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Neuro-DIVE! (A-)

Every performance of this solo show starring a talking dopamine receptor is listed as a relaxed performance. That means the lights are slightly up, audience members can come and go, and the vibe is generally just pretty chill- no strict theatre decorum here. This kind of show is not only inclusive and accessible but it’s a great way for kids to get used to going to the theatre. It makes sense, for a show about neurodiversity, to be relaxed for the full run but it does ask a lot of the performer. Carlyn Rhamey, outfitted in a very silly blue jumpsuit, bounding around a set of shadow puppets and parachutes, not only handles but facilitates the relaxed performance with more skill and grace than I’ve ever seen. A couple of very keen kids took over the show, peppering “Dina the Dopamine Receptor” with questions, interrupting with anecdotes, and even prompting a dance-off. Rhamey rolled with it all, adapting her already interactive show to match the energy she was getting without ever letting it throw her too far off her timing or dramaturgical path. By remaining open, inquisitive, and quick on her feet, Rhamey gives a masterclass in relaxed performance not just as an accessibility measure but as an immersive, thematic art unto itself.

 

Pedro the Penguin (B+)

In this original kids show, Pedro is a penguin who longs to fly, and really truly believes that he can. What follows is a sprawling adventure that sees him rejected from the circus before finding his way to the North Pole to compete for a spot on Santa’s sleigh-pulling team. Philip Diamond’s script is swift and clever, packing in enough plot points to keep the action moving, and never dwelling in cheesy platitudes. Diamond is also a highlight in the strong ensemble, striking a great balance as Rudolph’s villainous nepobaby- so mean but never past the point of funny. Jaiden French is a delight in the title role and it’s always a thrill to see Tim Walker, here playing a washed up former flier who Pedro coaxes into coaching him.

 

The Everlasting Friendship of Billy & Bink (B)

Will Parry’s lively two-hander co-starring a puppet named Billy has a lovely tone. Parry is a compelling stage presence and the puppet design by Adam Francis Proulx is fantastic. But, despite coming in drastically under time, the show still drags a bit. There’s not enough story here and the lack of song density makes the musical element feel random.

 

Gerry’s Imaginarium (B-)

This charming story about finding inspiration could use a bit more world building and style consistency- two performers are mimes, two are musician/narrators, though it’s never made clear why or how they fit into each others’ world. Relying on audience interaction can be hit or miss so a more packed plot and better song density would go a long way. The final scenes shine, though, as inspiration hits Gerry and the stage begins to reflect that revelation. And the title song is a fantastic earworm.

 

Clowns Reading Shakespeare (C)

Clowns are, by definition, messy but I wanted a bit more clarity and precision physical work from this sweet show about clowns auditioning for a community Shakespeare show. A really strong dramaturgical structure and a more self-serious performance from “the director” (aka the lone non-clown in the cast) has the potential to create really fun dissonance as the clowns run amok playing with Shakespeare’s serious tragedies. As is, what’s actually happening and what the clowns’ goals are remains unclear, which means that their antics have no track to veer off of.

 

NOTE:

The Final KidsFest show Old-Fashioned & New-Fashioned was not playing on the day we reviewed the rest. We will update this page once we’ve seen it on July 9.