Eight shows run the gambit of emotion
The Guelph Fringe Festival brought eight shows during its run from Thurs, Oct. 13 to Sun, Oct. 16, 2016. Local theatre excels in its ability to bring people together to watch stories deemed important by fellow residents.
This year’s festival was comprised of Bound to the Rocks by Laura Katherine Hayes, Cul-de-Sac by Daniel MacIvor, Dead Cat Bounce by Catherine Frid, The Elocutioner by Jay Wilson, The Emergency Monologues by Morgan Jones Phillips, The Good Thief by Conor McPherson, Life as a Pomegranate by Dawna Wightman, and SAOR by Carlyn Rhamey.
The Ontarion had the opportunity to attend four festival shows this year.
Cul-De-Sac by Daniel MacIvor
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MacIvor’s Cul-de-Sac was directed by Will Britton and performed by Anne-Marie Bergman at Heritage Hall. The play is a one-man show, which was performed by Bergman as a one-woman show for the first time.
Bergman’s ability to perform this piece, in itself, was a feat to behold. The text is verbose—jumping between the characters living on the cul-de-sac as they recount details leading up to the night that their neighbour, Leonard, was murdered. There are no long pauses, no time off stage, and no time for a sip of water.
“Still, watching Bergman switch from one character to the next … was enthralling.”
While this made it clear that Bergman is a talented and highly disciplined actor, it was also difficult to watch as an audience member. Generally, you get some time to digest what you’ve seen and heard, so to watch something so intense for so long was challenging no matter how much of a performance-goer you are.
The lighting design also flipped between very bright and very dark, which made it feel like the audience was under an interrogation light. Although this might have been an excellent choice, had the neighbours been suspected for Leonard’s murder, the stark contrasts actually ended up drawing one out of the performance rather than further into it.
Still, watching Bergman switch from one character to the next in not only her vocalization but in her entire embodiment was enthralling.
Dead Cat Bounce by Catherine Frid
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Frid’s Dead Cat Bounce was directed by Joe Brenner and performed by Tom Bolton, Julia Haynes, and Michael Sutherland at the Red Papaya.
A story about The Mayor (a homeless man), Amara (a singer), and Thomas (a stock trader), Dead Cat Bounce is a comedy with a little romance and one big hole: it’s unclear why Amara has befriended The Mayor to the degree that she has.
Bolton’s portrayal of The Mayor was perhaps the highlight of the show. He was incredibly believable, funny, and likable through and through.
“Bolton’s portrayal of The Mayor was perhaps the highlight of the show.”
Haynes was cast well in the role of Amara and had good chemistry with The Mayor. Even if the reason for their relationship was unclear, The Mayor seemed to be a sort of father figure to Amara.
The role of Thomas, on the other hand, was not cast particularly well. He wasn’t believable as a stock trader, perhaps unintentionally explaining why both The Mayor and Amara were quick to think he was an exterminator. Thomas’s ill-fitting suit seemed implausible given his Porsche and offer to buy The Mayor his very own apartment. While Fringe productions are, of course, low budget, the costume in this case was distracting.
The choice to perform in the Red Papaya was also unclear given that the majority of the play took place on a street corner and the spaces in the restaurant were not used as those spaces in the play. To explain, if the characters were waiting at “the bar” they weren’t at the bar in the restaurant. In addition, the audience had ordered food and drinks so the waitresses coming and going on “the street corner” was not only distracting but didn’t make sense within the world of the play.
Life as a Pomegranate by Dawna Wightman
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Written and performed by Wightman, Life as a Pomegranate was performed at Silence in front of an intimate audience. Wightman is an incredibly engaging, dynamic, intense performer who fires on all cylinders and then some.
With a minimal set of a chair and a small ladder, Wightman performed a whirlwind of colourful characters. She wore a costume that had several large pockets, which concealed a treasure trove of tiny props—things she used to tell the story of Rosie Fudge, a sweet and quirky woman who must learn to stand up for herself and follow her dream.
“But who you do end up cheering for is Wightman—because she’s so talented it’s practically otherworldly.”
This one-woman show had such quick transitions between characters that it was unclear whether Wightman was portraying several characters or one character with multiple personalities. While that might describe most one-woman shows, Wightman’s high energy, quick pacing, and extreme shifts in physicality from one character to the next set her apart.
At times, her strong characterizations made it challenging to follow the story itself because there was not enough of a gap to immediately make sense of what was happening and to really empathize with and cheer for Rosie Fudge. But who you do end up cheering for is Wightman—because she’s so talented it’s practically otherworldly.
SAOR by Carlyn Rhamey
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With an audience of maybe 10 people—and that’s including the door, crew, and press—on a Sunday night at 10 p.m. at Heritage Hall, Rhamey performed her one-woman show SAOR. She not only woke up the sleepy crowd, but filled the room with her infectious energy and had everyone laughing truly heartfelt laughter.
Rhamey is beyond charming and a total goofball that is so full of grace that no matter who you are, you’ll be entertained by her story of love, travel, and learning to be free. Her act-outs are reminiscent of a kid before they care what anyone else thinks, unafraid to look silly and having as much fun as possible.
“Rhamey is beyond charming and a total goofball that is so full of grace that no matter who you are, you’ll be entertained by her story…”
The performance was also especially timely given her focus on ADHD and the fact that October is ADHD awareness month.
Out of the four shows reviewed here, SAOR was perhaps the most relevant show for university students and twenty-somethings. Rhamey talks about traveling after graduation, falling in love, breaking up, and not knowing what happens next but knowing that she is pursuing the things that make her feel happy and free.