"There was something fierce and knowing about the love that grew between us, something clear and absolute and deep, and I knew, very early on, that I would love this person for the rest of my life. I hadn't known it was possible to feel conviction in love. My love for her felt thorough, pure, unassailable."
This post originally appeared on Raise the Hammer. Playwright: Aidan Tozer and Dylan Stavenjord Director: Aidan Tozer and Dylan Stavenjord Cast: Aidan Tozer, Dylan Stavenjord, Hilary Wirachowsky, Soroush Toloue, Jennah Foster-Catlack, Damian Murphy, Marienne Castro, Kayla Vanderlip, Richard Mojica Warnings: Mature Content, Strong Language, Gun Shots Show Type: Drama Audience: Mature Running Time: 90 minutes
"You should have taken the money, old man," says one of the two Edwards who make up Edward, Edward, and Associates, a pair of gangsters who kill Abigail Brown's father and sisters in the middle of the night. Their plan to seize the family's home and land doesn't go as planned when Abigail, just a child, manages to escape the senseless crime.
In the years that follow, the Browns' home becomes known simply as The Abigail, a tribute to the little girl who got away. The home is blindingly beautiful, but evil lurks inside, and all who live there are in various ways touched by it. The landmark home becomes a historic hotel and later a brothel. The audience doesn't know it right away, but one of its inhabitants is a grown-up Abigail Brown looking to reclaim the house that was stolen from her family.
The Abigail spans many decades, beginning with gangsters and ending with hippies who adopt the Abigail as their own. Filled with many twists and turns. The Abigail is epic; possibly too epic for a small Fringe Festival stage, but you can't help but applaud the young cast for embarking on such a lofty production. Despite it's long run-time (90 minutes), The Abigail uses both humour and drama to keep its audience engaged.
Overall, The Abigail is an amusing trip through time, but often, it's unnecessarily profane. Baby-faced actors employ slurs that may have once been commonplace, but aren't appropriate today. This production employs every gender stereotype possible, but in the playwrights' defense, they're not dealing with decades that were kind to women.
The Abigail explores many heavy themes, among them violence and greed, but in the end, it's love that triumphs. This ambitious journey is one worth taking.
It takes a lot of courage to get up on a stage without the security blanket of any props or fellow cast members. With the exception of a sombrero, this is exactly what Toronto-based stand-up comedian Magdalena BB does in her one-person show, Death and Dating, which takes audience members on her journey of a breakup, dating, and recovery.
Beginning with a gritty version of "You're So Vain," Death and Dating is classed as a musical, but be warned. This isn't The Sound of Music or Chicago. Between the screeches of intentionally bad karaoke versions of pop songs from the 1990s, Magdalena recounts her experiences as a newly single thirty-something.
Death and Dating explores similar themes as another Hamilton Fringe Festival play, ONEymoon, but it's a much darker journey. There's a lot of yelling and a lot of anger. Quite frankly, Death and Dating can be grating. This play won't be for everyone.
In Death and Dating, Magdalena BB takes on multiple roles, which prove confusing, mostly the result of poor transitions and awkward timing. However, this is Magdalena BB's first one-person show, so with practice there's room for growth.
In the play's final moments, Magdalena BB finally asks herself the question she needed to ask all along. She asks herself how she's going to pick up the pieces and move on. We've all been there.
Death and Dating may not be polished, but it's relatable for every one of us who has ever suffered a broken heart and has had to pick ourselves up off the floor.
Playwright: Christel Bartelse Director: Paul Hutcheson Cast: Christel Bartelse Show Type: Comedy Audience: General, Mature Running Time: 60 Minutes
Some performers just have it. You know, that perfect mix of confidence, charisma, and magnetism that is never obnoxious? Some performers can command a stage from the moment they step onto it, keeping audiences engaged until the very end through impeccable timing and laugh-out-loud humour. Christel Bartelse is one of those performers, and her one-person play, ONEymoon, is a must-see at Hamilton Fringe.
Set against a soundtrack of sickly sweet pop songs, ONEymoon is, simply put, the story of a woman, Caroline Bierman, who marries herself after being dumped on the eve of her wedding. Not only does she marry herself, but she also takes herself on her already-paid-for honeymoon, buys a house, and remains (mostly) faithful to herself. Caroline is quirky and likeable, despite her foolishness, and among all things, she's thoroughly entertaining.
Bartelse relies heavily on physical comedy, complete with a tap-dancing routine. Her chameleon-like abilities allow her to seamlessly transform into additional characters during flashbacks with ease. Among them are Caroline's overbearing mother and a bad first date she found while "man-shopping" online. Bartelse's boundless energy is what makes ONEymoon shine.
A word of warning for the awkwardly shy introverts among us: Stick to the back of the theatre. Bartelse has a habit of plucking members of the audience to do everything from officiate her nuptials to apply her sunscreen, which makes for awkwardly hilarious comedy that the audience loved.
Next up for Christel Bartelse is the Edinburgh Fringe Festival where undoubtedly she'll have her audience laughing out loud. ONEymoon is non-stop fun, and you shouldn't miss it.
"Peter was a wonderful gentleman," begins The Greening of Life, a play co-written, co-starring, and co-directed by the Green Party's Peter Ormond. But the Peter standing on stage overlooking his own funeral isn't the Peter Ormond we in Hamilton know. This Peter is a billionaire gold tycoon with a private jet and a gold-plated toilet. This Peter had little time to care about the issues, like climate change, that most of us think of when the name Peter Ormond comes up in conversation.
"Can such a man be redeemed?" asks a mysterious bearded and robed man who is neither God nor the Devil (played by co-director and co-writer Michael Nabert). Fictional Peter isn't a bad man. In fact, he's a lot like many of us. He meant to make changes that would benefit the environment. He even went vegetarian once. He donated money to hospitals and universities.
"You were told your whole life money was success," says the bearded stranger. The Greening of Life aims to prove that money isn't what makes a person wealthy.
At times, The Greening of Life felt less like a Fringe Festival play and more like a university classroom, as Nabert's character filled the room with statistics about climate change and carbon footprints. It's preachy and didactic, but ultimately, the play carries a positive message.
"I was one of billions of people," says Peter, dismissing his role as someone who profited from climate change, but as the bearded stranger tells him, "You have more control over your destiny than you think." Greening aims to tell the audience that we can all make a difference in the world before it's too late.
This isn't Ormond's first Fringe Festival play, and while it isn't perfect, it is an example of his willingness to adopt new and interesting mediums to share his platform. Ultimately, it's a play about choices that we can all benefit from seeing.
No subject is off limits for performer Gerard Harris, the brains and talent behind A Tension to Detail, a wickedly funny one-person show that tackles masturbation, meditation, and everything in between.
At the beginning of his performance, Harris warns the crowd that his play is filled with mature content, but also immature content. He's right on both counts.
In 60 minutes, Harris - a self-professed "divorced middle-aged man with no social skills" - shares stories from his own life through self-deprecating humour and excited energy. Performing barefoot, Harris employs no props except for a bottle of beer.
A Tension to Details begins with Harris's difficult birth in 1970s South Africa and ends with Harris's life today as a transplant from the UK living in Canada. The stories in between are candid to the point of making the audience squeamish at least once or twice.
Through his sharp sense of humour and captivating storytelling skills, Harris has a knack for making ordinary experiences incredibly entertaining. Each story he tells, whether it's about first love, lust, or any of the other topics tackled, is easy to relate to.
Chances are that I wasn't the only audience member recounting my own similar stories in my head while Harris entertained us with his.
Sharing his insight into the craft of storytelling, Harris tells the audience that in order to arrive at the play's "classic hero narrative," he needed to leave out 90 per cent of the facts. "We look for meaning in everything in life," he says near the end of the play.
A Tension to Detail successfully tells us that there is meaning, and even sweetness, in the most painful (or painfully awkward) moments in life.