The Williamson Playboys - the self-proclaimed oldest living father and son Cajun music duo (also known as comedians Doug Morency and Paul Bates) - delight with hilarious songs played on tuba and mandolin, and equally funny improvised banter between numbers assisted by MC Sandy Jobin-Bevans.
*Because I Can* features reliably funny Toronto regulars, Sandy Jobin-Bevans, Mike ‘Nug’ Nahrgang, Jim Annan, and Kate Hewlett in Allison McWood’s surreal, almost Monty Pythonesque, comedy about a manipulative podiatrist, his urban-phobic patient, an insecure male nurse, and a Romanian janitor wise beyond his position.
Because they can they will wrestle with a mop for your entertainment
In the Moment Theatre is back at it, following up their 2005 Fringe show _Shadow Court_ with further unabashed geekery in *Out of Character*. Delving into the mysterious and bizarre world of LARPing (Live Action Roleplaying, for the non-geeks), the play foregoes easy humour at the expense of these social outcasts and delivers a surprisingly poignant love story.
I’m a sucker for a bit of fast-talkin’, jazz-handin’ vaudville, and this was exactly what was promised on the flyer for *The Parker and Seville Show*. Trying in earnest to emulate classical greats like Laurel and Hardy or Abbott and Costello, Dave Barclay and Matt Kowall inserted their own brand of absurdity and vulgarity into an ancient formula.
Parker and Seville: there's no business like show business
After a mysterious fire burns down St. Agatha’s church, its new pastor and hard-core parishioners attempt to raise 4 million dollars of reconstruction money by throwing an old fashioned church-basement Bingo evening.
Episode One? These damn kids from Edmonton are bound to disappoint many a Fringer with a polished, engaging, skillfully acted, and sharply written show that only unveils the first third of their epic World War 2 trilogy.
Toronto alt-comedian Winston Spear’s performance piece features him and two associates fooling around (carefully choreographed fooling that is) with flashing toys and gadgets of every ilk to the constant accompaniment of techno beats.
It’s a wonderful experience to walk out of a theatre with a big smile plastered across your face. It doesn’t happen often enough, but the rarity makes you really appreciate the gems that achieve it, and *Just East of Broadway* is one such example.
People in their mid-twenties have been experiencing existential dilemmas since time immemorial, but the recent coining of the term ‘Quarterlife Crisis’ has suddenly brought a new surge of theatrical material on the subject. *QuarterLife: The Musical* is one of several such offerings at this year’s Fringe, cataloging the woes and quandaries of five twentysomething New Yorkers trying to sort out their lives.
Plank Magazine (well, Andrew at any rate) is astonished to learn that there is something called quarter-life crisis
