the history of colonization, tackling the topic with a sense of play and an aim to heal collectively through laughter. More than a little bizarre, but hugely captivating and wholly hilarious, the show is a clever combination of absurd comedy and improv created and performed by Sachin Sharma and Shreya Parashar, the co-founders of Hinprov, Toronto’s first bilingual improv community
The experience: Colonial Circus, directed by Isaac Kessler, blends comedy and historical commentary in an unexpectedly participatory way. With deceptive simplicity, this show leverages sparse dialogue, minimal props and abundant physical comedy to convey the layered history of colonization. In just 60 clowning minutes, it explores oppression by moral superiority through religion, language, and food, and the conquest of culture, land and resources. And the show offers rich interaction through call-and-response, bringing audience members onto the stage, and Sharma going out into the audience. All of this gives Colonial Circus a friendly, communal feel that is accessible and funny, yet deeply sobering. After all, it’s not pretty where we find ourselves today . . . and we are, after all, in this together.
Why see it: See it because this is a deeply important topic – but even moreso because Colonial Circus swaps preaching for participation, and makes the historical hysterical. See it for the spicy dynamic between Parashar and Sharma, who use Bouffon clowning to tackle the topic of colonization with unflagging, winking wit — backed by a lot of research. And see it so you, too, can swivel from squirmy discomfort to raucous laughter, peppered with aha moments – as a participant in this masterclass in comedic timing. Questions? – AG
Learn more about the genesis of Colonial Circus and the art of Bouffon here. Visit the show page and reserve tickets at FringeToronto.com.
An Evening at Sea
The Premise: Being the daughter of the Queen of Pirates is “awesome”—unless what you really want is to leave the family business and join the Funky French Dance Crew. When words fail her, how can pirate Princess Leandra tell her mom that she wants to follow her heart?
The experience: In this touching all-ages show, written and directed by Bryce Volrath, dance and dialogue combine into a simple, impactful vehicle for exploring coming-of-age themes, such as familial obligations, parental expectations, following your passions, and being true to yourself. Choreographed by Layla Ainsley, dance is both a theme and a powerful visual metaphor for who Leandra aspires to be on her own terms – as opposed to who she feels she must be, when she is with her mother. The performances by Karen Scora as Leandra and Ainsley as Leandra the aspiring dancer are strong and heartfelt – yearning, frustrations and tangled emotions are expressed poignantly through their movements and expressions. And the magnetic Erin Jones draws the eye and commands the stage as the old school rap-loving Pirate Queen – and warms the heart with her ultimate openness and unconditional love for her daughter.
Why see it: Children will delight and find inspiration in the parent-child dynamic that this show presents so thoughtfully. And while they smile at the rapping pirates, grownups will also appreciate (and may see themselves in) the nuances that Volrath develops within the show. The sweet ending and the dual depiction of Leandra – as dancer and as pirate – offer plenty to consider and discuss on the way home after the show. – AG
Visit the show page and reserve tickets at FringeToronto.com.
The Unexpected Mayfly
The premise: An individual engages the audience in discussion of a variety of topics, ranging from the trivial to the existential. (Revealing why they do this will spoil most of the show’s fun.)
The experience: Almost every aspect of this show is, well, unexpected. As directed by Cemre Gemeli, The Unexpected Mayfly feels like what would happen if Seinfeld and Samuel Beckett had a child. The first half of the show is funny, endearing, a bit absurd and a whit unsettling. The second half slowly ups the ante, engaging more serious questions and provoking more serious thought . . . until it’s all turned on its head by a St Elsewhere-style ending that I am still thinking about.
Why see it: To be surprised, amused, engaged – and seriously challenged by the unexpected. – SS
Visit the show page and reserve tickets at FringeToronto.com.
Get a Clue
The premise: Get a Clue is a horror-comedy murder mystery musical that’s creepy, campy and funny. Taking its inspiration from the Clue board game and movie – and channeling a Mean Girls / Heathers vibe – it follows a group of teen girls trapped in the attic of a creaky old house, while a lame party goes on downstairs. Upstairs in the attic, matters take a murderish turn.
The experience: This show has a lot going for it, starting with the authentic and talented teens who clearly delight in performing it. These young stars – who are wonderfully diverse in every way – bring us with them on their murderous odyssey of identity and belonging, as they “get a clue” about who they really are, beneath the personality types they’ve hemmed themselves into. According to the event creator’s website, the performers collaborated on the creation of the piece, and it boasts an efficient use of the space, an expedient premise, and topical themes – including reputations, social media, popularity, friendships and alliances. The songs are terrific, and the lyrics and dialogue are chock full of clever touches. Mic-ing the actors would make them more audible, especially over the recorded music, but it’s worth concentrating to make sure you don’t miss anything.
Why see it: This show is dark delight that blends laugh-out-loud moments with trenchant commentary on serious topics that figure in the daily lives of today’s teens. The songs are super-catchy, and this combination of music, murder, satire and teen angst slays. – AG
Visit the show page and reserve tickets at FringeToronto.com.
Painting by Numbers
The premise: In hopes of landing a life-changing payday, Stevie steals what everyone believes is a lost Van Gogh painting. Hilarity and hijinks ensue, during which the painting’s origin and value, plus the motivations and relationships of its would-be possessors, are exposed.
The experience: Painting by Numbers is a fast-moving, fast-talking, fun – and smart – piece of theatre. It works on several levels: as a heist story, a character-driven tale of two families, and a meditation on the nature, value and cultural determination of what we call “art”. Directed by Keren Edelist, the production is powered by an exceptional cast, led by a scenery-chewing Cassandra Henry as Stevie’s capable but deeply entangled sister Leila; and playwright Judah Parris, who gives himself some of the play’s best lines as fuzzy-thinking thief Stevie; along with energetic turns by Micheal J Hill, Naomi Kaplan and Morgan Roy.
Why see it: Painting by Numbers is a story of stolen art that engrosses and entertains, then stops on a dime to steal our focus – and redirect it to considering the nature of that art. The show even closes with an opportunity to buy art! – SS
Visit the show page and reserve tickets at FringeToronto.com.
Stiff & Sons
The premise: The four-member Stiff family runs a funeral home that is teetering on the edge of bankruptcy. In a bid to keep their business afloat, they hatch a plan to increase business by a) bringing in new clients, then b) accelerating those clients’ need for funeral services.
The experience: Stiff & Sons, written by Aidan Gouveia and directed by Daniel Reale, is a meticulously plotted madcap dark comedy, in which the titular undertakers’ best laid plans spin deliciously out of control, with sidesplitting consequences. The script’s idiosyncratic characters are brilliantly realized by a truly wonderful cast. Darrin (Jack Rennie) is the grifting, rationalizing and philandering family hustler. His earnest, hapless brother (Tim Walker) runs the family business with his conniving would-be actress wife (Manon Ens-Lapointe ) and their creepy Wednesday Addams-like daughter (Izzi Nagel) . . . who happens to be joined at the hand to a sociopathic puppet. The comedy gushes from multiple sources: the cast’s abundant chemistry, the wacky cardboard set, the skilfully choreographed and often surprising physical comedy, and riotous sequences, in which Jonas Trottier plays the dizzying number of non-Stiff roles in the play.
Why see it: The premise is a little dark, but pound for pound, this is one of the funniest, most sharply performed shows you’ll see at The Fringe. Expect to laugh and laugh . . . and laugh some more. – SS
Visit the show page and reserve tickets at FringeToronto.com.
(Standing, left-to-right): Chrissie Gross, Yuvi Randhawa & Julia Pape. Photo by Shebonti Khandaker
Bus Stop
The premise: Emily Orchid and Daniela Crest are best friends who were once child stars of a detective show, On a bus ride back to Toronto, they must channel their former scripted selves, in order to solve an unscripted murder aboard the bus.
The experience: Directed and written by Helen Ho, Bus Stop features an appealing cast of young artists who lean with relish into their various Whodunnit roles – which include not two, but four would-be detectives, the victim, the over-chatty bus driver, and two other passengers. The set-up is quick, then the plot starts twisting and turning, with revelations that point the finger of blame in different directions. Along the way, the case becomes a vehicle for the characters to reconsider the familial, business and artistic relationships that have shaped them and are propelling them forward.
Why see it: Bus Stop starts as a simple, straightforward murder mystery, then – without violating genre conventions or defying our expectations – turns into something unexpected, meaningful, and even poignant. It’s an interesting ride. – SS
Visit the show page and reserve tickets at FringeToronto.com.
The Apartment
The premise: With financial support from her sister, Bonnie is living in a tiny Parkdale apartment, but she’s just a step away from being on the street. She’s struggling with mental illness, her religious past, a deep family secret, and the people around her who all believe they know best what she needs.
The experience: Directed smartly by Nicole Arends, The Apartment is a talky, gritty and unsentimental slice of life drama that explores institutional and family responses to mental illness. The story flows through a compelling, tangled and well-acted relationship dynamic, in which serial revelations driven by personal agendas circulate among the haunted Bonnie (Cathy Shilton), the nun who haunts her (Jan Boase), Bonnie’s twitchy hustler friend Toby (playwright Paul Bilodeau), her well-meaning but overbearing sister Amy (Elizabeth Friesen) and Amy’s well-meaning son Liam (Joel Haszard).
Why see it: The one-hour runtime of this engrossing, fast-talking play passes quickly. On one level, it complicates everything and resolves nothing in the lives of these characters. But the play’s exploration of mental illness – situated precisely within the precarity and prohibitive rent of today’s Toronto — make this play especially resonant. It feels important to bear witness to this small, yet significant story. – SS
Visit the show page and reserve tickets at FringeToronto.com.
UnMute
The premise: UnMute is a devised theatre production that explores the East Asian experience amid rising anti-Asian sentiments heightened by the COVID-19 pandemic. Using collective storytelling and creative movement, this anthology play highlights the challenges that a community faces when confronting racial injustice and stereotypes.
The experience: Performed by a talented young cast and directed by Felix Hao, UnMute presents distinct but interlocking stories – framed by tales of two young Asian playwrights, one of whom is being mentored by a more accomplished one. The show examines how racism permeates the everyday existence of Asians through unconscious bias, microaggressions, macroaggressions, violence and even murder. This is not a monolithic topic, so the tone shifts frequently: from sober and serious . . . to surprisingly funny . . . to plaintive . . . to haunting.
Why see it: UnMute is thoughtfully written and authentically realized in both English and Mandarin. Through sparse staging and simple props and projections, the artists show viscerally how racism operates – in classrooms, on the subway, in the theatre, just about everywhere – and the resulting effects on individuals and communities. And they’re not skimming the surface: UnMute makes you experience the boxes within boxes – and the traps within those boxes — that Asians in Canada are challenged and must contend with. The audience is left with lots to contemplate. – AG
Visit the show page and reserve tickets at FringeToronto.com.
Parth Soni, and Rahul Chawla. Photo by Diego Barranco. Editing by Gayatri Patel
Toba Tek Singh
The premise: Inspired by Saadat Hasan Manto’s short story of the same name, Toba Tek Singh is a political satire exploring identity and belonging. Set in a Lahore asylum after the 1947 Partition of Hindustan/India and Pakistan, it follows inmates’ harrowing emotional journeys, highlighting the universal yearning for home amid historic upheaval.
The experience: Presented as scenes spanning 1947 to 1950, the story is set in Lahore, India which becomes Lahore, Pakistan. The patients struggle to redefine what – and where – is their “home”. Thus, Toba Tek Singh presents the impact of seemingly-arbitrary political decisions (and resultant displacement) on the disenfranchised, vulnerable and mentally-ill citizens. By focusing on the asylum inmates – those who most lacked agency – the story casts a light on the absurdity of Partition and its broader, shattering impact on culture, family, religion and patriotism.
Why see it: Toba Tek Singh is an important story that is hauntingly staged, with compelling performances, exquisite movement sequences and lighting design. Performing the play in Hindi and Punjabi with English surtitles makes the story authentic, as well as accessible. As the daughter of immigrants from Kolkata, India who lived through Partition, I found it especially riveting and resonant. But the issues it engages and the emotions that it evokes transcend language and culture, connecting this historical event with current global politics, and highlighting the urgent plight of displaced peoples around the world. – AG
Visit the show page and reserve tickets at FringeToronto.com.
The Bluffs
The premise: Six months after her wife’s tragic death, Eleanor is making a final visit to her creaky bluff-side cottage. A storm traps her, her squatter brother-in-law, and a mysterious neighbour inside the home – along with a dark, demanding supernatural presence.
The experience: Directed by Jacquie Sirois from a smart script by Sarini Kumarasinghe, The Bluffs is a tight, taut slice of modern gothic horror, expertly punctuated by small shards of character-driven comedy. It’s an engrossing, relationship-driven slow burn – where the kindling is the characters’ unfolding backstory and emotional entanglements, which a relentless otherworldly presence fans into full-blown conflagration. The show features clever use of a minimalist set, and sharp direction – particularly of the show’s creepy climax.
Why see it: This moody, atmospheric horror story is smartly acted and creatively mounted. In 75 minutes that just fly by, it sucks you in, creeps you out, and leaves you gasping . . . and satisfied. – SS
Visit the show page and reserve tickets at FringeToronto.com.
Pretty Beast
The premise: Growing up in a dysfunctional family in Japan, Kazu Kusano dreams of escaping her unstable homelife. With a mother battling schizophrenia and an alcoholic father, she craves attention, confronts sexist stereotypes, and longs for connection. Amidst all this, Kazu discovers comedy . . . and finds her voice and creative fulfillment.
The experience: Kusano’s autobiographical show, directed by Jane Morris, is a heartrending portrait of a girl who survived the trauma of her childhood to live her dream of becoming an actor. Her mother was a former beauty queen who chainsmoked and left the care of the household to her children (whom she refused even to touch). Her father traveled for long stretches on business, introduced 7-year old Kazu to whiskey, and recounted to her the cultural distinctions of sex workers. Yet through Kusano’s sympathetic portrayal, we come to see them as complicated people who are human, flawed and . . . well, family. And we see her career take flight.
Why see it: Kusano is a charismatic storyteller and a bold voice in comedy, who can relate the trauma of her childhood while delivering laugh after laugh. It’s not easy to warm hearts while breaking them, but she holds the audience in her thrall for the entire show. She teeters on the edge of sentimentality without ever tipping over it — which is a testament to the sharpness of her writing and comic timing. In the end, you will feel changed by Pretty Beast . . . and you may want to thank Kazu with a huge hug on the way out of the theatre. – AG
Visit the show page and reserve tickets at FringeToronto.com.
1 Santosh Santosh 2 go: Tosh Finds His Groove
The premise: Mid-level tech worker Santosh Santosh AKA Tosh is living his Canadian dream… but he doesn’t have the love of a worthy woman or the approval of his Indian parents. Though he’s putting up a brave front, he needs help.
The experience: This delirious drag king show directed by improv legend Ken Hall stars Srutika Sabu as the larger-than-life Tosh. Tosh’s super-confident, swaggering dance moves mask an insecurity that craves the audience’s approval, applause, and even aid. Among other highlights, Tosh takes us inside his hilarious success chart (on which he’s been hopelessly lapped by his neurosurgeon sisters) and goes full clown mode for an unforgettable hot sauce encounter. Half of the show’s hilarity comes from Mahdi Mozafari, the narrator who delivers a running voiceover peppered with acerbic asides, and bounds on and off the stage as a black-clad, jolly-scary agitator manifesting Tosh’s demons.
Why see it: This is a raucous, uproarious, one-of-a-kind theatrical experience built atop the recognizable reality of feeling that you just don’t measure up to others’ expectations. The audience interaction is priceless, and it’s hard not to cheer as the hapless, sweetly-realized Tosh finds his elusive groove. – SS
Visit the show page and reserve tickets at FringeToronto.com.
Aala Tamasha Aala
The premise: In this Tamasha-style performance, we follow Abhay, a former aspiring lavni dancer from India, now living in Toronto. Abhay struggles with the monotony of his unfulfilling job and yearns for the familiar beats of his homeland.
The experience: “Tamasha” is a central conceit in this packed three-hander performed by Tushar Dalvi, Neha Poduval (who also wrote the work) and Amlan Das. In a literal sense, it is a performance, often involving dance, usually referring to a traditional Marathi folk art performed by local or traveling theatre groups in Maharashtra. Metaphorically, tamasha refers to confusion, disturbance or rigamarole. Aala Tamasha Aala incorporates lavani dance, but, here, we come to understand it as both a metaphor and a symptom of Abhay’s struggles as an only son bearing the weight of the expectations and ambitions of his family in India. The rhythmic foot work stirs his memories and heightens his loneliness, homesickness, and hopelessness in his forced pursuit of “Canadian experience”.
Why see it: The play, tautly directed by Himanshu Sitlani through to its final gut-punch ending, is ingeniously constructed and movingly performed by the trio. While filled with laugh-out-loud moments (the Fringe guide lists it as a comedy), Aala Tamasha Aala explores urgent topics like the value of art, career aspirations, familial obligations, gender expectations, and the impact of cultural and societal pressures, with great sensitivity and considerable depths to fathom. Anyone with an experience of immigration, especially from the South Asian diaspora, will be able to relate to its layered themes, which linger in the mind long afterwards. The story affected me deeply, and I was gripped from start to finish. – AG
Visit the show page and reserve tickets at FringeToronto.com.
Scenes from an Italian Restaurant
The premise: Scenes from an Italian Restaurant follows a young musician sidelined by the dark underbelly of fame. Set around a piano in an old small-town Italian restaurant, this jukebox musical-style show combines jazz dance, vocals, and dialogue, and features the hits of Billy Joel and Elton John.
The experience: The highlights of the show are the lively dance numbers performed by a diverse and energetic cast of rising talents. There’s just enough story to connect Joel and John’s well-known chart-toppers without getting in the way of the dance – which is the indisputable star of the show.
Why see it: If you are a fan of the Billy Joel and Elton John songbooks, Scenes from an Italian Restaurant will leave you happy, tapping along with the iconic melodies, and humming on your way out of the theatre. And if you’re a fan of dance, the polished choreographic sequences are arresting, energetic and fun. The performers are obviously having a fantastic time, and their affection for their artform and the source material is infectious. – AG
Visit the show page and reserve tickets at FringeToronto.com.
Barry Potter and the Magic of Wizardry
The premise: That other more famous Potter wizard you know so much about is just a fictional character. But Barry Potter is the real Muggle deal, and he’s here – garbed in his robes and armed with his wand – to blow your mind with some amazing feats of magic.
The experience: Barry (Tim Motley) is a twinkle-eyed, soft-spoken jester who summons an impressive array of Hogwarts arcana and storytelling in service of his impressive Potter-adjacent tricks, which involve a snitch, an owl, a dark mark, and various envelopes, cards and coins. The show involves extensive audience participation – and highlights of the fun include his exhortations of the jaded, laid-back Toronto audience, and his playful engagement and gentle ribbing of the various assistants drafted to help with his tricks.
Why see it: This is impressive, head-scratching magic! You’ll wonder how on earth “Barry” accomplishes several of these tricks . . . but you’ll be laughing so much that you won’t worry. This charming show is fantastic fun for the whole family, particularly Potter partisans! – SS
Visit the show page and reserve tickets at FringeToronto.com.
Crime After Crime (After Crime)
The premise: Award-winning troupe Sex T-Rex mount an action-packed physical comedy set in Crime City USA. It tells the epic, sidesplitting story of one family’s rise, and fall, and rise again across three distinct and fully realized “Crime Periods” – Film Noir in the 50s, Heist in the 70s, and Buddy Cop in the 90s.
The Experience: This insanely funny show is 3 things at once: 1) The meticulously plotted generational story of a bizarro crime family with a hilarious genetic marker — which gives the Sex T-Rex principals wacky characters aplenty to realize; 2) A hilarious, gag-a-minute sendup of the genre conventions, culture and music of three time periods (blink and you’ll miss the deep cuts), and 3) A virtuoso clinic in comedic choreography that is anchored by hilarious practical effects and physical comedy. You won’t believe how the troupe bring rain, fire escapes, bridges, lasers and fighter jets to life.
Why see it: To laugh – in rapid-fire succession, at staggeringly different sources and types of humour –until you’re almost sick I still don’t know how Sex-T-Rex managed to pack so many laughs into one hour-long show! – SS
Visit the show page and reserve tickets at FringeToronto.com.
Boy Boy and the Magic Drum
The premise: We’re in Trinidad & Tobago, and the annual Peace Parade has been cancelled. Unexpectedly, it’s up to the self-doubting Boy Boy to save it with his steel pan drum.
The Experience: This is a vibrant, soca-inspired musical based on the children’s book Boy Boy and the Magic Drum by Machel Montano. Created and directed by Jewelle Blackman and Chantal Forde, it features a colourfully-clad, diverse powerhouse of a ten-person cast. Sweet-singing, sometimes sly and always bursting with personality, they slip in and out of their roles in the story and their meta-roles as actors preparing this show.
Why see it: This simple, heartwarming and family-friendly story transports us to Trinidad & Tobago, teaches us a little about its history and culture, and delivers a universal message of togetherness. The show’s charismatic cast and the infectious, island-inspired songs they sing will literally bring you to your feet and send you singing into the street. – SS
Visit the show page and reserve tickets at FringeToronto.com.
You Lost Me
The premise: 7-person troupe Solo Act performs a sketch show that revels in its silly, smiling focus on “the stupid sh**” we all experience in our lives.
The experience: This is a very tight, very funny and (outside of a few swear words) non-vulgar sketch show, which is bookended by winning full-cast musical numbers. Directed by David Pitre, the show’s sketches – which focus on small stuff like bodily functions, old rock songs, shower installation and the KIA Soul – delight by playfully subverting our expectations.
Why see it: To laugh! This is a polished, well-constructed and consistently entertaining show by an impressively talented cast of fresh faces. And for The Burger Gurgler (seriously – I loved this sketch)! – SS
Visit the show page and reserve tickets at FringeToronto.com.
Rooted: A Musical Poem
The premise: A lonely young girl and a sturdy Central Park tree form a relationship. As the girl grows to adulthood, their connection provides solace, support, sorrow – and ultimately wisdom.
The Experience: Jewelle Blackman’s joyous musical experience fills the Tarragon Solo Room space to bursting – with 9 amazing diverse, multi-generational actors backed by on-stage musicians. They deliver toe-tapping music, soaring vocal performances, sly asides that ensure it never gets sappy — and most of all, heart and soul.
Why see it: You will be moved and inspired by this simple, powerful and immersive story, directed by Saccha Dennis, with its hummable, infectious songs and kinetic choreography, which keeps the cast in constant and (amazingly) collision-free motion across every inch of the intimate space. – SS
Visit the show page and reserve tickets at FringeToronto.com.
Escape from Toronto
The premise: It’s 1997, the future. Toronto is now a prison. Snake Plisskin (the eyepatch-wearing action hero played by Kurt Russell in the hoary 1980s action movies) must enter and then escape from Toronto in order to clear their record and maybe save the world.
The Experience: This is a smart and deeply silly low-budget action movie on stage. It gleefully lays waste to the genre’s hoary tropes and its underlying racism, mysogyny and absurdity. The action is brought to hilarious life with chairs, puppets, ribbons and – get ready for it – acetate sheets and overhead projector technology straight from your 1970s elementary school classroom.
Why see it: Two reasons: 1) the overhead projector special effects – fantastic and so much fun. 2) Two incredibly hard-working actors — Tamlynn Bryson as the mysoginistic Plisskin and Rod Peter Jr. as their comically more enlightened sidekick – who, by overcommitting to their absurd roles, overdeliver on the laughs. – SS
Visit the show page and reserve tickets at FringeToronto.com.
Patty Picker
The premise: 16-year-old Patty has a secret. She picks her nose compulsively . . . and when “piece of crap Preston” exposes her secret, her ambitions and relationships are ruined. She wants revenge above all.
The Experience: This is a high-tempo, sweetly funny Desgrassi-lite dramedy realized by the impossibly plucky, sometimes pensive Kaitlin Race as Patty, and the chameleon-like Anne van Leeuwen, who morphs marvelously into Patty’s father, girlfriend, and bully.
Why see it: This show, sharply directed by Cass Van Wyck, is so clever, funny and multi-layered that it would enthrall the most jaded high school crowd. It delivers – sweetly, without ever becoming cloying – a timely and authentic message about bullying, tolerance and acceptance. Thanks to the performers’ impeccable authenticity and timing, you will find yourself immersed fully in all the teen drama and foibles . . . and then with so much to discuss after the show. – SS
Visit the show page and reserve tickets at FringeToronto.com.
© Scott Sneddon and Arpita Ghosal, SesayArts Magazine, 2024
