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A Comedy Show at the End of the World (A)

You can always count on Jon Blair and he’s back again with one of his best shows ever. Playing a former TV star determinedly carrying on a career in the arts despite living in a post-apocalyptic wasteland, Blair beautifully blends his signature solo sketch style with political and artistic commentary that’s heartfelt and clear-eyed. More presets and expansion of pre-recorded portions could help tighten some of the transitions but the execution in-scene is always perfectly precise, particularly in a theatrical solo fight that sees him working in perfect concert with the sound board to great effect. Through layers of metatheatricality, Blair both delivers and questions comedy, allowing analysis and self awareness to ebb and flow, fluctuating the perspective and avoiding congratulatory conclusion. It’s wacky, thoughtful, moving, and truthful, as good a case as any that we still need comedy even at the end of the world.

 

A Moment for Frayed Nerves (B+)

Composer Kevin Wong hits far above standard Fringe weight with his creative but accessible numbers for this well-produced but confusing new musical. Director Alysa Pires’ choreography is a festival standout and her use of space is great, highlighting the ensemble’s strong movement skills (though the vocals aren’t nearly as consistent). But the book is a mess. It’s as if you can see the brainstorm full of big ideas and funny bits but no cohesive concept ever emerges. I’m all here for a take home message about the redemptive power of potato but the fundamental premise of this show needs significantly more thought.

 

Galen’s Grocery: The Musical (B+)

The cleverness and specificity of premise here is what makes this original musical stand out. Loblaws CEO Galen “Easton” desperately wants the country to love him (if only to escape the scope of an assassin who’s been taking out CEOs). Rather than lower the price of bread or pay his workers a little bit more, his strategy is to create a Kim’s Convenience-style sitcom to humanize him. What follows is a sendup of everything from capitalism as a concept to Loblaws’ second tier brand NoName to Simu Liu’s pre-Kims accounting degree and post-Kims Marvel career. The songs are derivative but catchy and the jokes very goofy but there’s something in there for anyone. Well, at least for Canadians; for sure no one else will get any of it.

 

The Wounds of Love and Other Gifts (B)

This big-hearted new musical written and composed by the legendary Bruce Dow tells a sweet allegorical tale of a swallow and a statue and the small ways they try to better the world around them, no matter the cost to themselves. A little narration drives the story forward but the piece is mostly the marriage of classical voice and modern dance as Kendra Dyck and Erinn Bekkers share the central role of the swallow. The strong cast aptly tackles Dow’s complex and pretty score and Bekkers’ physical performance is a highlight. The frame that brings the audience in and out of the story is a little cheesy but it’s also unnecessary as the story itself is plenty compelling, it’s hard to believe anyone in the audience needs an explanation as to why it’s being told.

 

Mary, Mary. (B-)

Thoughtful but not particularly innovative, competent but still in need of polish, this straightforward two hander aims to flesh out the stories of the bible’s most iconic yet underwritten women- Marys Magdalene and “Mother of God”. A little levity would do wonders for this self-serious play that has high-minded and worthy goals but feels a bit like a lecture.

 

Three Descending Notes (B-)

Lots of Fringe shows are in “unconventional venues” this year but few are able to capitalize on that independence quite like this wild new musical. Because they don’t have to strike everything completely seconds after every performance like most Fringe shows, this team is able to feature an elaborate tech setup that turns ostensibly a solo show into a sprawling epic featuring a mermaid, a pirate, and a singing bear. It’s a creative theatrical experience but the material doesn’t quite live up to its interesting environment.