Gwynne Phillips and Briana Templeton (AKA. The Templeton Philharmonic) are no strangers to the Toronto Fringe scene, opening with a sold out show, all—as the title suggests—About Time.
The audience begins the journey being led by a highly intellectual yet sarcastic British narrator, who introduces the concept of the show. Within 60 minutes, you get to see a ‘chronological ride through history with stops in different time periods.’
Continue reading About Time (The Templeton Philharmonic) 2017 Toronto Fringe Review →
The Old Wolf and the Sacred Trout, presented by Arbez Drama Projects playing at the Toronto Fringe Festival, is a movement/dance piece that follows a wolfpack in the woods. The performers in the piece had such flawless beauty; I couldn’t even imagine moving my body in that way. With very few vocal notes, aside from a few sentences that weren’t in English, the piece was a stringent display of movement.
Continue reading The Old Wolf and the Sacred Trout (Arbez Drama Projects) 2017 Toronto Fringe Review →
Chad Mallett, presented by Toronto Improvised Theatre, is playing at the Toronto Fringe Festival.
Matt Folliott and Ted Hallett are a dynamic duo if I ever saw one. From the moment the lights dimmed, and the obscure/not-meant-to-be dreary Fringe announcement ended, they turned the energy in the room right up by jumping out on stage, followed by a sarcastic comment and introduction from their stage manager.
Continue reading Chad Mallett 2017 (Toronto Improvised Company) Toronto Fringe Review →
Open Rescue: The Play presented by 3D Theatre at the Toronto Fringe Festival opens up an important dialogue about the torture of animal testing through a series of three separate interviews. The play is written from real life interviews, also known as Research – Informed Theatre, making each piece super visceral as a script.
Continue reading Open Rescue: The Play (3D Theatre) 2017 Toronto Fringe Review →
The Moaning Yoni, presented by Joylyn Secunda and playing at the Toronto Fringe Festival, follows the story of Zoë and her anthropomorphic ‘Yoni,’ which Secunda brilliantly characterizes as a brash, Jewish, loud-mouth vagina. Nicely played with her pink/red billowing costume to really stick the landing.
Continue reading The Moaning Yoni (Joylyn Secunda) 2017 Toronto Fringe Review →