The Toronto Fringe Festival provides a venue for writers and directors to tell stories that are often unheard; ones that push boundaries and thrive with the lack of constraints. Unfortunately, Pencil Kit Productions’ Perfect Couples didn’t feel like an example of one of those stories.
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Iran Saye Theatre‘s The Door had its premiere at the Toronto Fringe Festival. The Door is definitely an interesting endeavour, and I appreciate the story it was trying to tell. However, I found that its execution didn’t necessarily work.
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Grande Midlife Mocha Latte, produced by 1978 Bad Ass Bitches, is a one-woman show that still manages to develop a wide range of characters with rich backstories. Watching it, I felt the wonderful magic that occurs when great writing and superb performance come together. If you are interested in seeing any plays at the Toronto Fringe Festival, I would place this gem high on your list.
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What does it mean to be in your 20s in the 2010s? Writer Rose Napoli offers an earnest response to this question at the Toronto Fringe Festival with Theatre Rhea and Neoteny Theatre‘s joint production of Ten Creative Ways to Dispose of Your Cremains. Napoli stars as Lucy alongside Jakob Ehman’s Bennett in this story of two ambitious 20-somethings who meet at a party and later spend an evening together, having intimate conversations and eating popsicles.
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Pulse Theatre‘s production of A Flea in Her Ear, playing at the Toronto Fringe Festival, opens with a dominatrix cracking a whip on a submissive man dressed as a tiger. This is a strange image to experience at the beginning of a production, but I later realized that A Flea in Her Ear wears its strangeness as a badge of honour. The play combines overt sexuality, snazzy 70s fashion, and absurdist comedy to create a production that is colourful, energetic, and undeniably sexy.
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