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

 

Patty Picker (A)

Written by Evan Bawtinheimer, One For One Collective’s production brings us the story of Patty, a teenage girl who gets bullied and ostracized when the school learns a shameful secret. Bawtinheimer’s story examines a prevalent theme in teenage maturation without veering into the overly didactic, while Cass Van Wyck’s crisp direction adds dimension to the storytelling with dramatic movement and moments of breaking the fourth wall. Kaitlin Race brings levity and depth to Patty’s character, while Anne van Leeuwen is alternately moving and hilarious in her roles from Patty’s father to Patty’s girlfriend to Patty’s bully (signalled with only a few simple props along with Leeuwen’s on point acting). Whether you are an adolescent or an adult, we all have something to glean from this show.

 

Tonight! a clown who wanted to be loved? (B+)

Andrea Borello offers a funny and poignant story of a clown searching for love. With almost no dialogue, Borello carries the show impressively well, wandering into the audience to examine them and give his expert ‘medical’ review, and bringing several audience members onto the stage for improvised activities. Most of audience was engaged and delighted the entire time, game for heading up on stage, but a warning that this show is mainly for those keen to participate. Despite Borello’s charming stage presence, some of the gags were too drawn out or repetitive (I myself would have had a better time had I not been asked to hold a tape measure for the better part of 40 minutes). Despite my less than enthusiastic mood, even I was moved by the end of the show.

 

The Apartment (B-)

Paul Bilodeau’s play brings us the story of Bonnie, an aging woman trying to hold on to her apartment (and her autonomy) despite her family’s increasing anxiety about her safety and well-being. Bilodeau’s script, which won a TMU award in 2022 for Best New Work, illustrates the lack of infrastructure for those aging and struggling with mental health, offset by comedy arising from the contrast between characters with clashing personalities and agendas. The production is well-cast but under-rehearsed, as cues and lines were dropped consistently throughout the show, distracting from the heavier emotional resonance of the script. Better direction might have used the looming nun in the background of the show (and Bonnie’s mind) more creatively, and allowed for the time and space for tension to build towards the climax which felt rushed.

 

Great Felt Greatness (C+)

This Telling Stars Theatre production tries to answer the question: ‘what would the universe be like if it were created by a neurodivergent kid?’ The story not only shows Creo, a neurodivergent creator, but also the various stars and planets that result from their creation. The design is fantastic, with colourful costumes and lighting that are a delight to watch, and the storytelling incorporates a lot of interesting and entertaining physical movement. While the actors were enthusiastic and their energy compelling, the story itself is hard to follow, especially towards the end as actors are swallowing lines.

 

UnMute (C+)

Limbus Work Collective’s show about the complexities of being Asian in Canada is comprised of a series of vignettes: one about a couple of students fighting over the position in a production, another depicts a woman in therapy, and another depicts a complex dynamic between a seasoned playwright and her student. Heartfelt and edifying, this show illustrates the many binds of the Asian experience, some of which were unfamiliar and shocking to me. As a whole, the production lacks cohesion and polish, and some of the scenes go on a bit long detracting from the power of the overall message.

 

Saskatchewan: An Aspirational Polyamorous Adventure (C)

Written by Justin Hay, this play introduces us to a polyamorous trio who has just relocated from Toronto to a farm in rural Saskatchewan. When Simon, the scatterbrained extroverted one of the group invites over some older, more conservative neighbours, they have to decide how much of their lives to reveal. Some of the initial scene-setting is hokey, but peppered with cute jokes and quirky details of their various characters and relationships. The acting overall is decent, but in the second half the script nosedives into some strong After School Special vibes, with a forced resolution that glosses over the real kinds of conflict often faced by queer culture. As flagged in the title, this story aspires to greatness but doesn’t quite deliver.