Click Here to read all our reviews from Toronto Fringe 2024. 

 

Desperate Measures (A)

Cameron Kneteman and Hilary Wirachowsky anchor this charming but thoughtful comedy about financial desperation with charisma and chemistry. Rachel Moore & Catherine Teichman’s script is funny but not too goofy and rooted at all turns in believable human behaviour. A fresh and well-executed take on modern life, relationships, and how we see ourselves (with bonus points for a few bars of Kneteman’s stunning singing).

 

The Delightful Chaos of Mistila and the Motlies (B)

A zany devised allegory about our dying society, this show could use sharpening as the plot points struggle to come together and the cast sometimes appears a little lost in the tricky mix of genres and forms. But what a delight to see the incomparable Kat Letwin again, flipping skilfully between a broad poppet character (aided by a terrific mask made by costar Teodoro Dragonieri) and narrating the show as herself with inserted observational comedy. Letwin is worth the ticket price to anything she ever does.

 

Moe: A Rap Opera (B-)

The ambition level of this original rap musical about baseball player/spy Moe Berg is what floats it to a higher grade. Though there are articulation and speed issues when it comes to the actual rapping, and the staging is consistently awkward, it’s impressive to watch the teenaged cast navigate the sheer amount, and complexity, of content and put themselves out there with such a bold undertaking. I’m looking forward to seeing where creator Cyrus Sarfaty takes this huge project from here.

 

Before We Go (B-)

It’s difficult to review an improv show because it’s very possible the comedy will be sharper, the audience suggestions a little more inspiring, the guest stars a little starrier at another performance. The one I saw was fairly lackluster with throughlines that struggled to connect and recurring gags that never quite landed. I like the premise, though- the focus on small human moments amidst a big overwhelming moment. Director Alec Toller sits stage left throughout the show DJ-ing the end of the world and gently guiding the action. I longed for a little more interference from him to add structure and an editorial eye as the action got unwieldy. I didn’t love Before We Go but I’m very excited to see longtime favourite Toller back on the scene.

 

Daniel in Love (For One Night Only)! (C+)

This self-conscious solo show begins with a fake-out stand-up routine representing the kind of comedian Daniel Tompkins is supposedly expected to be- loud, obnoxious, mean. He then settles into his real persona to tell a few stories about his life, his love life, and his career. Unlikeable though the unfunny stand-up comedian persona is, he’s an interesting hook in an otherwise fairly conventional show and could be wielded to better effect to create more shape and contrast throughout the piece.

 

Get A Clue (C+)

Another teen show made by actual teens, Get a Clue is a musical murder mystery that should be brimming with energy. But even though the not-bad book and songs are exactly the right difficulty and tone for a young cast, the performers seem disconnected from the text as though too focused on hitting their marks to remember to have any fun.

 

Death of a Starman (C)

This wild solo show about a grifter astrologer is zany to the point of unfocused, rendering it hard to follow. Zaid Bustami’s total commitment is engaging and some of their character work is fun but the story gets buried in the chaos of constant transition.