Together We Fringe: A Fringe Event. Our beloved summer theatre binge is back, live, and modified for 2021

Posted on July 8, 2021 by Liz Nicholls

By Liz Nicholls, 12thnight.ca

This year the Fringe is not going to look and feel like the adrenalized, crazy, big-ass monster you and thousands of your closest friends hang out with day and night in August (you know the rampaging giant I mean, that jostling, elbow-to-rib extravaganza of a summer theatre festival with a mind-exploding number of shows).

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But in the most trying, chaotic times theatre has known, creativity will prevail. So, yes! The monster is tamed, for safety, just this summer. But there will be live theatre, inside theatre venues (in addition to digital programming), at the upcoming 40th anniversary edition of the Edmonton International Fringe Theatre Festival Aug. 12 to 22.

At a press conference Thursday, Fringe director Murray Utas, Fringe Theatre’s interim executive director Megan Dart, and Josh Languedoc, the Fringe’s new director of Indigenous strategic planning, outlined the modified configuration of the upcoming “Together We Fringe: A Fringe Event.” It’s a title that conjures the inaugural 1982 “event,” an unexpected grassroots eruption of summer theatre here when no one knew exactly what a Fringe would turn out to be be.

“Scenario #1 is the way it’s gonna roll,” says Utas. Along with Dart and the Fringe team, he’s spent the year since the digital edition of 2020’s The Fringe That Never Was planning, re-planning, re-re-planning 40th anniversary possibilities for the country’s oldest and biggest Fringe in this second pandemic summer— and arriving at a short list of five. #1: “We’re going inside.”

The Fringe in Edmonton, the oldest and still largest of its kind on the continent, is a perfect storm of large- and small-scale live gatherings, neither a go in pandemic times: huge outdoor crowds, approaching 800,000 in 2019, and 260 shows in some 50 venues, many of them intimate, shoulder-to-shoulder affairs between artists and audiences.

Fringe director Murray Utas. Photo by Marc J Chalifoux Photography

This year’s return to Fringe live isn’t about a record-breaking show and audience tally, needless to say. It’s about safety, distancing (and masks) … and ingenuity. “We’re working with 60 per cent capacity indoors,” says Utas. As he explains, there will be three official indoor venues programmed by lottery (instead of 11 in 2019): the Westbury and the Backstage Theatres in the ATB Financial Arts Barn, Fringe HQ, and the Old Strathcona Performing Arts Centre. First dibs on those venues went to the 2020 roster of artists.

At the fourth official indoor venue, the Roxy on Gateway, (temporary) home of Theatre Network, the Anishinaabe actor/playwright/activist Languedoc will preside over “a standing invitation,” as Utas puts it, to “be part of  conversations about rediscovering what a relationship between audience and artist means from an Indigenous perspective.” Join the circle. Bring your questions.

There will be BYOVs, too, bring-your-own indie venues acquired and outfitted by artists themselves, in five locations (instead of 39 in 2019), each curated with six or seven shows. The Varscona Theatre is one. Grindstone Theatre will run two or three venues. There will be two at La Cité francophone (one curated by Poiema Productions and Kenneth Brown, the other by Jon Paterson). Metro Cinema and Yardbird Suite are BYOVS, too, the latter curated by Rapid Fire Theatre.

So this return-to-live edition of the Fringe will have 63 or 64 indoor shows (“less than 25 per cent of a normal year” as Utas points out). The shows themselves will be announced when tickets ($13) go on sale Aug. 4.

As for fringing itself, with its packed beer tents and rib-to-rib squish of Fringers wandering through the site, put that right out of your mind. “No gathering spaces. No just coming down to the festival and walking around doing your thing….”

“We’re treating the ATB park (McIntyre aka Gazebo Park, next to Walterdale Theatre) as an outdoor venue this year,” says Utas, “not as a destination where you come to see street performers and hang out.”

For the first time “we’re gating the park, from the 83rd Ave. bike lane up to the Calgary Trail and down to the Strathcona Library.” Utas describes it thus: “You’ll buy a (timed) ticket. Once you’re inside the park, you’ll get “the Fringe experience for a couple of hours — entertainment, green onion cake.… It’s like you’re getting a two-hour pass inside. And I’m going to entertain you with some performances. But you’ll be able to wander around, buy some merch, get some snacks and some drinks, visit with your people.”

“I’ve curated the park for you,” says Utas. The shows “are specifically geared for outdoor performance … see some of the best in the world; see some different sensibilities.” Which is, of course, a stellar component of the Fringe experience.

There will be 22 outdoor shows ($20 a ticket), and seven music nights ($25).

Freewill Shakespeare Festival’s two productions, in rep on the Fringe’s outdoor stage

There’s no Kids’ Fringe this year. The theatre-for-young-audiences venue is a ticketed outdoor “youth stage” in the YES (Youth Emergency Shelter) parking lot at the north end of the usual Fringe site. During the day, it will run shows for kids. Every evening of the festival, in a new collaboration, the Freewill Shakespeare Festival will run its two offerings — 70-minute versions of Macbeth and Much Ado — in rep.

“It’s a great partnership for me,” says Utas of his Shakespeare connection. In addition to attracting an adult adult, the bold, fast Freewill productions address the 12 to 18-year-old demographic that hasn’t been singled out by Fringe programming.

In addition to live programming, the Fringe will continue to have its livestream channel, and digital content, “for those who aren’t comfortable with coming back yet.” The Nordic Studio (Studio Theatre) in the Arts Barn is the festival’s TV studio. Full content details await, but there will be interviews and conversations with Indigenous artists and community leaders (curated by Josh Languedoc). And actor/dancer/choreographer Amber Borotsik is creating “pop-up performances,” Utas says.

The big four-oh. As the Fringe turns 40, under unique circumstances that require unusual persistence and ingenuity, it’s the moment to think back on the unlikely birth and improbable exponential growth of Edmonton’s beloved and transforming summer theatre festival. Playwright Gerald Osborn, the Fringe Theatre manager and unofficial archivist, who’s a veritable repository of festival history and lore, has devised “an audio play journey,” as Utas puts it, “five to seven stories on the StoryHive platform, that will take you through the Fringe’s first years…. You the audience will walk to the first five venues, and listen to the stories.”

And Utas will make his debut as “Father Fringe,” aka lanky, pony-tailed laid-back Fringe founder Brian Paisley, whose bright off-the-cuff idea for a summer theatre binge in 1982 took hold here so startlingly. “It’s just me with more gravel in my voice,” says Utas modestly. “We just talk the same way.”

It’s nearly Fringe time in a place where that really matters. So welcome back. Stay tuned to fringetheatre.ca for updates. And that’s where the tickets will go on sale.      

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Close encounters of the puppet kind: Puppet Pub Crawl at Found Festival 2021

Posted on July 7, 2021 by Liz Nicholls

By Liz Nicholls, 12thnight.ca

For its 10th anniversary edition (and return to live) this weekend, the Found Festival has found … puppets. Seven of them, actually, each with an original tale to tell.

Designer/ theatre creator/ scenographer Even Gilchrist, Puppet Pub Crawl. Photo by Janice Saxon.

We’ll meet them in a Found tour of seven outdoor Strathcona locales in Puppet Pub Crawl. Scenographer/designer Even Gilchrist, who’s doing a master’s degree in design at the U of A, is the dreamer-upper, creator, and curator of the project. And he gathered intrigued theatre artists, seven of them, around him. “We asked people we thought would be interested or curious … and they built their own puppets and created their own pieces!” And they’ll be performing them too.  Some are actors, some designers; for many, it’s their inaugural venture into puppetry.

“My puppet obsession runs back to school,” laughs Gilchrist who arrived here from Ottawa to study design at the U of A (he’s doing a master’s degree). “I became completely obsessed with revisiting that joy,” he says citing inspirations of puppet-mad artist friends. He’s still struck by Skeleton Key Theatre’s Swan River, in which the audience was led to the Ottawa River, to watch, in awe, as giant bird puppets, made of branches and materials found in nature, emerged from the water. “So incredible! says Gilchrist, who assisted on that project (set and costumes) and who’s assisted on some of Edmonton theatre’s most adventurous indie productions (Mr. Burns, A Post-Electric Play; All That Binds Us, Tracks among them).

Long regarded as the exclusive property of theatre for young audiences, puppets have been reclaimed for grown-up audiences by the likes of Ronnie Burkett and the Old Trout Puppet Workshop. They were inspirations for Gilchrist, too. “I just wanted to find unexpected ways of sharing puppetry with people,” he says, “to challenge their understanding of what puppetry can be.”

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Originally destined for Found Fest 2020, Puppet Pub Crawl isn’t quite Gilchrist’s first Close Encounter Of The Puppet Kind, as he puts it.  He’s had “brief dalliances … but this is my true puppet debut!” There’s no Gilchrist puppet in the show, incidentally, but there’s one waiting in the wings at home, a work-in-progress hopeful named Marty.

Even though it was conceived (just) before “The Great Pause,” as he puts it, the project seems specially made for the peculiar times in which we’ve been living.

Andrés Moreno, Puppet Pub Crawl, Found Festival 2021. Photo by Even Gilchrist.

“It was a simple prompt,” Gilchrist says of the original call to artists, “with the full understanding it was a flexible, movable prompt.” Namely, “connection … the desire, or the pressure, to form connections with strangers in different locations, those brief or meaningful or absurd connections you make or observe.… For me it was about hello’s and goodbyes.”

Gilchrist’s original plan for The Puppet Pub Crawl was for “a stroll down Whyte Ave, but restrictions and safety concerns canned that busy locale. Now the audience is guided to seven outdoor locations — including Viva Clayworks and Strathcona Spirits Distillery — all in the area around the Grindstone Theatre on 81 Ave.

Despite the challenges of rethinking the project every time COVID restrictions changed, “it’s been very fulfilling,” Gilchrist says. The stories aren’t thematically linked, really, but they share “the same journey of discovering connections.” And the audience has the fun of putting the pieces together.

Check out 12thnight’s survey of the Found Festival here.

PREVIEW

Found Festival 2021

Puppet Pub Crawl

Theatre: Common Ground Arts Society

Directed by: Rory Turner

Starring: Rebecca Cypher, Frances Girard, Skye Grinde, Abby McDougall, Andrés Moreno, Dill Prusko, Aaron Refugio

Where: seven locations in Old Strathcona, starting at Strathcona Spirits Distillery, 10122 81 Ave.

Running: Thursday through Sunday

Tickets: Common Ground Arts Society

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Found: the festival of surprising encounters is back to live performance

Posted on July 6, 2021 by Liz Nicholls

By Liz Nicholls, 12thnight.ca

Searching for a find at Found….

It’s the 10th anniversary of a festival that has taken audiences to unexpected encounters with art and artists — in places they never expected to find themselves.

The unconventional engagement, the reimagined connection between creators and their audiences … that’s what the Found Festival’s brigade of experimenters and fomenters is all about. The pandemic has been a test of that kind of creativity. And times being what they’ve been for a year and a half — let’s face it, isolating, uncertain, and weird — there’s a celebratory feel to the 2021 edition of the festivities, returning live to Strathcona Thursday for a four-day run.

“Artists have had to be really nimble and agile,” says Found Fest director Beth Dart of the ever-changing COVID protocols. And she has the Found programming to prove it. After a the 2020 Found that wrapped its creative ingenuity valiantly around pandemic lockdown (I’m remembering the drive-through folk opera Chamber Obscura and the “self-guided immersive outdoor experience” Home Suite) the 2021 edition marks a return to live performance, in front of a live (masked, capacity-reduced) audience, for nearly all its programming.

The festival gave the 2020 roster of artists the option of deferring a year or creating something COVID restriction-proof as an alternative, says Dart. Most took the deferral option, and it was offered again this year: “folks had to be prepared to be flexible depending on the restrictions.” 

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And flexible they’ve been. The free Music Series curated by Mustafa Rafiq, for example, happens as a live outdoor cabaret in the back alley behind the Backstage Theatre (at the ATB Financial Arts Barns). As Dart explains, the patio capacity of is reduced by 40 per cent to 50. That locale, incidentally, is where you’ll find the Found box office and info tent. And it’s where you can find yourself tucking into a drink and food (from the Fringe Grounds Cafe) with your household/ cohorts.

The Found Festival poetry showcase, Snap If You Can Hear Me, curated by Dwennimmen (artistic producer of the Edmonton Poetry Festival), is a kind of poetry stroll, a tour to four pop-up locations, with four poets in place performing at each. You sally forth from at McIntyre Park (aka the Gazebo Park) adjacent to Walterdale Theatre,

Frances Girard, Puppet Pub Crawl. Photo by Even Gilchrist

Puppet Pub Crawl is the brainchild of designer/ scenographer/ “experimentalist” Even Gilchrist, Found Fest’s Fresh AiR artist-in-residence. It takes us on a tour of seven hidden Strathcona locations to meet seven very different puppet tale-tellers, created (both the puppet and the tale) by seven theatre artists. “You’re out on the town, making fleeting connections with strangers,” says Dart, who describes Gilchrist as “a rising star as a creator and collaborator” (meet him in an upcoming 12thnight post).

The logistics are “pure Rube Goldberg, basically,” Dart laughs. There are only six tickets to Puppet Pub Crawl per night of the festival, one ticket per show, with each ticket good for up to six members of a cohort or household, with timed departures of successive audience clusters every 15 minutes.

The one place you’ve never been able to expect to find Found was an actual theatre. This year, that’s different, too. David Gagnon Walker’s interactive This Is The Story Of The Child Ruled By Fear happens in the Arts Barns’ Studio Theatre.

This is the Story of the Child Ruled By Fear, David Gagnon Walker, Found Festival 2021. Photo supplied

Walker has been at the festival before. In 2017 he locked himself in an apartment and wrote an original play in 72 hours, while the audience watched the progress of his script on Google Docs. With This Is The Story Of The Child Ruled By Fear, a reflection on the times to which we’re struggling to adapt, he invites the audience (a maximum of 14, 25 per cent of the theatre capacity) to take parts and tell the story with him. “There’s room for different levels of comfort in participation,” Dart reassures.

Civil Blood by Josh Languedoc, the Fringe’s new director of Indigenous strategic planning, gets a staged reading in ᐄᓃᐤ (ÎNÎW) River Lot 11∞ Indigenous Art Park, on Queen Elizabeth Park Road.

The staged reading of The Funeral by actor/ movement artist-turned playwright Marina Mair Sanchez at South Side Memorial Chapel (8310 104 St.) is a preamble. “We’re hoping to support its development and hopefully have it in full production at Found Festival next year,” says Dart.

Deviani Andrea in Running Live, Found Festival 2021. Photo supplied

Running Live is a creation — part live Zoom-based, part pre-recorded dance — of actor/ dancer/ choreographer playwright Richard Lee with movement artist Deviani Andrea. Billed as ‘a vlogcast/ river valley dream sequence/ digital hallucination,” it’s brought to us from their respective balconies. There’s a maximum of 30 tickets available for the live Zoom performance Thursday (where the audience can help shape the imagery); after a quick edit, it will be available for streaming during the festival.

As Dart explains there are three parts to Letter to Audiences, brought to the festival by artists Natércia Napoleão and April MacDonald Killins. “It includes a survey for Edmonton audiences about equitable representation on Edmonton stages and how they see themselves on those stages, podcast episodes discussing diversity and equal representation, and an invitation to artists and community members to have conversations on the subject.

Dart notes that it’s “the first phase, the data gathering and interviewing, to build toward a major project down the road…. It’s a pretty important conversation for us to be having right now. The Great Pause in the performing arts industry has given us time to reflect, to think about things. But reflection requires action as well.”

And, surprise!, there’s more. Someday Service a multi-media film presentation created by the artist known as exstepmom (and starring D’orjay the Singing Shaman), premieres late night Thursday on the roof-top patio at Boxer (10315 83rd Ave., 50 per cent capacity).

Let the finding begin.

PREVIEW

Found Festival 2021

Produced by: Common Ground Arts Society

Where: locations in Old Strathcona

Running: Thursday through Sunday

Full schedule and tickets: Common Ground Arts

 

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Backyard Bard, live and on demand: the Freewill Shakespeare Festival brings the plays to you

Posted on June 29, 2021 by Liz Nicholls

By Liz Nicholls, 12thnight.ca

You can have a fling with Shakespeare this summer. And, hey, he’ll come to your place to hang out.

As they announced on Will’s 457th birthday April 23, the Freewill Shakespeare Festival has had to take their famous resident playwright off his usual Edmonton stage, the Heritage Amphitheatre in Hawrelak Park. Big-cast full-length productions with all the al fresco trimmings (like intermission) are not in the cards in the unpredictable landscape of a second pandemic summer.

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Instead, for their 32nd season, Freewill will pack up their costumes and props, and come to you. They’ll bring inventively condensed, adrenalized, small-cast 70-minute adaptations of Macbeth and the great mid-period comedy Much Ado About Nothing to your backyard or community — wherever you are. This, as you will glean, pretty much redefines accessible Shakespeare.

In Macbeth and Much Ado, Freewill has stuck with the alternating tragedy and comedy originally planned for the season. Both plays are reimagined for two small fleet-footed multi-tasking casts of local professional actors. Freewill artistic director Dave Horak directs both ensembles.

Macbeth is performed by an all-female cast of three, in a version licensed from the U.K.’s Splendid Productions, which specializes in bold, accessible condensations. “We have permission to make it particularly ‘Edmonton’,” says Horak, “and adjust it to fit whatever COVID protocols are in place.”

A cast of five takes on more than 20 roles in the version of Much Ado About Nothing created by Horak himself.

The two productions are available Aug. 10 to 29. The suggested fee per performance is $500 (and the company is open to discussing payment options in these parlous times). To request a performance, email managing director Nikola Tonn:  md@freewillshakespeare.com.

They do but stay your pleasure.

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Teatro La Quindicina’s 2021 summer season

Posted on June 29, 2021 by Liz Nicholls

By Liz Nicholls, 12thnight.ca

It being summer (to put it mildly), and Teatro La Quindicina’s particular time of year par excellence, the company is back in rehearsal.

Yes, real actors in an actual theatre, the Varscona in Strathcona. “And it feels fantastic!” declare its joint artistic directors Belinda Cornish and Andrew MacDonald-Smith.   

A rarity among Edmonton professional theatres in running summer seasons June through September, Teatro “took a mulligan’ in 2020. The company rebooked its entire lineup — three Stewart Lemoine comedies and a musical created by Teatro stars — ahead a full year.

The world hasn’t entirely co-operated, you may have noticed. And Cornish and MacDonald-Smith have had to adjust. “It was impossible to do the 2020 shows in 2021,” say Cornish. “Either they were just too big (like Evelyn Strange), or they were a musical (Everybody Goes To Mitzi’s)!”

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What they’ve planned for Teatro’s return is a four-show 39th season in which the first three of the upcoming productions are streamed (released late summer, with in-person big-screen screenings at the Varscona in early fall). “Capturing something for eternity” has its appeal, as MacDonald-Smith puts it, an act of defiance against the ephemeral nature of live theatre. “And at a time of opening and closing and opening and closing, we thought ‘why don’t we just come to you?’” Says Cornish, “necessity is the mother … etc. It pushes us into something new.”

Jenny McKillop will star in Fever-Land, Teatro La Quindicina. Photo supplied.

The grand finale (originally planned for 2020) is live and in-person: a revival of Lemoine’s Fever-Land, which premiered in 1999, and hasn’t been seen since 2004. That, incidentally, is the year before both Cornish and MacDonald-Smith, Teatro stars both, made their company debuts, the former in A Grand Time In The Rapids, the latter in The Salon of the Talking Turk.

The first two streaming offerings, Lost Lemoine: Parts One and Two,  made possible by EPCOR’s invaluable Heart & Soul Fund and the Edmonton Community Foundation, gather short (and very short) plays by Teatro’s resident playwright. Their provenance is varied, some recent, some dating back decades in the extensive Lemoine catalogue. Some were written for one-night special occasions of yore, others had fleeting runs at the Fringe or for fund-raisers, galas, or the annual Fringe cabaret. Some were part of collections (The Argentine Picnic, The Portuguese Riding Lesson among them). “Stewart’s pandemic project has been digitizing his work,” says Cornish, “some of it written on a typewriter!”

Lost Lemoine, himself. Playwright Stewart Lemoine in 1987. Photo supplied.

“We had about 16 to choose from, and (for Lost Lemoine: Part One) we went for six…. They’re five to 10 minutes long, bite-sized and they vary enormously in tone,” says Cornish, who directs a cast of eight who appear, in various COVID-friendly perms and combs (two, three or in one case four actors), in both parts. “We go from “Stewart’s meditation on Ibsen (Ludicrous Pie) to a play set in the ‘70s.” Leona Brausen’s costuming for the latter, says MacDonald-Smith of The Crazy Women, will feature his personal favourite pair of stage shoes ever.

The seventh, Lost Lemoine: Part Two, is slightly longer. A Second Round of Seconds, a 2016 45-minute one-act originally written for The Novus Actors (Teatro’s adjunct company of lawyer thesps). The comedy is based on the concept of speed dating, Lemoine explains. “One on one scenes, a bell rings, they re-group….”

The pieces, say the Teatro co-artistic directors, rise to the extreme challenge of telling a story, dramatically and theatrically, with dimensional characters, in a matter of minutes. The playwright, says Cornish, “encapsulates their world in three lines, who they are, the journey they go on….”

Kristen Padayas stars with Mathew Hulshof in A Fit, Happy Life. Photo supplied

The protagonist of the third streaming production A Fit, Happy Life is a dedicated department store bed salesman, in encounters with a succession of customers. The original concept dates from a three-performance late-night run at the old Phoenix Downtown space in 1985. Mathew Hulshof plays the “earnest mattress expert” with Kristen Padayas as all the customers, in a series of quick-changes made possible by the medium of film. “When I was digitizing, I found three scenes I really like,” says Lemoine. “And I’ve added two new ones.”

The streamed productions will likely intersect with Fringe time in August. But though the Varscona will be a BYOV as usual, the Teatro offerings won’t be part of the festival per se this year (largely due to logistical challenges in scheduling and ticketing).

At the centre of the live in-person season finale (Sept. 23 to Oct 9), Lemoine’s highly unusual Fever-Land, is the intersection of characters in 1960s Winnipeg and other-worldly personages who advise a chorister involved in an illicit affair:  The Erl-King (star of a Goethe poem put to music by Schubert) and The Queen of the Willis borrowed from the classic ballet Giselle. Red velvet cake at the Eaton’s cafeteria in Winnipeg figures in the play (the original program, as I recall, contained the recipe). “It hadn’t quite made its comeback then,” says Lemoine.

Cornish directs the revival, starring Jenny McKillop, with MacDonald-Smith and Cathy Derkach.

The three streamed productions will not be movies, Cornish hastens to add. They’re “theatre-film hybrids.” Lemoine echoes the thought. “We’re trying to acknowledge we’re in a theatre.” And there are advantages, after all, to the digital world, to wit “outreach nationally and internationally…. Finally, my aunts in Winnipeg and Toronto can see the shows.”

Teatro La Quindicina 2021 season

Lost Lemoine: Part One (releasing late summer)

Lost Lemoine: Part Two (releasing late summer)

A Fit, Happy Life (releasing late summer)

Fever-Land (live in-person Sept 23 to Oct 9)

 

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‘A little love letter to the Edmonton theatre community’: the Sterling Awards go digital Monday

Posted on June 26, 2021 by Liz Nicholls

By Liz Nicholls, 12thnight.ca

“It’s our little love letter to the Edmonton theatre community,” says Kristi Hansen of the digital 34th annual Sterling Awards, free online Monday night.

In “a wild year” for live theatre, the awards, named for theatre pioneer Elizabeth Sterling Haynes and designed to celebrate excellence on Edmonton stages, have adapted their venue, their tone, and their spirit for the occasion. For a second year, the Sterlings are taking to the digital stage, as so many theatre companies have undertaken to do this past year of pandemic chaos and devastation. And it’s in the spirit of celebration, Hansen says, “of toasting the year that was.”

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In a year like no other, shows were cancelled, postponed indefinitely, filmed, re-planned, pivoted into online versions of their originals. And theatre artists rose creatively to the challenges of a time that made live gatherings, the very  raison d’être of an art form where audiences and artists share a space, impossible.

“No awards will be given out,” says Hansen of the evening planned by the Sterling Committee. “We didn’t do any fund-raising or (go after) any sponsorships.” Instead, “we invited the community at large, theatre companies and indie artists, to put a little something together — pictures, videos, messages, greetings from artistic directors…. as simple as a 20-second iPhone video or a two-minute clip from online content. It’s whatever folks felt they had the capacity to contribute.”

The Citadel and Northern Light Theatre, for example, have offered clips from streamed versions of shows in their seasons. Rapid Fire Theatre artistic director Matt Schuurman, an expert videographer, put together “a hilarious video,” Hansen says.

The Sterling Committee didn’t prescribe. It wasn’t a year for that. It could be, she says, “a simple 30-second messages of ‘how’s it going?’” It’s a “low stakes” situation; we’re being gentle with ourselves as we figure out how to go forward, how to celebrate excellence in the future.”

The hosting duties of the evening belong to the 10-member committee, who have put together a Welcome! video. The year saw the addition of new and younger members,  among them Sue Goberdhan, Althea Cunningham, Luc Tellier, Andrés Moreno, Steven Sobolewski. “New faces, new perspectives, fresh ideas,” says Hansen, on the phone from P.E.I. where she and her husband Sheldon Elter are in the Charlottetown Festival production of Dear Rita, a tribute to the late Maritime singer-songwriter Rita MacNeil.

In a year of devastation for the live performing arts when theatre artists have applied their wits and skills so impressively, and so diversely, to the challenges “it’s nice to celebrate everyone without a sense of competition,” Hansen says. “The goal is ‘watch it and feel good’. And I think you’ll find it an emotional, touching, heartening event.”

You can’t keep creative people down (“we’re the cockroaches,” she says cheerfully). The annual Sterling after-party is not, I repeat not, ruled out. Says Hansen, “hold the date everybody, August 11! We should be allowed to gather outdoors!”

Watch the Sterlings online Monday 7 p.m. on Facebook. Or on the Sterlings’ YouTube channel. It will be available indefinitely on both after that.

 

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A real live in-person season at the Citadel, starting this summer. The Citadel welcomes audiences back to the big brick playhouse

Posted on June 24, 2021 by Liz Nicholls

Shawn Ahmed and Rachel Bowron in The Garneau Block, Citadel Theatre. Photo by Arthur Mah.

By Liz Nicholls, 12thnight.ca

And they’re back live —starting small in August and getting bigger —  in a real live in-person season.

At a well-named online Happy Hour Thursday, Citadel artistic director Daryl Cloran announced a big line-up of 10 live shows that will welcome audiences back inside the big brick playhouse downtown — during the summer in reduced numbers and then, hopefully, expanding gradually into full capacity.

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“After 15 months of planning and re-planning and re-re-planning, we’re so thrilled to be announcing a season!” declares Cloran feelingly. “And we’re cautiously optimistic!”

For the Citadel’s 54th or 55th season (depending on how you count the travails of pandemic shutdown year), he’s gathered an assortment of shows that includes five world premieres and seven plays by Alberta writers. The line-up of four productions in a ‘Summer Season’ through October, and six mainstage shows starting November with the Holly Lewis farce The Fiancée, is the result of season-planning that’s been adjusted over and over,  says Cloran.

Some titles are familiar from the Citadel season announcements of January and then June of 2020; some deferred, rebooked, then delayed again. “So many shows we’d  already announced and sold tickets to…. We wanted to see as many of those through as possible while still not being 100 per cent sure when things would be open, and if they’d stay open.”

Helen Belay in Heaven, Citadel Theatre. Photo by Janice Saxon.

“We wanted to start back slowly, and welcome audiences back at a pace they were comfortable with,” says Cloran of a Summer Series that opens July 31 with Heaven.

Originally part of the small-cast reduced audience Horizon Series, the solo play by Calgary-based Cheryl Foggo (John Ware Reimagined) chronicles the story of a Black school teacher who arrives in Alberta’s Amber Valley in the 1920s. Patricia Darbasie’s production, which stars Helen Belay, runs through Aug. 15 in the 700-seat Shoctor Theatre, for a planned audience of 100. That number, says Cloran, is adjustable according to COVIDian restrictions of the moment.

The other Horizon play is Tai Amy Grauman’s Métis adaptation of the Stephen Massicotte Canadian classic Mary’s Wedding. It’s been online in a digitally streamed version since this past December but “it never got beyond its final dress rehearsal” before shutdown, as Cloran points out. So Jenna Rodgers’ production, starring Grauman and Todd Houseman, gets its first live audience in the Shoctor Theatre Aug. 28 to Sept. 12.

Todd Houseman and Tai Amy Grauman in Mary’s Wedding, Citadel Theatre. Photo by Arthur Mah.

In a Summer Series that includes September and October (which in Edmonton exudes “cautiously optimistic”), audiences finally get to see Belinda Cornish’s stage adaptation of The Garneau Block, Todd Babiak’s 2006 hit novel, originally slated to premiere in the 700-seat Maclab Theatre in March of 2020. Rachel Peake’s production was shut down the night before the first preview. Narda McCarroll’s set has been sitting intact on the Maclab stage ever since, ready for use after dusting.

At a dozen actors, The Garneau Block is not a small-cast show, true. “But “it’s such a symbol for us, that we’re back,” says Cloran. “It feels like an important way for us to start welcoming people back.” And not least, says Cloran, “because it’s a story about Edmonton, adapted by an Edmonton playwright, from a novel by an Edmonton writer.”

The theme could hardly be more topical: idiosyncratic neighbours in a signature Edmonton ‘hood coming together to devise a way to save it. And “It’s not dependent on us welcoming 700 people a night. If we can welcome only, say, a third (of capacity), we’re still going to do it!” It runs Sept. 23 to Oct. 10.

Bears by Matthew MacKenzie, starring Sheldon Elter.Photo by Alexis Keown

The finale of the Summer Season is the Punctuate! Theatre production of Matthew Mackenzie’s hit Bears, originally slated for Citadel’s Highwire Series (“designed to help amplify the work of great local companies”). The play, which has had hit runs in Toronto and on the West Coast, comes to the Maclab stage Oct. 21 to 31, trailing multiple awards. Sheldon Elter stars.

The mainstage season-opener (Nov. 6 to 28) is the premiere of a new “big fun zany farce” with all the classic door-slamming bona fides — and one clever reversal. Holly Lewis’s The Fiancée, short-listed last week for the 55th annual Alberta Playwriting Competition (and Introduced to audiences in reading form at the recent Collider Festival), chronicles the escalating chaos the protagonist introduces into her life by getting engaged to three men off to fight in World War II. The crucial farce glitch is that when the war ends, they all come home against the odds, and arrive at her place on the same day.

Playwright Holly Lewis. Photo supplied.

“A great way to welcome people back to the theatre,” says Cloran. “And Holly has done such a clever job of taking the trope we all know and turning it on its head: women juggling men, hiding people from each other, wearing disguises, tripping over things, getting cake in the face.…” Six actors (led by Helen Belay) and “at least as many doors,” says Cloran, who directs.

Ted Dykstra as Ebenezer Scrooge in A Christmas Carol (2019). Photo by Ian Jackson, Epic Photography.

David van Belle’s full-bodied 1940s adaptation of A Christmas Carol, starring Ted Dykstra as a department store with its World War II and post-war song list, is back to live in-person (Nov. 27 to Dec. 23)  for its third Yule season after a 2020 incarnation on film. “I was thrilled that when so many other companies were doing one-person Christmas Carols, we could still do our giant production,” says Cloran who directs. he says. “The team rallied to make something beautiful.” That film version (limited to Canada because of the infinite complications of song rights) will be accessible again this year, alongside the live production.

Philip Akin, former artistic director of Toronto’s Obsidian Theatre, directs a Citadel production of The Royale Feb. 5 to 27. The drama by American playwright Marco Ramirez chronicles the fortunes of a Black boxer in 1905 in his quest to be the heavyweight champion of the world. “The way it’s told theatrically is incredible,” says Cloran of “a play about race, about place in history.” There’s no actual boxing in it; “it’s all told through dance, clapping, stomping, super-physical language.”

On the grounds of caution vis-à-vis travel, partnerships, and logistics, the 2021-2022 lineup deliberately saves the biggest-cast shows — including three that had been announced for last season — for the second half of the season. One is the much-delayed Peter Pan Goes Wrong (Feb 26 to March 20), an international collaboration with surprisingly local connections.

The comedy, about an earnest community theatre doing their best to put on an ill-fated production of Peter Pan, is the work of the Brit company Mischief Theatre. Director Adam Meggido is known to Edmonton audiences for his improv virtuosity in Die-Nasty’s Soap-A-Thons. The 12-actor Citadel production, a partnership with Vancouver’s Arts Club Theatre, is the North American premiere, “a testing ground” says Cloran, for expansion into U.S. markets including New York, where its companion piece The Play That Goes Wrong has been a long-time hit.

Jane Eyre, Citadel Theatre, Photo supplied.

The premiere of Jane Eyre, a 10-actor adaptation of the Charlotte Brontë novel by the star Canadian playwright Erin Shields, was originally slated to happen this past March. Now, one of literature’s most compelling heroines takes to the stage March 24 to April 10, 2022, in a Cloran production that stars Hayley Gillis and John Ullyatt. “Low-tech theatrical magic,” Cloran has said of the storytelling.

Like Jane Eyre, Kenneth T. Williams’ The Herd (April 2 to 24) is part of the in-person  2022 edition of the Collider Festival, a Citadel initiative that was all online in this pandemic year. It’s designed, says Cloran, to feature full productions of new plays, surrounded by readings of works in development, much like the late lamented PlayRites Festival at Calgary’s Alberta Theatre Projects.

Playwright Kenneth T. Williams. Photo supplied.

A Cree playwright from the Gordon First Nation in Saskatchewan, Williams (Cafe Daughter, Thunderstruck) was the first Indigenous playwriting graduate at the U of A, where he’s a drama prof these days. Cloran describes his latest, which spins from the possibly miraculous birth of twin white bisons on a First Nation ranch, as “a great script, very smart, with Ken’s (signature) sense of humour….” Kevin Loring, artistic director of the National Arts Centre’s Indigenous Theatre, directs the three-city partnership between the Citadel, Toronto’s Tarragon Theatre, and the NAC.

The finale of the season Cloran announced Thursday is the 2008 musical 9 to 5, based on the 1980 Dolly Parton film. Music and lyrics, needless to say, are by the grande dame herself (just try extricating the absurdly catchy title song from your brain), book by Patricia Resnick. Rachel Peake, late of the Citadel and now of the Arts Club, directs the production (April 30 to May 29). Casting awaits.

“It’s a really big fun season,” says Cloran. In audience capacity and protocols, “we can adjust as needed as we go forward…. For all of us it’s really emotional experience to return to the theatre! Hopefully by the time of A Christmas Carol, we’ll be back together, shoulder to shoulder, having a great time!”

The Citadel’s 2021-2022 season

Summer Series

Heaven (July 31 to Aug. 15); Mary’s Wedding: A Métis Love Story (Aug. 28 to Sept. 12); The Garneau Block (Sept. 23 to Oct. 10); Bears (Oct. 21 to 31)

Mainstage Season

The Fiancée by Holly Lewis (Nov. 6 to 28)

A Christmas Carol, adapted from the Dickens novella by David van Belle (Nov. 27 to Dec. 23)

The Royale by Marco Ramirez (Feb. 5 to 27, 2022)

Peter Pan Goes Wrong by Henry Lewis, Jonathan Sayer, Henry Shields (Feb. 26 to March 20, 2022)

Jane Eyre by Erin Shields, from the Charlotte Brontë novel (March 24 to April 10, 2022)

The Herd by Kenneth T. Williams (April 2 to 24, 2022)

9 to 5 by Patricia Resnick and Dolly Parton, from the film of that name (April 30 to May 29, 2022)

 

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Rocko and Nakota: star storyteller Josh Languedoc is back for National Indigenous Peoples Day

Posted on June 20, 2021 by Liz Nicholls

Josh Languedoc in Rocko and Nakota: Tales From The Land. Photo supplied.

By Liz Nicholls, 12thnight.ca

“It sits differently in my body, in my voice,” says Josh Languedoc, musing on his widely travelled solo show Rocko and Nakota: Tales From The Land. “Something has shifted this time around.”

It’s been that kind of year. A year that reinforces in every way the need for Indigenous voices to be heard, their stories to be told. And in honour of National Indigenous Peoples Day Monday, the Thousand Faces Festival (with help from EPCOR’s Heart and Soul Fund) is reviving Languedoc’s play (on Facebook Live), the one that really launched the career of the multi-talented Anishinaabe artist on the national stage.

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In Rocko and Nakota, an 11-year stuck in the hospital — a situation Languedoc lifted from his own life — gets a visit from his old grandfather. Rocko arrives with a cache of stories, and Nakota is transported into the past, and a whole world of myths, animal spirits, warriors, elders … all in a complex relationship with the present.

“A turning point? Absolutely!… It brought my voice to places I didn’t think I’d get to for a while; it became such a major platform for me,” says the affable Languedoc, whose roots are in the Saugeen First Nation in Ontario. He remembers the start of the accelerating adventure three years ago. “I remember being really nervous,” he says of his preparations for a cross-country Fringe tour, with a stop at the Blyth Festival in Ontario. “There’s this deadline and I have to make a show for it! This was me memorizing the show as I was doing it!”

Josh Languedoc in Rocko and Nakota: Tales From The Land. Photo suppied.

“I was prepping for expressing myself on the Fringe circuit. And I wasn’t sure how it was going to be received.” Doing a solo show of any sort is a challenge to be risen to, “and it’s even more challenging when it’s your story…. There’s a lot of you in there, too. It’s not just revealing your skill as a performer, but as a person!”

Languedoc, who grew up in St. Albert in the musical theatre milieu of the St Albert Children’s Theatre, comes from an inspirationally artistic family. “My mom is a visual artist and singer; my dad (an Ojibway who was adopted off the reserve) is a thousand percent a storyteller and musician.” Some of the stories in the multi-character Rocko and Nakota are part of that blue-chip inheritance; others “are dreams, things that happened to me, turned into aural stories.”

The Josh Languedoc of 2018 was an actor, yes (and an improviser, witness appearances with Grindstone Theatre’s The 11 O’Clock Number.  More than that, though, “I was a budding playwright, with a few different projects on the go.”

At the U of A, studying sociology (the sociology of Canadian theatre was his specialty), “ I got obsessed, and so angry, with the ‘starlight tours’, the horrifying news stories (Neil Stonechild is but one victim) of Indigenous people picked up by police, driven to remote ex-urban locations, and abandoned to their fate. “I started playing around with character voices … and what started as research turned into a play,” says Languedoc. Starlight Journey, now called The Eyes of Spirits (commissioned by Workshop West, Toronto’s Native Earth Performing Arts, and Dreamspeakers),  was “my first venture into writing Indigenous stories, voices, ways of being and ways of knowing, and bringing them onstage.”

Josh Languedoc in Rock and Nakota: Tales From The Land. Photo suppoied.

He’s kept at that two-act six-actor, now on draft #11, “for damn near  a decade,” encouraged by Workshop West’s former artistic director Vern Thiessen, whom he counts a mentor. “I was young, naive, still finding myself. But Vern said ‘you need to keep writing this play; Indigenous communities need your voice’.”

“Using my gifts as a storyteller to represent my community” gave Languedoc, he says, the experience of tapping his family background, and his “cultural side. What does that mean to bring it into the open? It’s a very authentic and real part of my journey now.”

“So Rocko and Nakota wasn’t my first play. It was my first that came from me, from the inside out!”

The Fringe tour was a life-changer, Languedoc says. “People were quite surprised by it; they didn’t know how to relate to me, how to support me….” The reception was both warm, and revealing: “The dynamic was ‘we have never seen this at a Fringe. Ever.. Finally, an Indigenous voice on the circuit’”

Except for one September showing, Languedoc hasn’t performed Rocko and Nakota for a year.  The revival we’ll see Monday, live from the “very cool” new National Stiltwalkers Headquarters (Languedoc is amused by this) isn’t changed materially in the text, save a line here and then, from the Fringe version. ‘But it’s shaped differently,” he says. After the Fringe tour, Theatre Prospero included Rocko and Nakota in their school tour season, directed by Barry Bilinsky. “He helped slow it down.. It was a bit manic and out of breath. Now it’s smoother and more legato…. I had written a 55 or 60-minute play, and performed it in 45. I’m not trying to do the show in one big gulp.”

These days Languedoc is working on the play, IN-COR-RI-GI-BLE (a commission from the Blyth Festival, that will garner him a master’s degree in theatre practice from the U of A. It’s based on  (and named for) an autobiography written by his father. He’s spent the year venturing into arts administration and facilitation, as “youth education/outreach co-ordinator at Workshop West,” connecting with youthful playwrights digitally. And he’s got a gig, yet to be announced, with Fringe Theatre.

What’s changed for Languedoc since the Fringe tour of three years ago? “I’ve grown. I’ve matured …” he says. And as for the “news” about residential schools that isn’t really news since Canadians have known about it all along, “Why now? Now is when society is ready to hear it,” he thinks.

On the subject of progress in the relationship between the Indigenous and colonial cultures, he counts himself “fairly optimistic,” with major qualifications. “A lot of important conversations are happening now. There’s still a lot of work to be done. A lot of communities still have a lot to learn about making connections. But most places seem to get it, at least to some degree. Some are being pro-active, trying to move things forward; some aren’t.”

“I grew up in a white suburban city, never seeing my people, my stories anywhere…. It’s a bit different now, in schools, in art galleries, in gas stations (laughter). I see a lot of hope.”

PREVIEW

National Indigenous Peoples Day

Rocko and Nakota: Tales From the Land

Theatre: Thousand Faces Festival

Created by and starring: Josh Languedoc

Where: Facebook Live, 7 p.m., school performance 1 p.m. with talk-back to follow.

Tickets: free, donations very welcome, with 50 per cent going to Indspire.

  

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Breaking out of our cages: Night from Major Matt Mason in Rundle Park. A review..

Posted on June 18, 2021 by Liz Nicholls

Zoë Glassman in Night, Major Matt Mason Collective. Photo by Elise CM Jason.

By Liz Nicholls, 12thnight.ca

Rundle Park on a cloudy night is an eerie place.

A network of cement roads and parking lots, all abandoned. They seem to be holding at bay the woods, the dark tangle of trees, the taller grass, the shadowlands by the river. You get there by descending into it. You’re on the edge of the city, but there’s no sign of it.

The wild and the human pushback: that tension has everything to do with the experience of Night. The solo “drive-by” play from the Major Matt Mason Collective is live theatre you actually go out to (at 10 o’clock on a summer night when it isn’t quite light, not quite dark, but getting there).

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“Welcome to the theatre!” says an exuberant masked artist (Mac Brock, interim producer of the host company Common Ground Arts), waving expansively at the great outdoors as we arrive. We park in a (distanced) circle, facing inward: a circling of wagons against outside forces? It’s theatre in the round for people in cars (with 10 people max on lawn chairs), listening to the first-person soundtrack via car radio FM.

After so many months in the cage, connected to the world by screen, breaking out in itself counts as a bona fide thrill. Which will put us in sync — disturbingly, revealingly — with the character we meet in Geoffrey Simon Brown’s play, directed by Yousuf Liepert.

Zoë Glassman in Night, Major Matt Mason Collective. Photo by Geoffrey Simon Brown

This person, played by Zoë Glassman, a particularly magnetic and intensely physical performer, is fretful, struggling to break free of … something. They’re seeking moonlight. “Nothing is wrong; it feels like something is wrong,” we hear them say in the voice-over track. “Just being OK. All the time. It feels endless.” Tomorrow, they tell us, “the bandages” come off.

Something has happened to the protagonist (information leaks out, in tiny details); they’ve washed up at home, back in their childhood room. On daytime outings with their well-meaning parents, they’re repelled by human contact and the human gaze. They’re distracted by every movement — of an ant, a bird with a worm, a rabbit, a dog — overtaken gradually by the overwhelming urge to run and disappear from human sight, to howl, to attack, to merge with Nature. They’ve covered the mirrors, and retreated to a lair; they have a sense of transforming. Hands are becoming paws. They’re in exile in the world of humans; they’re becoming a wolf.

Night is fascinating and powerful in ways that elude simple explanation but feel very much of the moment. Don’t you recognize that strange sense of not being quite oneself? Of being somehow between identities and not quite human as we being to emerge, newly created agoraphobes, from the pandemic bubble of time? And here’s a character who’s not only between identities, but between species. Which is, to put it mildly, an awkward place to be if you’re on public transportation.

Glassman is compelling as a character who’s not at home in their own body, ricocheting from moments of absolute stillness into startling 0-to-60 motion (choreography: Clarke Blair). That sense of hurling oneself against constraints is reinforced by Elise CM Jason’s scenography, a circle closed by the audience and lit from the circumference, with the sole props a circular rug and a coat rack.

Night (which would never work as a matinee), and its real live nocturnal circumstances outdoors, release a whole range of free-floating metaphors. That’s the beauty of it. What struck me is that you give up something, some sort of vital force, in order to be human and be with other humans. In order to “be OK” and wrap yourself in, well, love and support, you accommodate. You’ll be discussing, though. And that’s a great human feeling.

REVIEW

Night (a drive-in play)

Theatre: Major Matt Mason Collective, presented by Common Ground Arts Society

Written by: Geoffrey Simon Brown

Directed by: Yousuf Liepert

Starring: Zoë Glassman

Where: Rundle Park

Running: Thursday through Sunday and June 24 to 26

Tickets: Common Ground Arts Society 

  

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‘A Fringe Event’: what to expect as the Fringe goes back to its roots

Posted on June 17, 2021 by Liz Nicholls

By Liz Nicholls, 12thnight.ca

Solstice … yeah whatever. It’s impossible to think of summer without visions of the Fringe, dancing in the outskirts of your brain and gradually moving in for full occupancy. In the four decades they’ve been entwined, the Edmonton summer calendar has naturally arranged itself around our beloved giant of a festival. Fringe is what August is for.

Which is why, in the spirit of anticipation, I made my way over to the Fringe Patio last week. To get a feel, on location, for the mystery landscape of the Fringe at the big four-oh. (An aside: they were testing new cocktails for the upcoming Found Festival in July; aperol was involved.)

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Fringe director Murray Utas and Fringe Theatre’s interim director Megan Dart were there, having a Friday afternoon think about the short list of five possible scenarios from the long list they’ve been working on since The Fringe That Never Was of 2020.     

In the unstable world of pandemic protocols and every-changing restrictions, for artists and audiences, the pandemic has made Fringe-size gatherings (the 2019 edition of the festival attracted a crowd of some 3/4 million), a mystery scenario. And the Fringe is its own unique combination of outdoor crowds in an entire ‘hood and indoor audiences in small, sometimes sometimes rib-to-elbow quarters. “Live” and “intimate” are among its favourite adjectives.

“This is not the year to break box office records,” says Dart. “Nobody’s expecting to make any money…. This is the year of looking after each other, the year of coming together, the year of ‘community cares’.” Declares Utas, “never put profit over people.”

“It’s gonna happen,” says Dart of the festivities slated to run Aug. 12 to 22. “But it will look so much more like it did in the earliest days…. We’re not even calling it a ‘festival’. It’s A Fringe Theatre Event.” In this it hearkens back to the first-ever Edmonton Fringe; that’s what it was called in 1982,  the continent’s prototype, when no one could say exactly what it was, beyond a small and strange grassroots eruption of theatre in Old Strathcona. Same thing in 1983, when the Fringe was still, in personality and identity, in its formative stages as a kooky experiment.

“I know people want to fringe,” says Utas, like Dart a Fringe artist himself before he ever ran the festivities, “But we want to make sure ‘weird’ is just on the stage.” So don’t expect to be using “fringe” as a verb (an Edmonton invention incidentally) in the same way this year, just hanging out for the day, jostling your precarious way to a packed beer tent through crowds with a program in one hand and a couple of green onion cakes and a tub of hot sauce in the other. “Coming to the site will feel very different this year,” says Dart.

So, here’s a peek at the mysterious scenario-juggling involved in throwing a giant theatre ‘event’ in the middle of a pandemic. “Yes, there will be shows. And some of them might be live,” Utas says. “There may be venues, but not very many. The park (i.e. the Gazebo Park next to Fringe headquarters) may be a venue….” BYOVs? Yes, but not very many.

Usually the Fringe team has a working blueprint/schedule of the festival by June. It’s not that kind of year. Utas and Dart say they’ll finalize all things Fringe by the end of the month, with the big reveal (hey, they’re both playwrights) set for early July.

Some of the Fringe shows we’ll see come August will be live, some streamed online; some may be both live and streamed. The proportion, like the COVID restrictions, is still in flux. In the year since the 39th Fringe got cancelled, the Fringe has invested in digital expertise and equipment “as a tool for everyone to use,” as Utas says. Fringe TV is now an invaluable digital platform used by many theatre companies in town, and it’s ready for action. Utas reports that last summer 61 countries tuned into the festival’s online experiments on Fringe TV. “We’re at the intersection of digital and live, and there’s no road map.”

Last year, Utas announced that all groups who’d landed a lotteried slot would get “first right of refusal” in this year’s edition. He Zoomed with them individually, and ran a series of town halls cum workshops for artists starting last November, to explain “digital options on the Fringe TV platform,” and “to make it an opportunity to learn some skills” for a world where digital performance has become prominent. What you shouldn’t expect, due to travel restrictions, is a contingent of international shows.

“The Fringe has always been an experience. And we’re back in experience mode for our 40th,” says Dart. Utas quotes a Fringe volunteer who “exploded my mind” (a pure Murray-ism) on what he values about the festival: “I can have an experience I never expected to have in my entire life.”

“When we cancelled last year, we had a (Fringe) funeral and two weeks mourning,” says Dart “And the team came back with such fervour. Kudos to them! 15 months of planning for the unknown with such care, so much heart…. It’s allowed us to be nimble.”

What you’ll see come August may not be the Fringe you recognize, Dart predicts. But it hearkens back to its origins lo these many years. And it will have something of the same experimental spirit. Says Utas, “we’re true to our scrappy DIY punk roots….”

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