In fact, I saw Boyfriends on Wednesday evening, midway though its successful run at the Fringe. It appears that the ghosts in the machine stole my review, and I’m now rewriting it on Monday, with the show having mellowed a few days in my head. As with scotch and men, I think time has improved my enjoyment of Boyfriends as well.
As a theatre-loving parent of a toddler, I am so pleased – just on principle – with the existence of FringeKIDS. Even though children’s theatre can be hit-or-miss, just the experience of going has a lot to offer children. The Adventures of Mazel and Schlimazel, though, provided a good deal more.
Perched on a barstool in the last row of The Central, sweating freely with the other 60-odd souls packed into the small space, I remember thinking to myself “Man, I really hope this production of La Duchesse de Langeais is worth it.” And oh, it was.
Lest avid readers of Mooney on Theatre begin to feel a concern that I don’t like anything, let me be clear: I unreservedly adored Virginia Aldrige, BSc, produced by quoi quoi quoi – a name you may remember from last year’s Fringe smash Raven For A Lark. It’s charming, well-told story of a young woman who follows her dream – sort of – and takes off for Africa.
Greeted by the most exceptional set I have ever seen at a Fringe show, I settled into a seat in a scant house at George Ignatieff Theatre for the performance of In The Trenches and marvelled. The trench runs across the stage cutting it into “our side,” “their side” – also known as the audience – and No-Man’s Land.
As you enter the theatre, the trench telegraphs that this is serious theatre; that time, effort and money has been put into its development. In the eponymous trench are nine soldiers, including Peter Sawyer, who also wrote and directed the play. It’s fitting he directed it – he plays Captain, and throughout the play tells the others what to do. To be precise, he plays the first, second and third Captain, since this character continually meets his problematic end.