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“And the Winner Is…” The 2019 Dora Mavor Moore Award Recipient List


GENERAL THEATRE DIVISION  


2019 DORA MAVOR MOORE AWARD
Outstanding Production

General Theatre

School Girls; Or, The African Mean Girls Play

Obsidian Theatre in association with Nightwood Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding New Play

General Theatre

Charlotte Corbeil-Coleman

Guarded Girls

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

General Theatre

Nina Lee Aquino

School Girls; Or, The African Mean Girls Play

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Leading Role

General Theatre

Virgilia Griffith

Harlem Duet

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Featured Role

General Theatre

Amaka Umeh

The Wolves

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

General Theatre

Scenic Design: Ken MacKenzie

The Royale

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

General Theatre

Gillian Gallow

Orlando

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

General Theatre

Michelle Ramsay

The Royale

2019 DORA MAVOR MOORE AWARD
Outstanding Sound Design/Composition

General Theatre

Thomas Ryder Payne

The Royale

 


INDEPENDENT THEATRE DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Independent Theatre

The Runner

Human Cargo with the support of Theatre Passe Muraille

2019 DORA MAVOR MOORE AWARD
Outstanding New Play

Independent Theatre

Christopher Morris

The Runner

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

Independent Theatre

Daniel Brooks

The Runner

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Independent Theatre

Augusto Bitter

CHICHO

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Independent Theatre

Ensemble of The Wonder Pageant

Coal Mine Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

Independent Theatre

Scenic Design: Anahita Dehbonehie

Hand to God

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

Independent Theatre

Melanie McNeill

Space Opera Zero!

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Independent Theatre

Patrick Lavender

The Nether

2019 DORA MAVOR MOORE AWARD
Outstanding Sound Design/Composition

Independent Theatre

Ben McCarthy

The Scavenger’s Daughter


MUSICAL THEATRE DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Musical Theatre

Next to Normal

The Musical Stage Company presented by David Mirvish

2019 DORA MAVOR MOORE AWARD
Outstanding New Musical

Musical Theatre

Writer: Sarah Wilson, Mike Ross; Composer: Mike Ross

Rose

2019 DORA MAVOR MOORE AWARD
Outstanding Musical Direction

Musical Theatre

Chris Barillaro

Kiss of the Spider Woman

2019 DORA MAVOR MOORE AWARD
Outstanding Original Choreography

Musical Theatre

Kerry Gage   

Mary Poppins

 

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Leading Role

Musical Theatre

Ma-Anne Dionisio  

Next to Normal

 

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Featured Role

Musical Theatre

Peter Fernandes     

Rose

 

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

Musical Theatre

Scenic Design: Lorenzo Savoini

Rose

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

Musical Theatre

Anna Treusch

Under the Stairs

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Musical Theatre

Japhy Weiderman

Dear Evan Hansen


OPERA DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Opera

Eugene Onegin

Canadian Opera Company

2019 DORA MAVOR MOORE AWARD
Outstanding New Opera

Opera

Writer: Daniel MacIvor; Composer: Rufus Wainwright

Hadrian

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

Opera

Robert Carsen

Eugene Onegin

2019 DORA MAVOR MOORE AWARD
Outstanding Musical Direction

Opera

Topher Mokrzewski

Kopernikus

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Opera

Gerald Finley

Otello

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Opera

Ensemble of Kopernikus

Against the Grain Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

Opera

Scenic Design: Michael Levine

Eugene Onegin

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

Opera

Michael Levine

Eugene Onegin

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Opera

Christine Binder, based on the original design by Jean Kalman

Eugene Onegin

 


THEATRE FOR YOUNG AUDIENCES DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Theatre for Young Audiences

New Owner

Harbourfront’s Junior Festival presents The Last Great Hunt

2019 DORA MAVOR MOORE AWARD
Outstanding New Play

Theatre for Young Audiences

Makambe K Simamba

Our Fathers, Sons, Lovers and Little Brothers

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

Theatre for Young Audiences

Chanda Gibson

Les Zinspirés: L’âge de raison

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Theatre for Young Audiences

Makambe K Simamba

Our Fathers, Sons, Lovers and Little Brothers

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Theatre for Young Audiences

Ensemble of Les Zinspirés: L’âge de raison

Théâtre français de Toronto

2019 DORA MAVOR MOORE AWARD
Outstanding Achievement in Design

Theatre for Young Audiences

Scenic Design: Anahita Dehbonehie

The Little Prince: Reimagined


DANCE DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Dance

Blood Tides

DanceWorks / Kaha:wi Dance Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Original Choreography

Dance

Jera Wolfe

Trace

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Dance

Andrea Nann

A Crazy Kind of Hope (All of Our Dreaming)

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Dance

Ensemble of Blood Tides

DanceWorks / Kaha:wi Dance Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Sound Design/Composition

Dance

Eliot Britton

Trace

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Dance

Ėtienne Boucher

Frame by Frame


TOURING DIVISION


2019 DORA MAVOR MOORE AWARD

Outstanding Touring Production

Grand Finale

A Hofesh Shechter Company production presented by Canadian Stage

 

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Nominations Announced for the 40th Anniversary Dora Mavor Moore Awards

Congratulations to all of the nominees for the Dora Awards 2019! And thank you to everyone for an incredible season of the arts. We can’t wait to see what 19/20 brings.

– ITGR


Nominations Announced for
40th Anniversary Dora Mavor Moore Awards
!

Soulpepper Theatre tops General Theatre Division with 14 nominations.

The Musical Stage Company & Young People’s Theatre tie in Musical Theatre Division with 14 nods each.

Coal Mine Theatre front runner in Independent Theatre Division with 10 noms.

Canadian Opera Company leads in Opera Division with 33 nods.

DanceWorks flies highest with 13 taps in Dance Division. 

Solar Stage heads Theatre for Young Audiences Division with 10 noms.

Toronto (May 28, 2019) – At a press conference held May 28 in the Davies Takacs Lobby of the Elgin and Winter Garden Theatre Centre, the Toronto Alliance for the Performing Arts (TAPA) announced 282 nominations for the 40th Anniversary Dora Mavor Moore Awards, which recognize excellence in professional theatre, dance and opera in Toronto. On Tuesday, June 25 at the Sony Centre for the Performing Arts, 49 Dora Mavor Moore Awards, the Silver Ticket Award and the Jon Kaplan Audience Choice Award will be presented.

As TAPA announced in April of 2018, all performance categories for the Dora Mavor Moore Awards for the 2018-19 season are gender neutral. All former binary male and female titles have been replaced with gender inclusive designations as applicable to “Outstanding Performance” categories. Notably, the Doras are the first professional theatre, dance and opera awards show in Canada to adopt a fully gender-inclusive policy. Other changes to the Dora Awards include new stand-alone Divisions for Musical Theatre, Opera and Touring.

For the 2018-2019 season, running May 2018 to May 2019, 108 producing companies registered 219 eligible productions. Below are some nomination highlights.

GENERAL THEATRE DIVISION:

In the General Theatre Division, Soulpepper Theatre Company heads the nominations list with 14 taps over 5 productions. Soulpepper also earns 11 nominations in the Musical Theatre Division, bringing its grand total to 25.

Soulpepper’s The Royale garners 7 nods including Outstanding Production, Outstanding Direction for Guillermo Verdecchia, Outstanding Performance in a Featured Role for both Christef Desir and Sabryn Rock, Outstanding Scenic/Projection Design for Ken MacKenzie, Outstanding Lighting Design for Michelle Ramsay and Outstanding Sound Design/Composition for Thomas Ryder Payne. Soulpepper’s Orlando sees 4 nods: Outstanding Performance in a Leading Role for Sarah Afful, Outstanding Performance in a Featured Role for Alex McCooeye, Outstanding Costume Design for Gillian Gallow and Outstanding Lighting Design for Lorenzo Savoini. Single taps go to The Virgin Trial for Outstanding New Play to Kate Hennig, Ma Rainey’s Black Bottom for Outstanding Performance in a Leading Role to Lovell Adams-Gray and Wedding at Aulis for Outstanding Costume Design to Michelle Tracey.

Crow’s Theatre earns second spot overall in the Division with 10 nominations over 4 productions, 6 of them for Middletown: Outstanding Production, Outstanding Direction for Meg Roe, Outstanding Performance in a Leading Role for Gray Powell, Outstanding Performance in a Featured Role for Jeff Meadows, Outstanding Scenic/Projection Design for Camellia Koo and Outstanding Lighting Design for Kevin Lamotte. The Wolves, produced by The Howland Company and Crow’s Theatre, sees Amaka Umeh earn a tap for Outstanding Performance in a Featured Role and Sarah Doucet one for Outstanding Costume Design. Kimberly Purtell earns a nod for Outstanding Lighting Design for We Are Not Alone and Julie Fox gets one for Tartuffe (in a co-presentation with Canadian Stage).

Obsidian Theatre follows with 9 nods over 2 productions, 7 of them for School Girls; Or, The African Mean Girls Play, tying Soulpepper’s The Royale for top spot for a production in the General Theatre Division. Obsidian also earns 1 nomination in the Independent Theatre Division for a grand total of 10 nods. School Girls taps are: Outstanding Production, Outstanding Direction for Nina Lee Aquino, Outstanding Performance in a Leading Role for Natasha Mumba, Outstanding Performance in a Featured Role for Bria McLaughlin, Outstanding Scenic/Projection Design for Rachel Forbes, Outstanding Costume Design for Joanna Yu and Outstanding Sound Design/Composition for Reza Jacobs. Obsidian’s Oraltorio: A Theatrical Mixtape sees nods for Outstanding Direction to Mumbi Tindyebwa and Outstanding Sound Design/Composition to DJ L’Oqenz.

Other Outstanding Production taps in the General Theatre Division go to bug (Luminato) and Secret Life of a Mother (The Theatre Centre), both of which earn 4 taps in total including Outstanding New Play for Yolanda Bonnell and Hannah Moscovitch, respectively. Bonnell is also up for Outstanding Performance in a Leading Role in bug while Maev Beaty is nominated for Outstanding Performance in a Leading Role for Secret Life of a Mother. Luminato’s total nomination count is 5: 4 in General Theatre and 1 in Touring, while the Theatre Centre’s grand total is 6 including 2 in the Independent Theatre Division.

Other Outstanding New Play nominees are Charlotte Corbeil-Coleman for Tarragon Theatre’s Guarded Girls (which also earns Vivien Endicott-Douglas a nod for Outstanding Performance in a Leading Role) and the team of Lisa Karen Cox, Maggie Huculak, Raha Javanfar, Amy Nostbakken, Norah Sadava and Cheyenne Scott for Now You See Her, a Quote Unquote Collective, Nightwood Theatre and Why Not Theatre co-production.

Additional Tarragon nods include Outstanding Performance in a Leading Role to Virgilia Griffith for Harlem Duet, which also sees Allen Booth earn an Outstanding Sound Design/Composition tap. Stephanie MacDonald earns a tap for Outstanding Performance in a Featured Role for New Magic Valley Fun Town, bringing Tarragon’s total nominations to 5.

Other notable taps include, for Canadian Stage, Outstanding Direction to Brendan Healy for Every Brilliant Thing, and Outstanding Performance in a Featured Role to Jenny Young for Romeo and Juliet. Canadian Stage’s total count in General Theatre is 3 plus 3 in Touring for a total of 6. 

MUSICAL THEATRE DIVISION:

In the Musical Theatre Division, The Musical Stage Company and Young People’s Theatre (YPT) tie in leading the pack with 14 nods each, for two productions each. Soulpepper rounds up 11 nods for its production of Rose, and David Mirvish tallies in at 9 for Dear Evan Hansen.

The Musical Stage Company’s nods comprise 10 for Next to Normal and 4 for Dr. Silver: A Celebration of Life, co-produced with Outside the March.

Next to Normal nominations are Outstanding Production, Outstanding Direction to the team of Philip Akin and Tracey Flye, Outstanding Musical Direction to Lily Ling, Outstanding Performance in a Leading Role to each of Ma-Anne Dionisio and Stephanie Sy, Outstanding Performance in a Featured Role to both Brandon Antonio and Louise Pitre, Outstanding Lighting Design and Outstanding Scenic/Projection Design to Steve Lucas and Outstanding Costume Design to Alex Amini.

Dr. Silver: A Celebration of Life nabs nods for Outstanding New Musical to Anika Johnson and Britta Johnson, Outstanding Original Choreography to Barbara Johnston, Outstanding Performance in a Leading Role to Bruce Dow and Outstanding Performance in a Featured Role to Peter Deiwick.

Young People’s Theatre’s 14 nods in this division are comprised of 9 for Mary Poppins and 5 for Under the Stairs. With an additional 3 taps in the Theatre for Young Audiences Division, YPT’s total nomination haul is 17.

Mary Poppins earns taps for Outstanding Production, Outstanding Direction to Thom Allison, Outstanding Musical Direction to Wayne Gwillim, Outstanding Original Choreography to Kerry Gage, Outstanding Performance in a Leading Role to Vanessa Sears, Outstanding Performance in a Featured Role to Jade Repeta, Outstanding Scenic/Projection Design to Brandon Kleiman, Outstanding Costume Design to Bill Layton and Outstanding Lighting Design to Jason Hand.

Under the Stairs earns nods for Outstanding New Musical to writer Kevin Dyer and composer Reza Jacobs, Outstanding Original Choreography to Viv Moore, Outstanding Scenic/Projection Design to Teresa Przybylski, Outstanding Costume Design to Anna Treusch and Outstanding Lighting Design to Michelle Ramsay.

The 11 nominations to Soulpepper Theatre Company for Rose are: Outstanding Production, Outstanding New Musical to writer Sarah Wilson and composer Mike Ross, Outstanding Musical Direction to Mike Ross, Outstanding Direction to Gregory Prest, Outstanding Original Choreography to Monica Dottor, Outstanding Performance in a Leading Role to Hailey Gillis, Outstanding Performance in a Featured Role to each of Peter Fernandes and Sabryn Rock, Outstanding Lighting Design and Outstanding Scenic/Projection Design to Lorenzo Savoini and Outstanding Costume Design to Alexandra Lord.

The David Mirvish production of Dear Evan Hansen sees nominations for Outstanding Production, Outstanding Direction to Michael Greif, Outstanding Musical Direction to Elizabeth Baird, Outstanding Performance in a Leading Role to Robert Markus, Outstanding Performance in a Featured Role to each of Allessandro Constantini and Sean Patrick Dolan, Outstanding Scenic/Projection Design to the team of David Korins and Peter Nigrini, Outstanding Costume Design to Emily Rebholz and Outstanding Lighting Design to Japhy Weideman.

Other notable nods in the Musical Theatre Division go to Eclipse Theatre Company for its presentation of Kiss of the Spider Woman which earns a total of 6 nominations: Outstanding Production, Outstanding Direction to Evan Tsitsias, Outstanding Musical Direction to Chris Barillaro, Outstanding Original Choreography to Sara-Jeanne Hosie, and Outstanding Performance in a Leading Role to each of Kawa Ada and Tracy Michailidis.

INDEPENDENT THEATRE DIVISION:

In the Independent Theatre Division, Coal Mine Theatre takes the lead with 10 nominations, 5 of them in co-production with Studio 180 Theatre for The Nether and the others spread out over three productions. Human Cargo and Saga Collectif tie for second spot with 7 hits each, both for a single production: respectively, The Runner and Iphigenia and the Furies (On Taurian Land), making each the leading production in this division. Native Earth Performing Arts follows closely with 6 nods: 4 for Isitwendam and 2 for After the Fire in a co-production with The Theatre Centre.

Coal Mine Theatre and Studio 180 Theatre’s The Nether nods are: Outstanding Production, Outstanding Performance of an Ensemble to Katherine Cullen, Hannah Levinson, Mark McGrinder, Robert Persichini and David Storch, Outstanding Scenic/Projection Design to Patrick Lavender and Nick Bottomley, Outstanding Lighting Design to Patrick Lavender and Outstanding Sound Design/Composition to Richard Feren.

Coal Mine scores 3 hits with Hand to God: Outstanding Direction to the team of Mitchell Cushman and Marcus Jamin, Outstanding Performance of an Individual to Frank Cox-O’Connell and Outstanding Scenic/Projection Design to Anahita Dehbonehie.

Coal Mine’s The Father earns Eric Peterson a nod for Outstanding Performance of an Individual while The Wonder Pageant sees Ron Pederson, Kayla Lorette, Matt Baram, Jan Carauna, Paloma Nunez, Waylen Miki and Kris Siddiqi nominated for Outstanding Performance of an Ensemble.

Human Cargo’s 7 taps for The Runner are: Outstanding Production, Outstanding New Play to Christopher Morris, Outstanding Direction to Daniel Brooks, Outstanding Performance of an Individual to Gord Rand, Outstanding Scenic/Projection Design to Gillian Gallow, Outstanding Lighting Design to Bonnie Beecher and Outstanding Sound Design/Composition to Alexander MacSween.

The Saga Collectif 7 nods for Iphigenia and the Furies (On Taurian Land) are: Outstanding Production, Outstanding New Play to Ho Ka Kei (Jeff Ho), Outstanding Direction to Jonathan Seinen, Outstanding Performance of an Individual to Virgilia Griffith, Outstanding Costume Design to Christine Urquhart, Outstanding Lighting Design to Jareth Li and Outstanding Sound Design/Composition to Heidi Chan.

The Native Earth Performing Arts 4 nods for Isitwendam are: Outstanding Production, Outstanding New Play to Meegwun Fairbrother, Outstanding Performance of an Individual to Meegwun Fairbrother and Outstanding Scenic/Projection Design to the team of Hans Saefkow and Andy Moro with Melissa Joakim. After the Fire scores taps for Outstanding New Play to Matthew MacKenzie and Outstanding Performance of an Ensemble to Sheldon Elter, Jesse Gervais, Kaitlyn Riordan and Louise Lambert.

Other notable nods in this division include Outstanding New Play and Outstanding Performance of an Individual to Augusto Bitter for Theatre Passe Muraille’s CHICHO, Outstanding Direction to Erin Brubacher for Generous Friend’s Noor and to Leora Morris for PARADIGM productionsThe Philosopher’s Wife, and Outstanding Performance of an Individual to Catherine Fitch for Leroy Street Theatre’s Her Inside Life and to Mattie Driscoll for Cue6 Theatre’s Dry Land.

As well, Outstanding Performance of an Ensemble nods go to ARC for Human Animals, DopoLavoro Teatrale for If on a Christmas Night, Obsidian Theatre for Judas Noir, Aluna Theatre for Stones and Why Not Theatre for Wring the Roses. 

OPERA DIVISION:

In the Opera Division, the Canadian Opera Company’s (COC) productions lead with a total of 33 nominations over six productions, making the COC the leader in overall nominations as well. The COC’s Otello earns 8 taps, the most for a production in the Opera Division. The COC’s Otello, Eugene Onegin, Hadrian and La Bohème all vie for Outstanding Production, as does Against the Grain Theatre’s Kopernikus which, along with Eugene Onegin and Hadrian, sees a total of 7 nods and earns Against the Grain second spot in the Opera Division.

Hadrian also receives a nod for Outstanding New Opera for writer Daniel MacIvor and composer Rufus Wainwright as does Hook Up, a Tapestry Opera production in partnership with Theatre Passe Muraille, for writer Julie Tepperman and composer Chris Thornborrow as well as the Canadian Children’s Opera Company’s The Monkiest King for writer Marjorie Chan and composer Alice Ping Yee Ho.

Otello garners the following additional hits: Outstanding Direction to David Alden, Outstanding Musical Direction to Johannes Debus (who also earns the same for the COC’s Elektra and Eugene Onegin), Outstanding Performance of an Individual to both Gerald Finley and Tamara Wilson, Outstanding Scenic/Projection Design and Outstanding Costume Design to Jon Morrell, and Outstanding Lighting Design to Andrew Cutbush.

Additional Outstanding Direction nods go to the team of Joel Ivany and Matjash Mrozewski for Kopernikus, John Caird for La Bohème, Robert Carsen for Eugene Onegin and Jessica Derventzis for Opera 5’s Il Barbiere di Siviglia. Outstanding Musical Direction nods also go to Bernard Labadie for the COC’s Cosi fan tutte and to Topher Mokrzewski for Kopernikus.

Joining the race for Outstanding Performance of an Individual are Ambur Braid for Hadrian, Angel Blue for La Bohème, Christine Goerke for Elektra, Thomas Hampson for Hadrian and Tracy Dahl for Cosi fan tutte. Johnathon Kirby wades in for his role in Il Barbiere di Siviglia.

As well, Outstanding Performance of an Ensemble nods go to Cosi fan tutte and Eugene Onegin as well as Kopernikus, Opera 5’s Open Chambers: Hindemith & Shostakovich, along with the Canadian Children’s Opera Company’s The Monkiest King and The Snow Queen. 

DANCE DIVISION:

In the Dance Division, DanceWorks hits top spot with 13 nominations including 5 for Blood Tides (DanceWorks / Kaha:wi Dance Theatre), 5 for No Woman’s Land (DanceWorks / Jaberi Dance Theatre) and 3 for The art of degeneration (DanceWorks / Louis Laberge-Côté). All of them are up for Outstanding Production as well as Outstanding Original Choreography: Roshanak Jaberi for No Woman’s Land, Louis Laberge-Côté for The art of degeneration and Santee Smith with Jahra Wasasala and Marina Acevedo for Blood Tides. Additionally, Louis Laberge-Côté is tapped for Outstanding Performance of an Individual while Blood Tides and No Woman’s Land are up for Outstanding Performance of an Ensemble.

The National Ballet of Canada dances into the runner-up slot with 7 nods including 5 for Frame by Frame: Outstanding Production, Guillaume Côté for Outstanding Original Choreography, Jack Bertinshaw for Outstanding Performance of an Individual, Antoine Bédard for Outstanding Sound Design/Composition and Étienne Boucher for Outstanding Lighting Design. Hannah Fischer vies as well for Outstanding Performance of an Individual for Paz de la Jolla while Anna Karenina earns a nod for Outstanding Performance of an Ensemble.

Third place goes to Red Sky Performance with 4 taps, all for Trace: Outstanding Production, Outstanding Original Choreography for Jera Wolfe, Outstanding Sound Design/Composition for Eliot Britton and Outstanding Lighting Design for Alexis Bowles.

Additional Outstanding Performance of an Individual nods go to Dreamwalker Dance Company’s Andrea Nann, nominated twice for her company’s All of Our Dreaming program: once for the piece A Crazy Kind of Hope and the other for In a Landscape. Evelyn Hart and Johanna Bergfelt are also nominated for the same for Citadel + Compagnie’s Four Old Legs and SKOW, respectively. José Maldonado earns a tap in this category as well for Esmeralda Enrique Spanish Dance Company’s El Caudal Que Yo Tengos from its show Impulso.

Joining the Outstanding Performance of an Ensemble race are Dreamwalker Dance Company for Dual Light: Brendan and Yuichiro (from All of Our Dreaming), Esie Mensah Creations for Shades, Peggy Baker Dance Projects for who we are in the dark and Toronto Dance Theatre with two entries: Slow Dance and This Shape, We Are In. 

THEATRE FOR YOUNG AUDIENCES DIVISION:

The Theatre for Young Audiences Division sees Solar Stage lead the pack with 10 nods over four productions followed by Théâtre français de Toronto and Why Not Theatre in a tie with 5 each, both for one production. Why Not Theatre’s Eraser and Théâtre français de Toronto’s Les Zinspirés: L’âge de raison each come out on top with the most nominations for a production in this Division. (With 3 in General Theatre and 1 in the Independent Theatre Division, Why Not’s total nods come to 9.)

Eraser sees taps for Outstanding Production, Outstanding Direction for the duo of Bilal Baig and Sadie Epstein-Fine, Outstanding Performance of an Ensemble, Outstanding Achievement in Design for Maddie Bautista (sound design) and Outstanding New Play for the team of Bilal Baig, Sadie Epstein-Fine with Christol Bryan, Marina Gomes, Yousef Kadoura, Tijiki Morris, Anthony Perpuse and Nathan Redburn.

Les Zinspirés: L’âge de raison scores nods for Outstanding Direction for Chanda Gibson, Outstanding Performance of an Ensemble, Outstanding Achievement in Design to each of Simon Rossiter (lighting design) and Glenn Davidson (scenic design) and Outstanding New Play for the team of Olivia Cyr, Mariam Guira, Errine Jean Charles, Cathlin Jiaqi Han and Abigail Morin; Coached by: Krystel Descary, François Macdonald, Marie-Claire Marcotte, Pierre Simpson and Donald Woo.

Other Outstanding Production nods go to Harbourfront Centre for both We Are All Treaty People and New Owner as well as to the Wee Festival’s KNOCK! and Young People’s Theatre’s The 26 Letter Dance.

Both Shakespeare in Action’s Suddenly Shakespeare and Puzzle Piece’s The Little Prince: Reimagined garner 4 hits: Suddenly Shakespeare’s are Outstanding Direction to Michael Kelly plus 3 taps for Outstanding Performance of an Individual to each of Chris George, Alexandra Montagnese and Mussie Solomon; while Puzzle Piece’s are Outstanding New Play to Richard Lam, Outstanding Performance of an Individual to each of Kira Hall and Richard Lam, and Outstanding Achievement in Design to Anahita Dehbonehie (scenic design).

Additional taps for both Outstanding New Play and Outstanding Performance of an Individual go to Makambe K Simamba for b current performing arts Our Fathers, Sons, Lovers and Little Brothers which also sees Donna-Michelle St. Bernard earn a nod for Outstanding Direction for a total of 3 hits for the show.

Two Solar Stage shows also earn 3 nods apiece: Ugly Duckthing nods include Marty Stelnick for Outstanding New Play and Outstanding Achievement in Design (puppetry design) as well as Outstanding Performance of an Ensemble; Treasure Island gets on board with Outstanding Performance of an Ensemble, Outstanding Performance of an Individual for Faly Mevamanana and Outstanding Achievement in Design for Marysia Bucholc (scenic design). Other notable Solar Stage nods include Outstanding Performance of an Ensemble for A Merry Munsch Pyjama Party! with the duo of Dahlia Katz and M. John Kennedy up for Outstanding Direction.

Other notable nods include Outstanding Performance of an Individual to Morgan St. Onge for Roseneath Theatre’s Head à Tête, and Outstanding Performance of an Ensemble for both the WeeFestival’s Tweet Tweet and Young People’s Theatre’s Antigone: . 

TOURING DIVISION:

Canadian Stage leads in the Outstanding Touring Production award race with 3 out of the 5 nominations: Hofesh Shechter Company’s Grand Finale, Akram Khan Company’s XENOS and Kidd Pivot’s Revisor. Also in the ring are Luminato with Teac Damsa’s Swan Lake / Loch na hEala and Aluna Theatre with Wilson Pico’s Los Materiales de la Ira y el Amor presented at its RUTAS International Multi-Arts Festival. (This award will be given out in advance at a special invitation-only reception honouring all the nominees.)

***

See the accompanying complete list of nominees. The full list is also available online at tapa.ca as of 1pm today. Of note, the following and various designers all received 3 nominations: Gillian Gallow, Jason Hand, Thomas Ryder Payne and Lorenzo Savoini.

Twitter – @doraawards : #DoraAwards   #DORAS2019                #theatreTO

SPECIAL PRIZE ANNOUNCED:

For the fifth year in a row, the Pat and Tony Adams Freedom Fund for the Arts will provide a cash prize of $1,000 each to the recipients of Outstanding Performance in a Leading Role in the General Theatre Division and Outstanding Performance in a Featured Role in the General Theatre Division

ANCILLARY AWARDS PRESENTED:

In addition, the recipients of the Pauline McGibbon Award, George Luscombe Mentorship Award and Leonard McHardy and John Harvey Award were bestowed at the press conference.

The recipient of the 2019 Leonard McHardy and John Harvey Award is the extraordinarily talented arts producer Sherrie Johnson who was recently appointed Executive Director for Crow’s Theatre after serving as Executive Producer at Canadian Stage for six years. The award recognizes the important work of theatre, dance and opera administrators and is named after the founders of Toronto’s Theatrebooks (1975 to its closure in 2014). The winner receives a plaque and a cheque for $1,000 through the generous sponsorship of the late Elizabeth Comper. Recipients of the LMJH Award have at least 10 years of demonstrated commitment to the performing arts, in addition to having made an impact on the industry in Toronto.

The recipient of the George Luscombe Mentorship Award is Jacquie P.A. Thomas, founding Artistic Director of Theatre Gargantua since 1992. Named in honour of Toronto Workshop Productions’ revolutionary theatre founder and artistic director, the award is administered by TAPA and comes with original artwork by Theo Dimson, a copy of the book Conversations with George Luscombe: Steven Bush in conversation with the Canadian Theatre visionary and a $500 prize. Ms. Thomas has maintained an unwavering commitment to producing original Canadian theatre and to the development and support of the artist, including young and emerging artists. A pioneer of Canadian multi-disciplinary devised theatre, she has created numerous socially relevant, award-winning works. This year, Jacquie P.A. Thomas celebrates her 27th season as the Artistic Director of Theatre Gargantua, one of the longest serving female Artistic Directors in the country.

Toronto-based scenic artist Ksenia Ivanova is the recipient of the 2019 Pauline McGibbon Award, created in honour of former Lieutenant Governor Pauline McGibbon for her support and patronage of the arts. It includes a $7,000 prize and a medal designed by Dora de Pédery-Hunt. The award is presented to an Ontario-resident professional artist in the early stages of their career who displays unique talent and has the potential for excellence. Every three years, the award goes to a designer, then to a director, and the third year to a production craftsperson. Born in St. Petersburg, Russia, Kesia moved to Canada in 2010 and enrolled in Humber College’s Theatre Production program. Since graduating in 2013, she has contributed scenic work to more than 100 productions across Ontario for companies such as Tarragon Theatre, the Stratford Festival, Soulpepper, Crow’s Theatre, Factory Theatre and Coal Mine Theatre. Though still in the early stages of her career, she has embraced her role as a teacher and mentor, leading her teams with a commitment to creativity that will ensure a strong next generation of theatre creators.

JON KAPLAN AUDIENCE CHOICE AWARD VOTE:

TAPA’s third annual Jon Kaplan Audience Choice Award in honour of the beloved, long-time NOW Magazine theatre critic will be given out at the Dora Awards show and ceremony on June 25. The Jon Kaplan Audience Choice Award is co-sponsored for the third year in a row by NOW Magazine and Yonge-Dundas Square. The public is invited to choose a winner and vote for their favourite show from the list of nominees for Outstanding Production – or they can choose their own! Theatre, dance and opera fans can cast their votes online at at nowtoronto.com/jonkaplan-audience-choice-award May 31 at noon through to June 19 at 12 midnight. …The winner receives a special plaque from NOW Magazine.

***

40th ANNIVERSARY DORA MAVOR MOORE AWARDS:

On Tuesday, June 25 at the Sony Centre for the Performing Arts, 49 Dora Mavor Moore Awards, the Silver Ticket Award and the Jon Kaplan Audience Choice Award will be presented. Fresh from touring his new solo show BOOMX, the incomparable Canadian theatre artist Rick Miller hosts this very special celebratory evening. A director, actor, comedian, musician and playwright, Mr. Miller is well-known across the country for his widely acclaimed one-man shows that include MacHomer, BOOM and Bigger Than Jesus (for which he won a 2006 Outstanding Performance Dora). The 40th Anniversary Dora Awards are penned by actor and writer Diane Flacks, currently starring in the title role of Nathan the Wise at the Stratford Festival, and directed by Ed Roy, recipient of Pauline McGibbon and Dora Awards for directing.

Tickets go on sale May 28 through the Sony Centre Box Office at 1 Front Street East or call 416.368.6161 x 1 or book online at the Ticketmaster website: https://www.ticketmaster.ca/event/100056B7E690656E 

In honour of the 40th Anniversary of the Dora Mavor Moore Awards, an Early Bird special price is being offered: Just $40 for both the Awards Show and After-Party! The Early Bird offer expires on Tuesday June 11 at 5pm, after which regular ticket prices will be in effect.

After June 11 at 5pm, ticket prices are:

Regular Tickets (Awards Show & After-Party) are $90.00 (+HST & Ticketmaster fees)

Student, Senior and Artsworker Tickets (Awards Show & After-Party) are $70 (+HST & Ticketmaster fees)
Pre-Show VIP Reception Tickets (includes Awards Show & After-Party) are $190 (these are only available by emailing Scott Dermody at scottd@tapa.ca to reserve)
After-Party ONLY Tickets (purchase at the door beginning 10:30pm) are $20.


40th Anniversary Dora Mavor Moore Awards

– Toronto’s Theatre, Dance and Opera Awards –

Tuesday June 25, 2019

Hosted by the multi-talented, multi-award-winning Rick Miller

Written by Diane Flacks, Directed by Edward Roy,

Musical Direction by Evelyne Datl, Lighting and Production Design by Andrea Lundy, Produced by Jacoba Knaapen

At the Sony Centre for the Performing Arts, 1 Front Street East, Toronto, ON M5E 1B2

6:00pm-7:00pm Pre-Show VIP Cocktail Reception in the Lower Lobby of the Sony Centre for the Performing Arts

7:30pm Dora Mavor Moore Awards Show in the Sony Centre

10:30pm After-Party in and around the Sony Centre for the Performing Arts

TICKETS ON SALE May 28, 2019

For both Early Bird and Regular tickets, visit the Sony Centre Box Office at 1 Front Street East

or call 416.368.6161 x 1 or book online at https://www.ticketmaster.ca/event/100056B7E690656E 

EARLY BIRD DISCOUNT!
Awards Show & After-Party
$40 for the 40th
Offer expires Tuesday, June 11, 5:00pm

Regular Tickets (Awards Show & After-Party): $90.00 (+HST & Ticketmaster fees)

Student, Senior, Artsworker Tickets (Awards Show & After-Party): $70 (+HST & Ticketmaster fees)

Pre-Show VIP Reception Tickets (includes Awards Show & After-Party): $190
(email Scott Dermody at scottd@tapa.ca to reserve)

After-Party ONLY Tickets (purchase at the door beginning 10:30pm): $20

For information visit http://tapa.ca
Twitter: @doraawards   #DoraAwards #DORAS2019 #theatreTO

NSTF Artists take it to the “Next Stage” in 2018


As one year ends and a new one begins, The Next Stage Festival is a time that we always look forward to over here at In the Greenroom. The festival offers a space for the Toronto theatre community to gather, re-connect, re-charge, and re-inspire themselves as we collectively re-focus on community, development, and growth in this first wintery month of the new year. What an incredible GIFT because DAMN it’s real cold and dreary out there and we all need a little reason to leave the house and RE-CONNECT with art, artists, ideas and create the space to experience something new!

We had the pleasure of connecting with this year’s NSTF artists to discuss their work, the importance of the festival, and we asked them to reflect on their hopes/goals/mantras for themselves as artists and for the Toronto arts community for 2018.

We hope this may help to inspire you as the year kicks off. Go out, see something new at Next Stage, and let us know what your hopes/goals/mantras are in 2018 in the comments below, or by connecting with us on facebook, twitter and instagram!

A very HAPPY NEW YEAR beauties. See you in that sweet sweet heated beer tent!

– Hallie

Hallie Seline
Co-founder & Editor in Chief

In the Greenroom


Good Morning, Viet Mom

Tell me a little bit about your show and how you are taking it to the “Next Stage” with this festival.

Good Morning, Viet Mom is a hilarious and moving solo show by me, the devilishly handsome Franco Nguyen, that explores family created through my stand-up sets and storytelling circles. From our sold-out run at the 2017 Toronto Fringe Festival, we’re taking it to the “next stage” with a revamped production including a new script and additional design elements and a larger creative team.

Can you speak a bit about why the Next Stage Festival is important for both artist & community?

Next Stage audiences are extra crazy and dedicated. They head out in the dead of winter to see theatre…and to drink beer in a tent. They’re essentially winter camping. That fiery spirit is so important for any community. It allows for inspiration, conversation and it keeps things lit.

With the theme of “Next Stage” in mind, what would you love to see from the Toronto arts community in 2018?

We’re looking forward to new voices in Toronto’s arts community. We want to see more work by and for Toronto’s unseen communities. Work that pushes the boundaries of what Toronto, Arts and Community mean. You know, stuff that’s accessible to people who work in factories and at McDonald’s. And people who regularly check World Star Hip Hop online.

What is your goal/resolution/mantra for yourself as an artist in 2018?

To be more honest and present, and also to make that paper, baby!

What other show are you most looking forward to seeing at the festival?

We’re looking forward to seeing the work of our #NSTFunny partners – The Harold Experience and Sex T-Rex’s SwordPlay

Connect:
fb: /Soaring-Skies-Collective

For show dates, times and tickets for Good Morning, Viet Mom, click here. 


The Harold Experience

Tell me a little bit about your show and how you are taking it to the “Next Stage” with this festival.

The Harold Experience is a completely improvised comedy show featuring some of Canada’s best improvisers and produced by Toronto’s newest improv company, The Assembly. Using suggestions and stories from the audience, the performers create an entire show with intertwining plots that come together for a satisfying conclusion. The show is based on one of improv’s oldest forms, The Harold. Typically, this form comes with some hesitance because it’s so difficult to perform, but our cast is up to the challenge of pulling it off. We’re taking it to the “next stage” by upping the polish while keeping it fun, funny, and interesting for general audiences.

Can you speak a bit about why the Next Stage Festival is important for both artist & community?

The Next Stage Theatre Festival is important because it’s the first big show for The Assembly. The Assembly is less than a year old and has made such great strides in these past months – starting with a collective of improv teams, moving into offering classes, and now, producing a show at the Next Stage Theatre Festival. Showcasing our art form and continuing to legitimize improv (and specifically this type of improv) is incredibly important to us and our community, and being part of Next Stage really confirms that.

With the theme of “Next Stage” in mind, what would you love to see from the Toronto arts community in 2018?

We would love to see improv (specifically, long-form improv)! Improv exists within its own community, and our brand of improv (long-form) exists within its own even smaller community. It would be great to see more of long-form and all types of improv throughout the entire arts community.

What is your goal/resolution/mantra for yourself as an artist in 2018?

Major goals for The Assembly include continuing to grow our classes (we currently have seven classes with almost 90 students), continuing to develop and showcase talent at our monthly shows, moving into new spaces in the city (we offer classes in three different locations and have shows at three other locations), and persevering as a very young, very niche improv company!

What other show are you most looking forward to seeing at the festival?

We’re so looking forward to seeing Franco Nguyen’s Good Morning, Viet Mom (Franco is actually a member of The Assembly on the incredible team TallboyzIIMen and his show is an amazing mix of funny and touching with really cool audiovisual elements) and Sex T-Rex’s Swordplay (Sex T-Rex is so funny and their productions have their signature cinematic style, which is so cool and unique).

Connect:
fb: /theassemblyimprov
ig: @theassemblyimprov
t: @TheAssemblyTO

For show dates, times and tickets for The Harold Experience, click here. 


Birthday Balloon

Tell me a little bit about your show and how you are taking it to the “Next Stage” with this festival.

Birthday Balloon was first commissioned by Rising Tide Theatre Company in Newfoundland in 2016 and presented as a part of their festival in Trinity, NL. I read Steve Cochrane’s play and felt it absolutely needed to be done off the island, on the mainland we’ll say. I felt there was an audience here for it and a need for it to be done and so I decided to produce it. The Next Stage Theatre Festival felt like the perfect place to do such a thing. The NSTF provides a perfect platform to produce a new work. It is an extremely respected festival which provides an enormous amount of support to companies, especially ones like my new venture, Mauzy May Productions. The application fee alone of $30 instead of hundreds of dollars was such an appealing factor. The NSTF makes it possible to produce works of a high-caliber that will be seen by your respected peers because it is an extension of the Toronto Fringe which is such an institution in the Toronto community. The NSTF makes the prospect of producing affordable theatre quite plausible. The NSTF has made it possible to present Birthday Balloon with the hopes of getting an opportunity be programmed by an already established theatre company.

Birthday Balloon is a universal story of loss and perseverance, yet very specific to Newfoundland and its new identity after an economic crisis that threatened the very existence of rural NL. After the fall of the cod fishery and the cod moratorium, rural Newfoundland, as we knew it, changed drastically. We saw men, many men, leave their homes and head off to Fort McMurray, AB to try to make a living for their families. This came at a cost to many families. Through the lens of a dying marriage after a tremendous loss, Birthday Balloon tells the story of the enormous cost to one family.

Can you speak a bit about why the Next Stage Festival is important for both artist & community?

As stated above, the NSTF provides a tremendous opportunity for artists. The entire vibe, if I can call it that, since being accepted into the festival has been nothing but support and encouragement. In a word: community. My company and this production have been embraced by the Fringe and many other theatre people and companies simply by association and the festival hasn’t even started yet! I have felt guidance as an artist and received help throughout the past few months from the NSTF company, which obviously helps me, as a producer, feel really strong and positive about the production I am presenting. The sense of community with all the shows is tangible. It’s present. And it’s comforting. We are all in this together, as a community, and we want to present something special together to the Toronto theatre community at large.

With the theme of “Next Stage” in mind, what would you love to see from the Toronto arts community in 2018?

To be honest, I would like to see even more affordable opportunities, like NSTF, for independent artists, for new voices, for groundbreaking material to have a place to be seen. With NSTF, for example, it costs an audience member $15 to see a show of a high-caliber. Outside of their own personal expenses, it costs a producer $30 to have a venue, a well-known venue in the city, to present their piece. It’s a win-win situation! People in the city and outside the city get to take a chance on seeing some culture without breaking the bank. This is always appealing for an audience member and it provides so much exposure for many that wouldn’t get it otherwise.

What is your goal/resolution/mantra for yourself as an artist in 2018?

Be brave, tell your stories the way you want to tell them. Tell the stories that you want to hear. Don’t wait for the chance, keep making it happen. Give a voice to women, a voice that is often not heard.

What other show are you most looking forward to seeing at the festival?

I am most looking forward to seeing Rumspringa Break… for two big reasons! My dear friend, Matt Murray (who wrote Myth of the Ostrich that I was in in the 2015 NSTF) wrote it AND my director, Steven Gallagher (who also directed Myth!) is directing it!

For show dates, times and tickets for Birthday Balloon, click here. 


JONNO

Tell me a little bit about your show and how you are taking it to the “Next Stage” with this festival.

JONNO is a fictionalized retelling of a true sexual assault case that shocked Canadians back in 2014, when the news first broke about a beloved radio host’s violent and predatory behaviour towards women. The play was first produced by Echo Theatre at the 2016 Winnipeg Fringe Festival. When we initially decided to bring it to Toronto’s Next Stage Theatre Festival, we were a little worried that the story might be a little dated, and that the play’s angry and aggressive retelling of the assault might do nothing more than re-open old wounds. Little did we know that, in a matter of weeks, the media would be flooded with new sexual assault accusations and #metoo stories from countless women around the world. Our Next Stage production of JONNO isn’t just about one man and the women he assaulted— it’s about how we as a society seem to keep letting these incidents happen, and what we are going to do to hold each other accountable and move forward.

Can you speak a bit about why the Next Stage Festival is important for both artist & community?

JONNO was a difficult play to stage — both because of the show’s content, and because of today’s heated political climate. And yet, those are also the same reasons that made us feel certain that this show needed to produced HERE and NOW. Being a part of the Next Stage Festival gave us access to the resources and support that we needed to bring this work to life in a safe and accessible manner. It’s thanks to festivals like these, and thanks to the fabulous staff hard at work behind the scenes, that new and challenging pieces of theatre like this one are given the space they need to thrive.

With the theme of “Next Stage” in mind, what would you love to see from the Toronto arts community in 2018?

Theatre is great when it is bold, innovative, and urgent — but, more importantly, it is great when it kickstarts a conversation and creates a dialogue with its audiences. We are really excited to hear what people think about JONNO. We know that we as artists are fallible: we don’t expect everyone to love the work that we produce, and we don’t expect everyone to agree with the stance that we take on a particular subject. But when we create avenues for further discussion, what begins as simply criticism can morph into an opportunity for growth and change. Then, instead of simply telling or retelling a story, our art is actually paving the way for real progress. (If only EVERY production had a beer tent for its audiences to stay and chat after the show!)

What other show are you most looking forward to seeing at the festival?

We’re very excited for that F word by SaMel Tanz! It promises to be another bold, dynamic, and fearless exploration of feminism, performed by a cast of talented and diverse female artists.

Connect:
fb: /rabbitinahatproductions
t: @RabbitinHatProd

For show dates, times and tickets for JONNO, click here. 


Leila Live!

Tell me a little bit about your show and how you are taking it to the “Next Stage” with this festival.

Hello, my name is Leila! I am a real-life Persian Princess and have been touring my plays Love With Leila and A Very Leila Christmas across Canada for the past three years. With Leila Live! I am presenting my very first cabaret show where I will perform monologues, dance numbers, original songs, stand up and much more.

Can you speak a bit about why the Next Stage Festival is important for both artist & community?

What a gift it is to start a new year by performing a new piece of work amongst other talented and inspiring artists?! For me, this is such a wonderful opportunity to push myself and grow – 12 nights in a row!

With the theme of “Next Stage” in mind, what would you love to see from the Toronto arts community in 2018?

I want to see more diverse artists in leading roles (and I want to see myself in a big musical… maybe the will cast me as a Schuyler sister in Hamilton??)

What is your goal/resolution/mantra for yourself as an artist in 2018?

I am currently reading ‘the subtle art of not giving a f*ck’ – I want to do that.

What other show are you most looking forward to seeing at the festival?

I am most looking forward to seeing my friend Christel Bartelse as Ginger in The Surprise – also in the antechamber space. This is the second time in the past year we are sharing a venue together!

Connect:
fb: /badgirlleila
ig: @_badgirl_leila

For show dates, times and tickets for Leila Live!, click here.


Moonlight After Midnight

Tell me a little bit about your show and how you are taking it to the “Next Stage” with this festival.

Moonlight After Midnight is a two-person love story about a couple who meet in a hotel room. They begin to role-play a relationship, but even within their play-acting, nothing is as it seems. As multiple layers of reality play out against a shifting landscape of time and space, a puzzle emerges about love, loss, and who we really are to one another. We hope the Next Stage Festival brings the show to the hearts and minds of a an audience beyond those who already comfortably attend the fringe.

Can you speak a bit about why the Next Stage Festival is important for both artist & community?

Unlike the Toronto Fringe, the Next Stage Festival is curated. For those that love independently produced and created theatre, but who are uncertain about taking a chance on a fringe show in which the entire program is selected by lottery, the Next Stage offers a fantastic 10-show roster of amazing productions. For the 12-day length of the festival, the arts community of Toronto can focus on this handful of shows that represent the very best of what’s happening in the world of independent theatre.

What is your goal/resolution/mantra for yourself as an artist in 2018?

Intrigue, entertain, and excite by providing a window into the universal truths and enigmas inherent in the human experience.

What other show are you most looking forward to seeing at the festival?

I’m really excited to see Birthday Balloon. It looks like it’ll be a well-written & acted piece of drama about a couple dealing with, well, being a couple – which is to say: our kind of show.

Connect:
fb: /concretedrops
t: @concretedrops
ig: @concretedrops

For show dates, times and tickets to Moonlight After Midnight, click here. 


Rumspringa Break!

Tell me a little bit about your show and how you are taking it to the “Next Stage” with this festival.

Rumspringa Break!  has been in development for two years. In 2016 we workshopped and presented the first 45 minutes of the show at the Canadian Music Theatre Project at Sheridan College. In the Spring of 2017 we returned to Sheridan with a completed draft for a second workshop, followed by a staged reading at Theatre Passe Muraille as part of Sheridan’s “Off Sheridan” initiative. In the Summer of 2017 we had the opportunity to spend ten days at Theatre St John’s for their Newfoundland and Labrador Musical Theatre Writers Retreat, allowing us to incorporate what we’d learned from the Off Sheridan presentation. We are now excited to take our show to the “Next Stage” at the festival, stepping out from behind the music stands for the first fully staged production of Rumspringa Break!

Can you speak a bit about why the Next Stage Festival is important for both artist & community?

This festival truly gives artists an opportunity to take their work to the next level. The Toronto Fringe provides a vital platform and support system that allows us to focus on the work and to present our piece in an affordable way. When trying to produce indie theatre at a grassroots level, having the support of an organization like the Toronto Fringe is such a help. It also benefits the community because it provides theatre-goers an accessible chance to experience quality theatre for minimal expense in the coldest months of winter.

With the theme of “Next Stage” in mind, what would you love to see from the Toronto arts community in 2018?

We would love to see Canadian theatre companies continue their support of new works by Canadian musical theatre creators. We also hope the audience base for new Canadian musicals continues to grow.

What is your goal/resolution/mantra for yourself as an artist in 2018?

We are devoted to telling compelling stories that promote compassion and empathy. We hope to reach out to audiences who may not be familiar with contemporary musical theatre, introduce them to the art form, and let them fall in love with the medium.

What other show are you most looking forward to seeing at the festival?

We are excited for the wide variety of shows presented at the Next Stage Festival, in particular Birthday Balloon directed by the brilliant Steven Gallagher (who also directed Rumspringa Break!) and Leila Live! by the hilarious Izad Etemadi who has previously collaborated with Colleen & Akiva.

Connect:
t: @ColleenAndAkiva, @mattymurmur
#RumspringaBreak #NSTF

For show dates, times and tickets to Rumspringa Break!, click here. 


The Surprise

Tell me a little bit about your show and how you are taking it to the “Next Stage” with this festival.

The Surprise is an immersive clown experience where Ginger, my clown, throws a party for a surprise guest, and you, the audience are all guests at the party. This is my 5th solo show, and first time working with Dora Award winner Andy Massingham. Despite 15 years as a working performer, it’s my first full-length clown show (And the only clown show in the festival!) The Surprise explores the universal experience of celebrating a birthday, as well as the fear we all have in making another trip around the sun, and the expectation of where we think we should be with every age. This show was originally created in 2011 as a birthday present to myself. It ran as a ten minute piece. After performing it at a few cabarets, I really wanted to expand it into a longer show and Next Stage felt like the perfect festival. The ante-chamber venue is so intimate, which makes it really fun.

Can you speak a bit about why the Next Stage Festival is important for both artist & community?

I think the Next Stage Festival is important because it gives artists opportunities to take their work to the next level, whether it’s a new piece or idea you are trying out, or an already existing show that now gets further development. I feel fortunate that I get 12 shows during this run, to really hone my piece and myself as an artist. Also, I think the winter months can be tough in Toronto. This is something that brings the community together for 12 days and theatre warms everyone hearts. And the heated steam whistle tent is a fun hangout.

With the theme of “Next Stage” in mind, what would you love to see from the Toronto arts community in 2018?

I think a new year is always exciting because artists are either busy creating, or taking some time to percolate new ideas. I would love to continue to see fantastic provocative work, from many diverse artists. I’d love to see more collaborations from different arts communities. A dancer teaming up with a comic or some cool project like that. I hope to see women really pushing the envelope and I think social and political issues will continue to be tackled. Most importantly in the growing trend of Netflix, and right now extremely cold weather, I’d just like to see people continue to support each other and the arts. Just get out and see stuff. Art, now, is more important than ever. So many issues to tackle, or a much-needed escape from the world.

What is your goal/resolution/mantra for yourself as an artist in 2018?

I’ve been so busy creating and performing over the past years that I would actually like to take some time to rest and generate some new ideas. I want to write more… just put pen to paper daily. My goal is to continue to perform the solo shows I’ve already created, to collaborate with an artist or artists I haven’t worked with before, and to continue to go out and support theatre. And to be kind to myself and be proud of what I’ve created. I need to be a kinder artist to myself. This feels like a big resolution.

What other show are you most looking forward to seeing at the festival?

I’m most looking forward to my sidekick, double bill buddy Izad Etamadi in Leila Live! We’ve been super supportive of each other, and I’ve seen other Leila shows that are a riot. I’m happy to share the venue with him and can’t wait to see his piece. I’m also excited for SwordPlay because I couldn’t get a ticket during it’s sold out run at Fringe. So I’m so happy I can get a chance to see it now. Really, I’m going to see as many shows as I can.

Connect:
t: @cbartelse

For show dates, times and tickets to The Surprise, click here.


SwordPlay

Tell me a little bit about your show and how you are taking it to the “Next Stage” with this festival.

SwordPlay is a swashbuckling physical comedy set in a retro video game. After performing this show in six cities across the country and earning five-star reviews and multiple comedy and theatre awards, we are so excited to take the show to the next level. We’ve given ourselves a little extra breathing room with a 75-minute time slot, spruced up the props, and added in a whole new scene, more jokes, and more swords for the Extended Cut of this fan-favourite show. 2018 marks Sex T-Rex’s 10th anniversary as a comedy troupe, and we’re thrilled to kick off this landmark year at the Next Stage Festival!

Can you speak a bit about why the Next Stage Festival is important for both artist & community?

Sex T-Rex has participated in a total of 18 Fringe Festivals over the past decade. The Fringe has helped us cultivate our style and given us a platform for our unusual, modern approach to theatre. After all the support the Fringe offers to self-producing artists, the Next Stage Festival provides a vital platform for artists to be able to develop their work even further. This festival also offers the community an opportunity to get in on the ground floor of all that rad theatre, at affordable prices, and during the frigid time of year when laughs and heartwarming art come most in handy.

With the theme of “Next Stage” in mind, what would you love to see from the Toronto arts community in 2018?

It’s such an exciting time for the Toronto arts community right now. We’re not shying away from the important issues, and we’re seeing our art really make a difference and reach new eyes and ears. We can’t wait to see what the city’s artists have up their sleeves for the year ahead, but if Next Stage’s lineup is any indication of the excellent variety of theatre we can expect in 2018, then we’re in good shape: you’ve got your finger-on-the-pulse, issue-driven theatre (JONNO); cultural voices in storytelling (Good Morning, Viet Mom); brilliant improv comedy (The Harold Experience); a rich, layered musical (Rumspringa Break!); mind-bending romantic comedy (Moonlight After Midnight); moving drama (Birthday Balloon); stunning dance (That “F”Word); hilariously inventive one-person shows in the Antechamber (Leila Live! and The Surprise); and of course you’ve got goof-ass comedy like SwordPlay with hidden feminist and LGBTQ-positive messages (shhh, don’t tell anyone there’s some depth to our work too.)

What is your goal/resolution/mantra for yourself as an artist in 2018?

In 2018, Sex T-Rex’s goal is to reach as many new audiences as possible and to lay the foundations for our first non-festival tour. Winning the B.C. Touring Council Award at the 2017 Vancouver Fringe gives us a huge leg up in this goal and will take us to the West Coast this Spring to start promoting Sex T-Rex to theatres and schools. Meanwhile, we’re pursuing fresh audiences closer to home with our new show for 2018, which weaves together three short plays under the theme of CRIMES (a film noire, a heist and a buddy cop story) and will be more digestible for sketch festivals than any of our previous, hour-long plays. And finally, alongside all of this, we’re breaking into the comic convention circuit with our delightfully nerdy improv hit D&D Live! – a staged, improvised game of the world’s most popular role-playing game, Dungeons and Dragons. Our resolution is to eat less red meat and our mantra is “Calidi Lapis Iocus” (Rock-Hot Jokes).

What other show are you most looking forward to seeing at the festival?

We’re most excited to see our pals from the Toronto Improv Community rock The Harold Experience! We’ve had the pleasure of sharing the stage with a lot of the fine folks in The Assembly before, and can tell you audiences are in for some guaranteed laughs.

Connect:
fb: /sextrexcomedy
ig: @sextrexcomedy
t: @sextrex

For show dates, times and tickets to SwordPlay, click here.


That “F” Word

Tell me a little bit about your show and how you are taking it to the “Next Stage” with this festival.

that “F” word is an invigorating and comedic performance that fearlessly explores the struggles of feminism, specifically gender, class, race, body image and tradition. These issues are brought to life through a fusion of Contemporary, Latin and Hip Hop dance forms. We have taken our production to the next level by having a larger cast of dancers, exploring deeper into the themes of our show with new choreography and movement, further developed the transitions between ideas and improved the emotion and intention in all the work.

Can you speak a bit about why the Next Stage Festival is important for both artist & community?

The Next Stage Festival provided us with a theatre platform and challenged us to become more interdisciplinary. It gave us artists the opportunity to build upon and improve a previous production and the opportunity to reach a new and larger audience. It is important for the community because it offers entertainment with powerful messaging right at the beginning of the year when there is usually nothing to see during this slow, cold time of year. It gets audiences out and about and increases tourism in the city.

With the theme of “Next Stage” in mind, what would you love to see from the Toronto arts community in 2018?

Our hope for 2018 would be more funding for the arts community paired with better integration between the different genre of arts. Having festivals like the Next Stage and Toronto Fringe connecting different companies expands the community and everyone’s audiences.

What is your goal/resolution/mantra for yourself as an artist in 2018?

#weready

We have a voice, the experience and the talent and we are ready to share all of it with the world. In 2018 we are going to claim space, share what is exclusive to us with everyone.

What other show are you most looking forward to seeing at the festival?
The Harold Experience – we love comedy/improvisation
JONNO – similar theme to our show, different perspective

Connect:
fb:/sameltanz/
t: @sameltanz
ig: @sameltanz


Who:
The Next Stage Theatre Festival hosted by The Toronto Fringe

What:
The Next Stage Theatre Festival is the premiere winter theatre event in the city. Produced by the Toronto Fringe, Next Stage is a platform for past Fringe artists to take groundbreaking work to the next level – and a gathering place for discerning culture lovers in the city.

While some of the shows have appeared at previous Fringe Festivals, most are new works by established Fringe artists who have demonstrated the passion and tenacity to take their work to the next stage.

Where:
Factory Theatre
125 Bathurst Street
Toronto, ON

When:
January 3-14, 2018

Tickets & Info:
fringetoronto.com

 

 

 

Mixing Burlesque and Greek Theatre in LYSISTRATA at the 2017 Toronto Fringe

Interview by Brittany Kay

“The Fringe is a perfect platform because it is the rock and roll of theatre festivals: anything goes, so the audiences are open and up for surprises.” – Sebastian Marziali

Burlesque and a Greek classic. Both very different genres, both incredibly alike in intention. One wouldn’t normally find this mash-up in the Toronto theatre scene, but this is Fringe, right? After a sold-out opening performance, Kay Brattan’s take on Lysistrata has found the perfect place for its debut.

In this preview, we chat with writer/director/co-producer Kay Brattan, Las Vegas Burlesque Hall of Fame performer St. Stella, and performer Sebastian Marziali/El Toro about their burlesque adaptation of Lysistrata.

Brittany Kay: Tell me a little bit about the show.

Kay Brattan: Historically, Lysistrata is a story about the women of Greece uniting together in a sex strike to end the Peloponnesian war. Our Lysistrata turns the strike into a “strike-tease”, adding slam poetry, songs and strip-tease to heighten the tension of this Greek Comedy. This production is a site-specific piece of immersive theatre that is set in The Painted Lady, a bar in Toronto that is known as a burlesque venue. We’ve chosen to completely annihilate the 4th wall in this show, and present this story to its audience as a burlesque revue. We know you’re there: we want you to know that. Because everything in this play is for you. In the revue style we’re able to explore all the different types of acts that make up the wonderful world of burlesque, from the Can-Can, to Vaudevillian numbers, and the new wave of Neo-Burlesque.

BK: Where did the idea come from to mix Burlesque and Greek theatre?

KB: I studied Lysistrata in university and have always loved this play. It’s funny, playful, and can be contextualized in a way that makes it a strong piece of feminist theatre. Finding a way to marry it to burlesque was actually quite easy because by the end of the play everyone is practically naked. The characters start off in a world that’s a little more conservative and very quickly everything gets turned upside-down. As the clothes fly off, we see their everyday restrictions disappear and it’s incredibly liberating to see. For myself, this is a feeling I’ve always experienced when I watch a burlesque show. Living in a world that constantly makes women feel that our worth is judged by our waistline is daunting, so to be able to have a space that celebrates body positivity and empowers everyone to own their sexuality is exactly what I wanted to explore in this show.

Burlesque is such a big, bold, cheeky, and extravagant form of performance art, so it made sense that the women of the play use it as their tactic to aid them in this sex strike. It’s all about the tease, and not only do they use this to their advantage, they use it as self liberation. Instead of matching violence with violence, they use their femininity and cleverness to fight and win this battle.

Photo of St. Stella by Sly Maria

BK: What do you think will be really successful about this mash-up?

Sebastian Marziali: Plain and simple, burlesque finds its roots in ancient works of comedic satire such as Lysistrata. The strip-teasing style we know today was built on the foundation of making a mockery of those in power, specifically with women lampooning men and turning the tables on the power dynamic of storytelling. Early on in my burlesque career, I came across the idea that “if you get them laughing, you can shove anything down their throats,” and I feel that this show does a beautiful job of just that. It’s fuelled by raunchy, bawdy comedy and dance but upon a foundation of real honest reflection around man’s obsession with war and profit. The other beautiful part about it is the distance that we have from the ancient Greek pieces, which allows more room to play, experiment, and adapt. There is less preciousness than there is with more modern Western classics so we’ve really been able to integrate the eclectic nature of modern burlesque and cabaret, inserting music and dance styles from all across the spectrum but grounded within the structure of the story. It’s a marriage of form that you don’t need the Fates to have seen coming.

BK: The Fringe is all about daring to see something different. This piece is going to be different and definitely stand out. What would you say to Fringers that would entice them to see this show?

St. Stella: I think we are doing a very ambitious show this year. For first time producers, we took on everything and the kitchen sink! I think people will want to see this show for the extravaganza of it all; singing, dancing, striptease, feminism, political relevance, (near) nudity and site-immersion – there are a ton of themes in there for almost everyone to say “Heck yeah! I wanna see that!” I also think people are always interested to see fresh twists on the classics, particularly a text that has been given new relevance in the current political climate.

In photo (l-r): Amanda Mattar, Brittany Cope, St. Stella, Amanda McKnight, Jennah Foster-Catlack. Photo taken by David Kingsmill

BK: The Burlesque community is very real and current in the Toronto arts scene, but some people haven’t tapped into it yet. Why is that? What makes the Burlesque world different and exciting?

SS: A lot of people don’t realize that Toronto really is a leading city in the world, particularly in experimental or what we call ‘neo’ burlesque. But even with that, many people still haven’t seen a show or even heard about our community. I think there are still a ton of misconceptions about what burlesque is, which is fair because burlesque has a ton of permutations. But, the thing I love most about burlesque is that feeling that we so rarely get any more from entertainment – the raw humanity of it. It’s intimate and glamorous, a fantasy, but not fake, it can be simultaneously subversive, sexy and silly. Burlesque is a tease: it keeps people wanting more. And the coolest thing is that the ‘more’ can often be what the audience makes of it themselves; being inspired to buy a sparkly flower for their hair, or some fancy lingerie or dance in front of the mirror… Burlesque invites the audience to take the feeling of the show home with them. I’m really excited that this show might open the door to a whole new audience of burlesque fans.

BK: Why is the Fringe a perfect platform for this experience?

SM: The Fringe is a perfect platform because it is the rock and roll of theatre festivals: anything goes, so the audiences are open and up for surprises. People are at Fringe to have a good time but also to challenge their preferences and expand their scope. What better way than to be immersed in a blend of modern burlesque and Greek comedy which exists and has existed to speak directly to the masses in a way that is entertaining but also sparks curiosity and questioning of our sociopolitical structures. Also, at the end of the day, this show is first and foremost a celebration, a raucous experience that puts the action right in your lap. In the end, isn’t that what Fringe is all about? Getting crotch-deep in art!

SS: I think Fringe has this big beautiful feeling of ‘let’s throw everything at the wall and see what sticks’. For a lot of people, it’s the only theatre they see in the year because it’s so accessible, it’s not elite. That aesthetic fits perfectly with the pathos of burlesque (and Lysistrata!) – it’s by the people, for the people. I also think that the way we have put together this adaptation has a lot to do with the Fringe itself as well – it’s a Pastiche. We rap, we sing, we take our clothes off, we dance, we climb on bar-tops – it’s no holds barred theatre, just like the festival itself!

In photo (l-r): Amanda Mattar, Brittany Cope, St. Stella, Amanda McKnight, Jennah Foster-Catlack. Photo taken by David Kingsmill

BK: You have Burlesque artists but also actors in your show. Why this choice artistically and how does this aid in the performance and storytelling of the piece?

KB: It honestly just worked out that way through the audition process, and I’m so glad it did. Having a mix of both disciplines of performers helped the show in the same way combining the two performance styles did. The burlesque performers were able to share their craft with the actors, and the actors did the same for them. The best part of this experience was just watching how much fun everyone was having. It’s a different way to approach a play, and I think that because we attracted a group of artists that were willing to explore this new side of themselves, and do they ever shine in it! Everyone’s willingness and eagerness to explore this work has been more than a delight to bear witness to and I think it’s something our audience will really enjoy to see as well.

BK: What do you want audiences walking away with?

SM: We want audiences staggering away! Bent over in laughter and arousal with hardly a voice left (hooting and hollering is strongly encouraged). We want people leaving having had an experience desperate to come back and try the ride again from a different angle. We really take advantage of our venue using it in its entirety, which means keeping our audience right in the thick of it all (pun intended). I feel that we also want people going away with a new-found appreciation for both burlesque and theatre as platforms to bring us together in our ever more splintered lives. It’s been my mission, since being sucked into the magical world that is burlesque, to bring “traditional theatre” more into that world. After all that’s what theatre was and is meant to be, a mosh pit where we tear down the world outside and experience something wondrous together.

BK: What other shows are you looking forward to seeing in the Fringe?

SM: If you are even remotely intrigued by our show you are going to absolutely love Shirley Gnome’s Taking it up the Notch a comedian singer with the voice of an angel and the mind of a filthy sailor. So yes, I am excited about her. Also I am dying to see Mind of a Snail’s new show Multiple Organisms. Their work is so enchanting and knowing that they’re marrying that with sexuality and the human form just gets me all tingley.

BK: What are the most exciting parts about the festival?

SM: I think the most exciting part about the festival is the open and engaging interactions. Seeing giant groups of people excited to be in the same room together and take a collective dive into the unknown. Putting aside the phone and Netflix for a couple of weeks and enjoying shared experience. There’s something so necessary about this beautiful space that is created where everyone is just really excited about art and conversation.

LYSISTRATA

Who:
Company – how.dare.collective.
Playwright/Creator – Aristophanes
Starring: St. Stella, with Brittany Cope, Jennah Foster-Catlack, Sebastian Marziali, Amanda Mattar, Amanda McKnight, Timothy Ng, Jordan Shore
Directed and Adapted by Kay Brattan Choreographed by St. Stella
Costume and Props by Stevie Baker Musical Composition by David Kingsmill

What:
Lysistrata leads a rebellious group of women in a sex strike, hoping to end the war that is tearing their country apart. In this modern adaptation of Aristophanes’ classic comedy, how.dare.collective. puts a burlesque spin on this tale of resistance and desire.

Where:
The Painted Lady
218 Ossington Avenue, Toronto, M6J 2Z9

When:
July 5th, 6th, 10th, 11th, 12th, 13th – 7:00pm
July 8th, 9th, 15th, 16th – 2:00pm

Tickets:
fringetoronto.com

Connect:
t: @Lysistrata_TO
f: /LysistrataTO
i: @lysistratato

#FiercelyFringe 2017 – Part 2

It’s the most WONDERFUL TIME of the year! Happy Opening to the 2017 Toronto Fringe Festival! Every year, we are constantly inspired by the core values of The Toronto Fringe Festival:

  • It’s about creating art at a grassroots level.
  • It’s “theatre by the people, for the people“.
  • It’s about taking risks and exploring something new.

So, we asked this year’s Boss Fringe Artist Babes: How are you FIERCELY representing these values? How are you #FiercelyFringe?

After an overwhelming response, we’re thrilled to share our first #FiercelyFringe preview with you, listed in no particular order, and in two parts (because we can only get our scroll on for so long…)

We hope this gives you a more personal look at these shows and the artists behind them as you plan your viewing schedule over the next two weeks.

Be sure to follow along with us on twitter, facebook and instagram for our full #FringeTO coverage celebrating all of the people and moving pieces that make this festival so electric!

See you at the Fringe Club #FiercelyFringe friends!

– ITGR


The Food Project

 

WHO ARE YOU?  

We are Theatre By Committee! We’re a seven-member collective based here in Toronto creating narrative-focused, contemporary work in found spaces. We like to do things “by committee” with an ensemble-approach that rejects role-specific or hierarchical models in our administrative and creative environments.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

The Food Project is an in-depth exploration of where your food comes from – how it’s grown, how it’s transported, and where it goes once you decide you don’t want it anymore. The project is an attempt to answer the question “can we eat our way to a better world?” Dealing with the meat industry, poultry and eggs and even the darker side of veganism, the Food Project asks audiences to explore their own food choices, and consider what changes they are able, and willing to make.

HOW ARE YOU FIERCELY FRINGE?

The Food Project joins a long history of site-specific shows, with an intimate, interactive show based in the SKETCH kitchen. A collaborative effort with Committee members as well as some TBC new-comers, the Food Project aims to present an immediate and entertaining look at the food industry.

CONNECT

t: @theatrebycommittee
i: @TBCommittee


Dear Uncle Wish

WHO ARE YOU?

We’re Theatre Enthused. We believe unbridled and un-ironic enthusiasm is necessary to create mind and heart expanding theatre.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

This show will have audiences thinking about what the past has to offer us. Bride, a young, anxious nurse is convinced that her hometown will never change. The audience knows that the folk-healing her Uncle practices is a lost art, and that old Newfoundland culture is nearly gone. Where do we get our bearings, when pain and loss seem the only constant? This show’s mix of humour and heartache will soothe the most tightly wound Torontonian. 

HOW ARE YOU FIERCELY FRINGE?

I’m a Toronto theatre newcomer and I’ve hustled with very limited resources to assemble an amazing team (Adam Bailey, Jamie Johnson, Ryan Hughes). I wrote it, I’m producing it, I composed music for it and I’m starring in it. I knew all that would be necessary if I want to break into this scene, so I did it.

CONNECT

t: @dearunclewish 
i: @dearunclewish
#DUW


Odd One Out

WHO ARE YOU?

Playwright Maureen Gualtieri: Our show is about how we all create narratives for ourselves in order to make sense of the world. 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

We’ve all told – and continue to tell – ourselves stories in order to organize impersonal, sometimes terrifying circumstances around us, and give meaning to cosmically unfair events, like the loss of a deeply loved one as we are doomed to always quest for “why.”

HOW ARE YOU FIERCELY FRINGE?

It’s about identity – how we can spend so much time molding ourselves into a shape that we think pleases others, a shape that doesn’t tip anyone off to what’s inside struggling to be contained, until the day something cracks and we can’t be held back anymore. The play’s about love, but it’s also a mystery, concealing the possibility that somehow, under the brutal truth of real life, there may be a bit of magic that offers a tantalizing escape from normal.

CONNECT

#LesbiansVsAliens #LoveWins


Adult Entertainment

WHO ARE YOU?

Triple ByPass Productions seek to perform work that is relevant, bold and engaging, telling stories from all walks of life, in a way only an acting ensemble can. By focusing on characters and relationships we approach our work as truthfully and honestly as possible, creating unforgettable pieces grounded in realism. This Toronto based collective is; raw, unrelenting and unapologetic.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

George F. Walker’s Suburban Motel series is a Canadian classic. We love his conflicted characters and the unpredictable world they inhabit; it’s an actor’s dream. The Fringe Festival offers us indie artists a platform and the opportunity to perform in a theatre we otherwise couldn’t afford!

HOW ARE YOU FIERCELY FRINGE?

Cops, lawyers, husbands, wives, truth and lies. Sex, liquor, secret deals, fist fights and perhaps even love. You never know what you’re going to find behind the door of a motel…

CONNECT

t: @triplebypasspro
i: @triplebypass_to


Sketch Betch

 

WHO ARE YOU?

We are Sketch Betch, a Toronto based sketch comedy troupe who met studying improv at The Second City.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

You should come and see our show, Life’s a Betch, for three reasons: Gregorian monks doing 80s classics, tons of John Travolta, a lot of people dying. And nipple play.

HOW ARE YOU FIERCELY FRINGE?  

What makes this show #FiercelyFringe you ask? Well, we wrote it. From scratch. And then we baked it at a low temperature for like 6 months. We added a dash of unemployment, a sprinkle of self-doubt, and a whole lot of love and hard work. We bring you our show.

CONNECT

t: @sketchbetches
i: @sketchbetches


Operation SUNshine

 

WHO ARE YOU?  

Jennifer McKinley, playwright, performer and producer of Operation SUNshine. I have a background in clown, comedy and storytelling and I’m an expert cat herder, artist wrangler and ego juggler. I’m also a champion research ferret and stalwart guardian of the grammar, self-appointed and mildly annoying about it. 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Who doesn’t love to be regaled with poetic tales of Toronto’s dark side from the depths of a serial killer’s lair? Operation SUNshine offers something for everyone looking to whet their depraved appetites. Sex! Revolution! Psychedelics! 179 actual SUNshine Girls rescued from the walls of a dank basement bathroom!

HOW ARE YOU FIERCELY FRINGE?

The seed for Operation SUNshine was literally dug up from underground by me for you. 25-year-old pinups and sensational news stories from the Toronto SUN assist with the storytelling while Clara McBride’s fierce direction draws forth a complementary physical narrative from my not-always-so-willing body. I’ve never been so sore. Or so invigorated!

CONNECT

#OpSUN
t: @JennyDonkey, @claramcbride
i: @jay_mac77@helingungoren


Rough Magic

WHO ARE YOU?

Theatre Arcturus is an award-winning company that creates visually stunning plays that weave aerial arts into the world of the story. Winners of the 2016 Cutting-Edge Award for creating innovative theatre, we’re back at Toronto Fringe with our brand new show, Rough Magic.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

A collision of air and earth, Rough Magic creates a vertical world to tell the story of Ariel and Caliban in a newly imagined prequel to The Tempest.

HOW ARE YOU FIERCELY FRINGE?

Unlike anything else at the festival, this highly physical show features demanding performances by a duo of grassroots creator/performers who put the story first, meeting between air and ground as two very different beings, erasing boundaries that make us fear the “other.”

CONNECT

#RoughMagic
t: @theatrearcturus
i: @theatrearcturus


SNAP!

 

WHO ARE YOU?

We are NightShift, a Fiercely Fringe company started by a couple of working class artists who wanted to build meaningful stories! Every one of our company is a Fringe veteran. Allan Michael even started his career doing Shakespeare on the street. We are a half-a-shoestring company, doing it all ourselves, every project. Heck, we don’t even have a theatre. We’re performing in a room at Scadding Court!

WHY SHOULD PEOPLE CATCH YOUR SHOW?

SNAP! began as a writer’s challenge and grew into a 20-minute play. People liked it, said it was about them and people they knew. It grew into a 50-minute play. It’s about anger and the day-to-day experiences that make us all crazy. Nobody’s exempt.

HOW ARE YOU FIERCELY FRINGE?

When people see this show they may not leave with useful strategies to manage their anger, but they will definitely have laughed hard enough to forget why they were mad in the first place! SNAP! Fiercely Funny!

CONNECT

t: @snaptofringe
i: @snaptofringe


Brain Storm

WHO ARE YOU?

LUCID LUDIC, a company specializing in devising physical and visually striking theatre, with an emphasis on interdisciplinary collaboration and exploring the unifying power of live performance.

BRAIN STORM is a viscerally experienced, arresting journey, about one woman dealing with a brain injury, another communicating with the spirits, and the neurosurgeon who is convinced that consciousness supersedes death.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

It is at once super personal, hyper-local and universally accessible. It offers a unique look at the cross-section between history, science, and spiritualism, and manages to do it in a visually stunning and physically evocative way.

HOW ARE YOU FIERCELY FRINGE?

Brain Storm was created on and is communicated through the bodies of women. The effort and artistic research that has gone into the piece shows the creators’ passions and fierce determination to make this work live, breathe, and move. This is what makes Brain Storm so very fiercely – and proudly – Fringe.

CONNECT

t: @lucid_ludic
i: @lucid_ludic
#brainstormplay


The Teeny Tiny Music Show  

WHO ARE YOU?

SNEAKY SNEAKY PRODUCTIONS. Toronto’s first marching band theatre company dedicated to creating unexpected musical events within a theatrical setting.

WHY SHOULD PEOPLE CATCH OUR SHOW?

This ten-piece band enters the world of the show through the bathroom door, from behind the bar, and to the complete surprise of the audience! Meanwhile, the lead vocalist doubles as a storyteller narrating how she approached a musician in the middle of his performance to ask his name, his age and if he was single! 

HOW ARE YOU FIERCELY FRINGE?

We know there are more women than men in theatre. So if ya got it, flaunt it! Our band is an all-male cast with a female vocalist at the helm of it all! We’ve got it reversed – the gentlemen are sexy in matching bowties and cummerbunds, and the lady is a fox-onesie wearing silly bum! As we combine storytelling, design and staging with what begins as a duo lounge act, our musicians become pieces of the narrative’s progression. 

CONNECT

i: @SneakySneakyProductions
t: Hayley Pace @haelaaaaa @sneakysquared
#TTMS #sneakysneakysneaky #teenytinymusicshow 


Moonlight After Midnight

 

WHO ARE YOU?  

Concrete Drops Theatre, based out of Brooklyn, NY, we are an American and a Canadian couple who met on the fringe in 2010 and have been touring our own original work ever since.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Moonlight After Midnight has won the top critic’s prizes at fringes in Orlando, Ottawa, Cincinnati, Vancouver, and Adelaide, Australia. It’s a two-person show about a couple who randomly meet in a hotel room, nothing, though, is as it seems, not in the story, the relationship, nor the room in which they’ve met. Moonlight After Midnight, then, is both a love story and a puzzle to be solved by the audience – a fantasy about a fantasy we’ve all shared.

HOW ARE YOU FIERCELY FRINGE?

Moonlight After Midnight is told in a unique style – one that plays with time and space, offering multiple layers of reality that play out concurrently, but never conflict. It’s mind-bending, but always clear; it leads towards a conclusion, but allows the audience to actually reach it on its own.

CONNECT

t: @ConcreteDrops
i: @ConcreteDrops
#moonlightaftermidnight, #concretedrops


Delirium  

WHO ARE YOU?

I’m a New York-based storyteller who’s been touring festivals around the world for a decade.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

In Delirium, I’m telling a story about our biggest two pre-occupations: love & death. It’s about making meaning in an indifferent universe. Laughing about it, crying about it – feeling it together. The show is fun, it’s meaningful, it’s unabashed, and high-energy. Delirium just got an award at the biggest US festival (Best Solo at Orlando Fringe) and has gathered lots of swell reviews. But most importantly, everyone in the room, including myself, seems to get what they need from the show as we huddle around the virtual campfire for a story about ourselves.

HOW ARE YOU FIERCELY FRINGE?

What makes me “fiercely fringe” is that I’ve been creating, touring, and entirely self-producing my own original work for ten years, living out of a suitcase the majority of that time. All for the pleasure and privilege of telling true stories to other people about what it is to be a person. It’s an experience that needs no approval from an artistic director, or similar cultural gate-keeper. 

CONNECT

t: @martindockery
f: /martindockery
#martindockery, #delirium
w: martindockery.com


Bad Date: a cautionary tale…

WHO ARE YOU?

Hi there, my name is Erin Aubrey. I am a single female in my 30’s who is the creator, co-producer, writer (of book, music and lyrics) as well as lead actress of the upcoming Toronto Fringe Play, Bad Date: a cautionary tale..

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Privy to the inner-most thoughts of the play’s hero (Molly), which are all delivered through original song (song titles include: “Dick Pics” and “Why Can’t I Cum? (from oral stimulation?)), the audience gets an unfiltered look into the mind of a single, 30-something woman, whilst bearing witness to one of the most awkward dates in the history of dating. 

HOW ARE YOU FIERCELY FRINGE?

Toronto audiences will love this insanely funny, bold, and risky show… It is as fierce as a play could be, and IS, in no uncertain terms, #FiercelyFringe.

CONNECT

t: @date_bad
i: @baddatethemusical
#baddatethemusical


Plays in Cafes 

WHO ARE YOU?

I’m Alex! I started Shadowpath in 2002. We’ve been creating new works with our project Plays In Cafes – animating public cafe spaces. This year we’re at Free Times Cafe (320 College). As patrons sit at their table, there are tables all around them coming to life with short plays. This way the audience becomes part of the world of the play. Audience or actor? Who knows? Anyone can be anyone at Plays In Cafes.

Plays in Cafes features an all-female production team, our directors, playwrights, publicist, producer are all FEMALE.

WHY SHOULD PEOPLE CATCH YOUR SHOW?  

Everyone should have a cafe-theatre experience. It’s express, it’s tasty, it’s fun! Free Times Cafe is known for their GREAT FOOD. You can maximize your Fringing by sampling THREE new plays. Add some snacks and drinks and you’ve got the perfect Fringe experience. 

HOW ARE YOU FIERCELY FRINGE?

We transform everyday spaces into creative places. We bring theatre to the people by creating in hotels, libraries, wineries and most recently, a car dealership. This makes theatre interesting, accessible and helps to build new audiences. We love discovering ‘found’ audiences as we produce pop-up performing arts experiences throughout our community.

CONNECT

t: @Shadowpathic


Bugger the Butterfly!

 

WHO ARE YOU?

We are Pencil-Neck Theatre, a group of theatre pros and soon-to-be pros that met at the University of Guelph.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

You should see our show because: it’s funny as hell, it’s about time travel and the banality of celebrity, it’s a little bit gay and a lot of other stuff, and it’s written by the only guy to win Fringe’s Best New Play prize twice (along with a whole buncha other good plays), T. Berto.

HOW ARE YOU FIERCELY FRINGE?

This show is Fiercely Fringe because it’s about as grassroots as it gets. K. Nestruck said that Fringe needs to be silly and fun and cheap, so we’ve taken that to heart – but also added poignant and thought-provoking. We’re also fierce because we’ve attempted to fill theatre’s void in sci-fi. Last year, 6 of the top 10 films were sci-fi, but in theatre – look at the Doras – it’s tumbleweeds for sci-fi. But no more with Bugger the Butterfly!

CONNECT

#buggerthebutterfly


The Seat Next to the King

 

WHO ARE YOU?  

We are Minmar Gaslight Productions and we are presenting the play, The Seat Next To The King.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

You should come see this show because not only was it picked as the 2017 Toronto Fringe Festival Best New Play for Steven Elliott Jackson’s work, it is an intimate, sexy, powerful and provocative story of two men struggling to find a place for themselves in a world that shuns them. It is a play about two real lives who risked the safety of their worlds while being connected to the most powerful men in America in 1964.

WHY ARE YOU FIERCELY FRINGE?

Directed with rawness and passion by Tanisha Taitt, the production delves into the world of sexuality, masculinity, race and politics and presents two actors, Kwaku Okyere and Conor Ling, challenging stereotypes and exploring boundaries of theatre and performance. For all these reasons, The Seat Next To The King is Fiercely Fringe.

CONNECT

t: @minmargaslight
i: @Minmar_Gaslight


D&D Yoga 

WHO ARE YOU?

I’m Christine Desrochers, local yoga teacher, avid gamer, and creator of the D&D Yoga show.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

D&D Yoga is a unique immersive experience that fuses a yoga class with the imagination and gameplay elements from Dungeons & Dragons. Audience members will choose to be a mage, warrior or rogue and will follow the quest leader (me!) through a grand fantasy adventure. Participants use dice rolling and various thematic movements to delve deep into a dungeon, overcoming goblins, traps, and ancient magic in the pursuit of their goal.

HOW ARE YOU FIERCELY FRINGE?  

This show is Fiercely Fringe because it’s experimental, original, and amateur. This is the first time this style of theater will be preformed in Canada! This is also my first Fringe and I’m so excited (and nervous) to bring this creative project to the public. I can’t think of a better opportunity to showcase this alternative creation to open-minded people.

CONNECT

t: @Downward_d20
fb: /Downwardd20


Office Hours

Photo by Dahlia Katz

WHO ARE YOU?

Confirmation Bias Theatre is brand new, full of politics and vinegar, founded by playwright Glenn Clifton. Guided by the belief that political catastrophes are often a result of bad storytelling, the company’s mandate is to explore how political reality shapes individual choices.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Office Hours is about an Iraq war veteran suffering from PTSD, his girlfriend, and her English Professor. It’s a love triangle full of meditations on narrative: a tightly scripted, intense drama, marked by powerful subtext and edgy chemistry between the performers. Starring Michael Orlando (CHAD), Nicole Marie McCafferty (CAROLINE), and Greg Solomon (TYLER).

HOW ARE YOU FIERCELY FRINGE?

In our site-specific production, the audience is seated like students in CHAD’S university class. In a couple of moments CHAD asks questions of the audience. The audience can answer, interfere, say anything, and the actors will have to roll with whatever happens. It’s an immediate, democratic, theatre-in-the-rough experience that alternates between the intimacy of CHAD’s “Office Hours” and the chaos of a town-hall meeting. Anything could happen!

CONNECT

t: @CBias_Theatre
#OfficeHours


You Are Perfect

 

WHO ARE YOU?

White Horse Theater Company is producing Cyndy A. Marion’s original play You Are Perfect at the Toronto Fringe at Theatre Passe Muraille – Mainspace.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

The play is a new and uniquely original dramatic play that delves into the psyche of Charles Manson and his followers, a group that has both reviled and fascinated the American public for nearly a half century. Set in Susan Atkins’ prison cell on the eve of a key moment in the Manson murder trial, You Are Perfect is a theatrical re-imagining of her life and inner demons.

WHY ARE YOU FIERCELY FRINGE?

What makes this play #FiercelyFringe is its highly theatrical structure, which plays with time and spaces and aims to entertain, enlighten and surprise. White Horse Theater Company is a 14-year-old New York City based off-Broadway Theater Company committed to making high-quality theater and sharing our passion for American plays and playwrights with our fellow artists and audiences.

CONNECT

#YouArePerfect
t: @whtcnyc
i: @whitehorsetheater
f: /whitehorsetheatre


Things Drugs Taught Me 

WHO ARE YOU?  

I’m a writer, performer and founder of Four Face Productions, which focuses on storytelling. My solo show, Self-Exile, won Best of Fringe in Montreal in 2016 and has been touring Canada since. This year I’m presenting a two-person storytelling show called Things Drugs Taught Me at the Toronto Fringe.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Things Drugs Taught Me is at once funny and affecting. The stories include all the paranoia, highs and bad decisions you might expect, but as Montreal Rampage Magazine said, “Stark moments of insecurity, feelings of failure and the desire to be normal make for the most poignant and hilarious moments in the play.”

HOW ARE YOU FIERCELY FRINGE?

We push the boundaries of traditional storytelling. The stories are broken into sections that weave in and out of each other and we take turns playing characters in each other’s stories, most often playing the opposite gender. This offers a new and dynamic dimension to true life storytelling.

CONNECT

t: @NishaColeman
i: @NishaColeman
f: /NishaColemanwriter
#ThingsDrugsTaughtMe


Contagious

 

WHO ARE YOU?  

An artist with the big heart. A teenager, immigrant from a war country. This whole journey made me value and respect the meaning of free mind, which Canada represents. I forever owe to Toronto for opening my eyes. Time to pay back.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

We stand up to ask important questions. There is magic in the air and we’ll make sure you see it.

HOW ARE YOU FIERCELY FRINGE?

We dance! We sing! We have a passion! You have a passion! All of us do. Let’s not forget about that. And never let anyone dictate how and why and what we should do. Bring it from the heart. One life to live!

CONNECT

t: @contagious2017


I Am Hope

WHO ARE YOU?

My name is Mia Raye Smith and I’m an actress and playwright in Queens, NY. A few years ago I was diagnosed with generalized anxiety, panic disorder and agoraphobia. My anxiety disorder left me home-bound. Thankful I was able to seek treatment and healing and now tell my story!!

WHY SHOULD PEOPLE CATCH YOUR SHOW?

My solo show was developed in Emmy Award-winning, writer and teacher Matt Hoverman’s Go-Solo Workshop in New York City. People should come and see my show because anxiety is the most common mental illness in Canada. In fact, statistics reveal that one in four Canadians (25%) will have at least one anxiety disorder in their lifetime. I have been touring my play at universities and colleges across the United States.

HOW ARE YOU FIERCELY FRINGE?

My solo show is fiercely Fringe because it’s about finding hope and humor living with an anxiety disorder. It’s jammed packed with 19 characters. I’m fiercely Fringe because I’m sharing my battle without shame, in hopes to reach people suffering in silence!

CONNECT

t: @miarayesmith
#Iamhope


Nourishment

 

WHO ARE YOU?

Erin Maxfield, Jessica Watkin and Gloria Mok are co-artistic directors of ECM Theatre, a company that supports female artists and creates theatre in an accessible, inclusive, and collaborative environment. Our show Nourishment is a collaborative piece created by a team of kick-ass women with many different backgrounds and perspectives. 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

It’s important to support female artists and seek out their stories because they have been historically underrepresented. With Nourishment, we hope to encourage audiences to think about the places women gather, the knowledge and experiences they share, and the invisible work they do.

HOW ARE YOU FIERCELY FRINGE?

We challenged ourselves to create a show that is accessible to a wider audience. We built theatricalized audio description into our piece, and hope to have two ASL-interpreted performances throughout the run. The Fringe Festival should be for everyone, and we hope to bridge some of the gaps that exist for audience members with disabilities!

CONNECT

t: @ECM_Theatre
i: @ecm_theatre
#NourishTO


SELF-ISH

 

WHO ARE YOU?

Diana Bang, Kuan Foo, and Dawn Milman of Classy Little Bitch Productions. The first three met through sketch comedy. 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

SELF-ish is the show for you if you’ve ever dealt with loss. It’s about death, identity, family and the internet. This show is funny in small ways. And not so funny in other ways. We hope you stop by to support this Classy Little Bitch Productions show, because it’s classy, little and a big ol’ bitch. 

HOW ARE YOU FIERCELY FRINGE?  

SELF-ish is Fiercely Fringe because it’s a One Woman show thrown together by a Korean-Canadian girl named Diana Bang who has never done this before and was sick and tired of NEVER being the protagonist of any show, and wanted to showcase Kuan Foo’s writing talent (It’s the first play he’s written!) and Dawn Milman’s directing and dramaturgy abilities (She trains assistance dogs. Cool, right?) and Maggie Chafe / Giuseppe Condello’s technical brilliance (Trust me, they’re great).

CONNECT

i: @dianabangarama & @arugulagal
t: @thedianabang


This Is Not She

 

WHO ARE YOU?

This is Not She is an immersive solo show written and performed by Julia Haist. (that’s me!) The audience is assigned the role of the “class” and is invited to answer questions, read passages and do some creative writing of their own.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

We have foregone any theatrical flash in favour of creating a realistic classroom setting; the character of the teacher is raw, flawed, and hanging on by a thread; a large portion of the show is based off of improvised interactions with the audience, so there is no safety net; if I don’t do my job as a performer of engaging the audience, there is no show.

HOW ARE YOU FIERCELY FRINGE?

All of this to say, this show is bold. It is risky and thrilling for me every time I perform it, and dare I say, fierce. (There is also the fact that this show is made entirely by women; playwright/performer, director, stage manager and ASM!)


High Park Noir

 

WHO ARE YOU?

Simply Twisted Productions is made up of three old theatre school friends from Montreal. We haven’t worked together since theatre school which was 15 years ago! Yeah, we’re old! We’re also diverse: two of us are women and the other is a gay man.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

We wanted to put on a comedy that had grounded characters but that was also wacky and wild. Our show, High Park Noir, is a must-see for anyone who loves the unconventional, hybrid theatre fun that one can only find at the Fringe!

HOW ARE YOU FIERCELY FRINGE?

We wanted to Fiercely call attention to urban animals and to condo construction in Toronto. We are expanding the genre of film noir in a fierce way too: by making all of the characters Toronto urban animals! And really, what’s more Fierce than a raccoon detective on the edge?!

CONNECT

t: @HighParkNoir


The Atomic Tradition  

WHO ARE YOU?

After losing confidence in my creator’s “voice,” I discovered a passion for reviewing theatre. I’ve been a senior writer for Mooney on Theatre since 2013. I’ve experienced so much of what Toronto artists have to offer and developed my own personal convictions as a critic, which lead to the return of my confidence as a storyteller!

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Our inherent capacity for violence and the precariousness of civilization are the major themes of my play. As people around the world fear the ominous promise of “Trump America,” seeing how quickly a relationship can collapse will resonate with an audience worried about a fragile and volatile civilization.

HOW ARE YOU FIERCELY FRINGE?

Having experienced Fringe as a reviewer, I have a fierce affection for the sense of community it fosters. I’m thrilled to contribute as creator with a show that was greatly influenced by the collaboration of the creative team that worked on the original workshop production.

CONNECT

t: @IstvanDugalin
i: @istvandugalin
#TheAtomicTradition


Shirley Gnome: Taking it Up the Notch  

WHO ARE YOU?

I am a country/soft-rock musician that writes and performs comedy songs about all sorts of unspoken truths and emotions, and enough people laugh at them to make it my job. I’ve ridden this wave of high art all across the world – Australia, the UK, and the US of OHGODPLEASEMAKEITSTOP. They give me awards and fancy stars which I use to trick people into coming to my shows. I got real drunk one night and woke up with a record deal. It’s with 604 Records and so far I’ve managed to steal a lot of their money.

WHY SHOULD PEOPLE CATCH YOUR SHOW?  

Because we all might die tomorrow and my music is as important as telling people in your life you love them and cherishing every moment of existence. So get your ass in here baby, because your number may be coming up.

HOW ARE YOU FIERCELY FRINGE?  

I sing about feelings surrounding sexual desire (and other enjoyable emotions like anger, loneliness, and dying alone). Yet (as we all know) freedom from sexual shame would cause the collapse of society, so my songs are considered risky. I tend to swear and make ugly faces, which is obviously completely upsetting because of this pesky vagina I have shoved up between my legs (it’s a niche genitalia only shared by half of the planet). In conclusion, God is dead and I’ve never felt more alive/Fiercely Fringe.

CONNECT

t: @ShirleyGnome
#takingitupthenotch


Open Rescue: The Play

 

WHO ARE YOU?

3D Theatre is a troupe of Toronto-based actors and stage technicians who passionately believe in animal rights and animal welfare. 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

3D Theatre asks: Can an awareness of animal testing elicit sentient empathy among a Fringe Festival audience?

Far from being gratuitously shocking or politically preachy, OPEN RESCUE:The Play brings another side of this animal liberation issue to audiences, specifically, as animals ourselves, can human beings empathize with other animal species who are being intentionally harmed for the sake of human-centered research?

HOW ARE YOU FIERCELY FRINGE?

3D Theatre is creating an opportunity to dialogue with Toronto audiences about an important societal issue – should millions of animals be harmed and then killed in the name of science? 3D Theatre converted real-life interview findings into fiercely dramatic scripts that explore a dark side of animal testing in universities. The Toronto Fringe’s risqué programming is the perfect inter-connective venue where audiences can explore the issue of animal testing – and how “Open Rescue” – as a credible alternative. 


“Am I Pretty Now?”: A Musical Romp Through Plastic Surgery! 

WHO ARE YOU?

I am Toronto native who moved to Durham Region to have a family and created the not-for-profit company Durham Improv Collective Inc., hosted/created/produced five shows on Rogers TV in Oshawa, including two with Colin Mochrie. I am a Canadian Comedy Awards and Latin American Achievement Awards nominee and have just released my first book: The Ten Commandments…of Improvising! 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

This is a the first ever musical on plastic surgery and the trials and tribulations of going under the knife! A journey of insecurity and “never quite fitting in”. 

HOW ARE YOU FIERCELY FRINGE?

Whether you are curious about plastic surgery or you just can’t fathom why anyone would do such a thing, this show will keep you laughing and tapping your feet as I examine race, gender, motherhood, and Liza Minnelli in 60 min.

CONNECT

t: @antimommy
i: @comedianstephanieherrera.com


Seeking Refuge

 

WHO ARE YOU?

I’m Rick Jones, writer/composer of the Paul O’Sullivan Prize-winning script Seeking Refuge. Seeking Refuge is a story about the love, devotion, and sacrifice of two sisters separated by contemporary civil war and extreme hardship. The challenges and horrors they face each day are met with perseverance and the will to survive and re-unite.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

There are moments of brutality, but also moments of joy. The songs are the core of this show, revealing each character’s innermost thoughts and feelings, supported by music that was written intuitively, raw emotion pouring out in melodies underscored by relentless rhythms, capturing and seducing your ears. They’re like nothing you’ve ever heard before on the musical theatre stage, written from my heart.

HOW ARE YOU FIERCELY FRINGE?

Seeking Refuge was created as my visceral response to the unfathomable, mind-numbing crisis in our humanity unfolding daily before our eyes. Come and immerse yourself in the experience.

CONNECT

#SeekingRefugeTO
t: @SeekingRefugeTO


Butt Kapinski

 

WHO ARE YOU?

I’m a comedy artist, teacher and director devoted to interactive and immersive experiences. I create work that (on a good day) challenges the notions of what audience participation means, what a theatre community can be, how gender and comedy work together, and how far you can go and not frighten anyone. My show has been touring for almost 4 years, and has delighted folks in the UK, Australia, and a bunch of Canadian and US cities.

WHY SHOULD PEOPLE CATCH YOUR SHOW?  

Is it a comedy? Is it a sociological experiment? Who’s to say? You know when you enter the room, something different is afoot: the chairs are everywhere, it’s hard to tell where the performance will be and where the audience is, and that’s the point… It’s funny and gentle and bold and weird and totally reasonable at the same time. It is a unique experience every time.

HOW ARE YOU FIERCELY FRINGE?  

BUTT KAPINSKI is a love letter to Fringe audiences, who are weird and bold and brave and fierce, and it is the audience who make the show beautiful, surprising and hilarious, every time.

CONNECT

t: @buttkapinski


Not Good

WHO ARE YOU?

James MartEntz’s (who?) newest play is a story about the inner human struggle. The feeling of being wanted, the worry of no one noticing. Directed by Cedric Martin, and Ryan James, starring Daniel Entz (again, who are these guys?) three people who know the most about trying to make a life for themselves in a society dead-set against actors.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

An artist is at their best when they are struggling, when you can feel that truth in the focus of the piece. This show is simply an actor on a stage talking about his life. As Fringe veterans, we promise you a story of personal connection, and true longing for more. We pinky-swear this production will be Not Good.

HOW ARE YOU FIERCELY FRINGE?

In terms of being “grassroots” we are walking talking examples. None of us have artistic families. We all had to make our way with no real guide. The sacrifices we make to put on a show at Fringe, with 4 people in the house is both heartbreaking, and well, worth it. We do it because there is a story to be told. Our show is our very real stories as actors rolled in a fictional one-man show, portrayed by Daniel Entz.


Kara Sevda

 

WHO ARE YOU?

Now What Theatre is a group of international artists who met while studying for their Masters in Classical and Contemporary Text (Acting) degrees at the Royal Conservatoire of Scotland. We’re from all over America and the UK. Our mission is to create new work and tour it all over. Because if theatre is about making a difference one audience at a time, it’s better to have more audiences, all over the world.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

We wanted to create a piece of theatre that made people think, and that made people feel connected. We want people to escape with us, and to take a look at nostalgia and regret.

HOW ARE YOU FIERCELY FRINGE?

Our show was created for the fringe environment. We made a simple but impactful show that we could take anywhere. We crowdfunded for travel expenses, have taken epic road trips to festivals, slept in cheap hotels, overnight buses and billets. We’ve been poor and have dealt with crippling self-doubt like all artists do. But, we are Fiercely Fringe, because our passions outweigh our fears.


No Place

 

WHO ARE YOU?  

My name is Graham Isador and I’m the artistic director of Pressgang. I write for VICE. We’re friends. The show I’m producing is NO PLACE. It’s written and performed by Jillian Welsh, who is an amazing storyteller that has made appearance on CBC’s LOVE ME. Her appearance on the RISK podcast was downloaded over a million times. It’s being directed by Shari Hollett, a director for the Second City, who has had smash Fringe Hits with For the Record and Radio:30.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

It’s an established funny woman helping an up and coming funny woman tell a deeply personal story about her family. Welsh has been making a name for herself in Toronto’s storytelling and comedy scenes. Here she blends the best of those world’s for a show that’s deeply touching piece. It’s being put on by a company who has been critically acclaimed in both Summerworks and Fringe.

HOW IS YOUR SHOW FIERCELY FRINGE?

The one woman show is a staple at the Fringe, but the thing that really pops about No Place is its willingness to take emotional risks. The show is funny, for sure, but at it’s core it is a raw portrait of the desperate need to belong and feel accepted, and what happens when those needs aren’t met.

CONNECT

t: @presgang @jillpickled @sharihollett
#noplaceTO


 In Sundry Languages

 

WHO ARE YOU?

“In Sundry Languages” pushes the boundaries of understanding through multilingual dialogue and experimental dramaturgy! We are a show that reflects the linguistic and cultural diversity of Toronto with a cast of emerging and established multigenerational immigrant actors, performing in many languages and no translations!

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Produced by the Toronto Laboratory Theatre, an experimental collective, “In Sundry Languages” is a series of comic vignettes that draws on the use of body and media to translate what language cannot. The play is a performative experience that asks for a diverse audience to be created in full, which is why we need all kinds of people to come out to watch the show!

HOW ARE YOU FIERCELY FRINGE?

We are #FiercelyFringe in our commitment to creatively unpacking and challenging narratives of immigration, displacement and negotiated identities, through language, multimedia, humour and a lot of heart!

CONNECT

t: @insundry
i: @insundrylanguages
#insundry


Algonquin Highway

WHO ARE YOU?

We are 17 Syllables Theatre Company with a creative team from Peterborough and a Toronto cast.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

It’s a brand-new world that’s breaking through the old world, and life-altering events have changed millennials Alex and Nic. They have each survived the last five years apart to get to who they really are: Alex, an indigenous female activist, and Nic, a transgender man. Now, they’re stuck together on the back roads of iconic Canada, and must talk through the real issues – identity, belonging, gender, appropriation – in order to save their childhood friendship, in a story that reflects the issues roaring through the current zeitgeist like a mad fire.

HOW ARE YOU FIERCELY FRINGE?

A comic-drama about the power of real friendships, told with passion, humour, and action, Algonquin Highway winds its way through emotional twists and turns that will have you guessing at the each revelation and leave you wanting more of the two honest and complex characters, Alex and Nic

CONNECT

t: @17_syll
#AlexandNicgetstuck! #AlgonquinHighway


*Submissions have been slightly edited for clarity and length.


 

But wait! There’s more!

If you haven’t, be sure to check out

Part 1 of #FiercelyFringe here.

 


 

#FiercelyFringe 2017 – Part 1

It’s the most WONDERFUL TIME of the year! Happy Opening to the 2017 Toronto Fringe Festival! Every year, we are constantly inspired by the core values of The Toronto Fringe Festival:

  • It’s about creating art at a grassroots level.
  • It’s “theatre by the people, for the people“.
  • It’s about taking risks and exploring something new.

So, we asked this year’s Boss Fringe Artist Babes: How are you FIERCELY representing these values? How are you #FiercelyFringe?

After an overwhelming response, we’re thrilled to share our first #FiercelyFringe preview with you, listed in no particular order, and in two parts (because we can only get our scroll on for so long…)

We hope this gives you a more personal look at these shows and the artists behind them as you plan your viewing schedule over the next two weeks.

Be sure to follow along with us on twitter, facebook and instagram for our full #FringeTO coverage celebrating all of the people and moving pieces that make this festival so electric!

See you at the Fringe Club #FiercelyFringe friends!

– ITGR


Pineapple Club 

WHO ARE YOU?

The Pineapple Club team is comprised of Director/Choreographer Robin Henderson (of last year’s Best of Fringe hit, Dance Animal) and performers Paul Barnes, Jonathan Shaboo and Pascale Yensen.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

The Pineapple Club tagline is “Come for the comedy. Stay for the calamity”. With everything that’s happening in the world, it’s especially important to be laughing right now.

HOW ARE YOU FIERCELY FRINGE?

Where else would you find a mash-up of comedic dance, sketch comedy and social commentary? Pineapple Club speaks to the emotional fallout of the world’s events in 2016 through the unique lens of comedic dance, sketch comedy, puppetry and music.

CONNECT

t: @PineappleClubTO
#PineappleClubTO


Bad Baby Presents: Rules Control the Fun

WHO ARE YOU?

From a group of seasoned Fringers boasting a total of 13 Fringe tent romances collectively, Janelle Hanna’s new solo show Bad Baby Presents: Rules Control the Fun is not simply a clown show, but it does feature her clown Bad Baby, prominently. Think of it instead as a new play about love, loneliness and humans’ need for connection, as well as it being Bad Baby’s first Fringe appearance, all rolled into one.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Bad Baby has seen a lot of Fringe shows, and she is a self-proclaimed fringe expert. So she knows exactly what to do and what not to do. She knows all of the rules.

WHAT MAKES YOU FIERCELY FRINGE?

What makes us FIERCE is how the play itself goes deeper, exploring themes that writer and performer Hanna feels strongly about: love, relationships, vulnerability and shame. Expect a lot of laughter and comedy at this show, but don’t expect to see only that.

CONNECT

t: @lark_and_whimsy
@janellemhanna
#BabysFirstFringe
i: @janellemhanna


Interstellar Elder

WHO ARE YOU?

SNAFU is the creators of SOLD-OUT shows ‘LITTLE ORANGE MAN (***** – VueWeekly) and ‘KITT & JANE,’ (****½ – Edmonton Journal)

We’ve been touring across Canada for the last ten years, both to all the fringes and to curated festivals like Wildside, Undercurrents, Next Stage and SummerWorks. All of our shows are weird.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

In Interstellar Elder, we meet Kitt, fierce lone geriatric astronaut adrift in a spaceship carrying cryogenically frozen human cargo. Her mission: protect the last of humankind.

“Amazingly versatile physical comedian with the BEST ENDING IN THE HISTORY OF FRINGE.” – Montreal Gazette.

HOW ARE YOU FIERCELY FRINGE?

This summer, we’re touring 9 FRINGE FESTIVALS across Canada. #FringeHogs. This is my second time winning the CAFF lottery in the past three years, whereas some artists have applied for CAFF every year for the past two decades and never been drawn. If I win CAFF a third time, I expect death threats from other fringe artists.

CONNECT

t: @snafudance
#InterstellarElder


Picaza 

WHO ARE YOU? 

#FiercelyFlamenco – Inamorata Dance Collective was found in 2014 by Mexican Canadian dancer, Sofía Gudiño, to explore experimental crossovers between contemporary and flamenco dance, music and theatre.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Their premier full-length work, Picaza, is an honest and visceral look into one woman’s journey to self-awareness, told through bilingual poetry, dance, traditional Latin music, and experimental compositions!

HOW ARE YOU FIERCELY FRINGE?

One of this year’s Culturally Diverse Projects at the Fringe, this group of twelve multidisciplinary artists is #FiercelyFringe, building everything in their grassroots show from scratch and pooling their creative resources to learn from each other and create something completely new.

CONNECT

i: @inamoratadance
#Inamorata2017 #Picaza


Lemons Lemons Lemons Lemons Lemons

WHO ARE YOU?

The Howland Company with Slow Blue Lions

WHY SHOULD PEOPLE CATCH YOUR SHOW?

(1) It’s about love, and law saying you can’t say more than 140 words/day; (2) It’s the healthiest, most citric, show in Fringe; (3) It’s funny and touching, also has a couple of tips for mostly silent relationships.

HOW ARE YOU FIERCELY FRINGE?

(1) women directing and producing*, each for first time; women AD and intern; *producer won Cayle Chernin Award for theatre production’; (2) show is by first time playwright Sam Steiner and comes from UK Fringe.

CONNECT

f: /TheHowlandCompanyTheatre
t: @TheHowlandCo
i: @thehowlandcompany
#lemonslemonslemonslemonslemons


Welcome to the Bunker

WHO ARE YOU

Portius Productions is a brand new company that aims to explore the opportunities different theatrical spaces offer for experimentation with audience immersion and interaction, with an emphasis on all things nerdy. Its inaugural show, Welcome to the Bunker! is written, produced, and performed by Clare Blackwood and Ryan F. Hughes, and is an immersive zombie apocalypse comedy set in a bunker deep below the Theatre Passe Muraille Backspace.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

This is a show for nerds, comedy lovers, and anyone who wants to laugh at two weirdos trying and failing to lead an apocalypse orientation for the survival of humanity.

HOW ARE YOU FIERCELY FRINGE?

We’re pushing the boundaries of how to involve audiences inside of a traditional theatre space, taking them out of their pre-armageddon comfort zones, and maybe singing welcoming songs to them. That is, if the zombies don’t get to them first…

CONNECT

t: @bunkertofringe
#bunkerTO


Macbeth’s Head

WHO ARE YOU?

I’m Kyle McDonald, the founder of Malfi Productions, whose mandate is: to produce entertaining and interesting film, television, theatre, and literature by merging tradition with innovation for an audience who craves emotional and intellectual risk. We’re dedicated to injecting classical material into something contemporary and relevant.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

How many people can say they’ve seen a disembodied head with magical powers running around on a dessert trolley while threatening to destroy all of Shakespeare’s work?

HOW ARE YOU FIERCELY FRINGE?

We’ve gotten this show on the road with pure love: from the illustrator who did our amazing artwork, to the composer who made original music, to our photographer who’s shot us free of charge. Also, there is little to no set, and we’re relying only on our wits to tell the tale of this maniacal head! And, the script is half in original verse, which seems like a pretty bold move in the age of one liner TV scripts!

CONNECT

t: @malfiproduction
#macbethshead #malfiproductions #longlivethehead


Perfect Couples

WHO ARE YOU?

We’re an indie theatre collective dedicated to generating bold new work. We are passionate about stories from underrepresented voices, and providing opportunities for emerging artists to flex their muscles.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Our fringe show, Perfect Couples, is a good example of this. Written, directed, designed and performed by emerging artists, the show is distinctly millennial. Yet, refreshingly, it’s never reductive or patronizing— there’s not one mention of twitter or selfies. Perhaps more defining as a millennial piece is that it talks about mental illness, which is rampant among 20-somethings. The play is a twisty trip down visual artist Valencia’s unravelling, and we see how her struggle with mental health impacts her relationship and community. Women-driven, queer, sexy as hell…

HOW ARE YOU FIERCELY FRINGE?

Perfect Couples by Mitchell Janiak is both witty and dark. It takes advantage of what Fringe provides— an opportunity to take risk and tell stories that aren’t heard often enough.

CONNECT

t: @PencilKitProd
i: @PencilKitProductions
f: /PencilKit


Monsters By Nature

WHO ARE YOU?

We are Kindling Collective! We take an intersectional feminist perspective to classical works. Our show Monsters By Nature was created in a similar fashion to how Frankenstein made his creature, by piecing together classical and self-written texts, punk and folk music.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Audiences explore what makes them feel empowered by their inner monster and reflect on their perceptions of people that they fear.

HOW ARE YOU FIERCELY FRINGE?

Monsters by Nature owns the term Fiercely Fringe by its bravery to examine the roots of our fears. It’s terrifying to watch pieces that force you to look into what makes you a monster. But it’s also empowering to do so. At rehearsal last night I thought how fulfilling it feels to be in a room with 6 fierce women, an electric guitar, and bare hearts telling these stories of characters that have remained relevant through the ages. We can’t wait to meet you in the midnight.

CONNECT

i: @kindlingcollective
f: @kindlingcollective
t: @kindlincollec3
#kindlingcollective #whatareyouafraidof


13 Ways the World Ends

WHO ARE YOU?

Good Morning Apocalypse is a comedy troupe from South Ontario, formed in 2015.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Why see our show? For one thing, we have a hour-long revue about all the ways the world will end, and not once does someone mention Donald Trump. Nothing about what’s happening in the U.K. either, since we couldn’t find a rhyme for “Brexit.” There’s zombies, but not enough to get you all zombied out. At one point someone plays the saxophone – badly. There’s a killer robot, and a killer plague, and a lovely little sketch about how all the bees are dead and we’re next. Mostly it’s full of people who go through their days with a vague sense of dread, and who also have opinions about which of the Mad Maxes is the best Mad Max.

WHY ARE YOU FIERCELY FRINGE?

This is the kind of show that can only happen at Fringe, and we’re fiercely proud of it.

CONNECT

t: @ApocalypseGood
i: @GoodMorningApocalypse
#13WaysTheWorldEnds


White Wedding

WHO ARE YOU?

I’m a female writer / director who is trying to combine those skills for the first time with a new play called “White Wedding”! I’ve had a lot of luck in the past as both a writer and director and now I’m trying to bring those two sides of my brain together with an incredible group of creative individuals!

WHY SHOULD PEOPLE CATCH YOUR SHOW?

White Wedding explores really recognizable feelings in a new way. Instead of asking what happens as a wedding, White Wedding asks what happens in a hallway above a wedding. What private conversations and secrets are told? Who makes out with who? Who ends up drinking themselves into a sad quiet corner somewhere? Why do we celebrate stupid emotions like love again?

HOW ARE YOU FIERCELY FRINGE?

We are creating theatre in a found space firstly because we think it’s a cool thing to do, but also because it’s a necessity. Re-imagining theatre for new spaces for today’s audiences is what will bring in new audiences, make people feel invited to the art form, and open up the stage to something new, something novel, something fierce!

CONNECT

t: @PortAlbertPro
i: @portalbertproductions


Bendy Sign Tavern

WHO ARE YOU?

Sex T-Rex is a comedy collective that has been in the Toronto Fringe since 2013!

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Bendy Sign Tavern is our most Fiercely Fringe show yet- a site specific puppet show where six-legged barflies trade actual Fringe reviews and you can order a pint from a puppet!

HOW ARE YOU FIERCELY FRINGE?

We’ll have rotating fringe guests from our favourite shows. Throw in live music and Sex T-Rex’s signature wit and you’ve got a real tour-de-fierce.

CONNECT

t: @sextrex
f: /sextrexcomedy


MUTTS OR: 101 LIBATIONS

WHO ARE YOU?

The Gracie May Theatre Company, named after the creator’s late childhood dog, is devoted to creating new Canadian content. The company refuses to take any political stand and holds no beliefs whatsoever.

 The founder, Joey Monahan, currently resides in a fortified compound near Georgetown, Ontario.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

MUTTS OR: 101 LIBATIONS is a unique comedy, not for the faint of heart. As dark as it is funny, the story follows two hopeless, helpless, and hapless drunks who steal dogs and return them for reward money to support their addiction. After taking a service dog and causing the death of a blind man, the two find themselves at odds with each other when one wants to continue their lifestyle and the other decides to stop.

HOW ARE YOU FIERCELY FRINGE?

It has been created and is being performed by a small group of local artists. Although the play itself never states a location, it is very much a Canadian, and specifically a Torontonian piece. It has been made with the intention of making people laugh and hurt at the same time, because in life sometimes something can be humorous and heartbreaking at once.

CONNECT

i: @GracieMayTC
f: /GracieMayTC
t: @GracieMayTC
#MUTTS


The Stories of Lantern Tales

 

WHO ARE YOU?

I am a storyteller.

Encountering the storyfire in 1981 at the age of 28, when I hitchhiked 70 miles from St. Catharines to Toronto to hear my first storyteller, Trinidadian Paul Keens-Douglas. I became interested in composing original tales, especially stories inspired by my childhood in the Ottawa. Valley. I am a violinist/fiddler and featured in festivals across Canada and abroad.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Composed in traditional forms The Stories of Lantern Tales are unique, shaped by a childhood spent in the countryside of Black Bay Road.
 They are an excellent opportunity for listeners to meet the devil, a 4 tonne traction engine with a soul, 12 sea serpents and a cedar canoe pulled by six Ottawa Valley beavers.

HOW ARE YOU FIERCELY FRINGE?

The distillation of images and experiences that came from growing up as a child in an isolated Ottawa Valley countryside, wandering alone along endless trails in the woods, the silence of a winter moon.

Through the imagination of the listener those experiences live again.


Death Meets Harlequin

WHO ARE YOU?

Unspoken Theatre was founded in 2011 by sisters Nina & Natalie Kaye, and focuses on new writing with a classical influence. We have produced over a dozen new plays by local women writers.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Our short comedy, Death Meets Harlequin tackles big themes with a light heart, using archetype, music, dance, Commedia dell’Arte, and physical comedy to infuse our attitude on life and death with a little optimism.

Our cast and crew are Festival veterans, with credits at Alumnae Theatre’s New Ideas Festival and Big Ideas Festival; SoCap Theatre’s Short Short Play Festival; InspiraTO; and the Toronto Fringe.

HOW ARE YOU FIERCELY FRINGE?

Death Meets Harlequin offers something for everyone. A deeper meaning for the philosophical thinkers; bright costumes and silly songs for the kids; great new writing for the lovers of literature; a touching family story for the ones who cry and laugh at once; and a circus pre-show by Deflying Feets for anyone else!

CONNECT

t: @TheatreUnspoken
#FringeKidsFest
#FringeFemmeTO
#deathmeetsharlequin


The Diddlin’ Bibbles Live in Concert!

WHO ARE YOU?

Lesley Robertson and Matt Shaw are “The Diddlin’ Bibbles”, a comedy band making their Toronto Fringe debut. Co-written and directed by the hilarious Dana Puddicombe, “The Diddlin’ Bibbles Live in Concert” tells the story of Rose-Marie and Jessop Bibbles, a sex-positive and spiritual singer-songwriter duo, who have travelled from small-town Wisconsin to Toronto to perform at the Toronto Fringe Festival – their lifelong dream.

WHY SHOULD PEOPLE COME SEE YOUR SHOW?

Their show, “The Diddlin’ Bibbles Live in Concert” is part sketch comedy, part live concert, part mockumentary, part metatheatre, and part love story. Think: Flight of the Conchords meets Christopher Guest’s A Mighty Wind meets #the6ix.

HOW ARE YOU FIERCELY FRINGE?

This show is “fiercely fringe” because it’s a new play written and designed specifically for the Toronto Fringe Festival, St. Vladimir Theatre, and Toronto audiences! The entire show is a self-reflexive comedy spoofing the experiences of the Toronto Fringe Festival, the arts, and the city of Toronto.

CONNECT

w: www.thediddlinbibbles.com
f: /thediddlinbibbles
i: @thediddlinbibbles
t: @DiddlinBibbles


Madeleine Says Sorry

WHO ARE YOU?

Prairie Fire, Please was founded by Aaron Jan and Madeleine Brown, lightweights with no taste whatsoever in alcohol. We welcome you to judge our poor choices – we’re likely already judging yours. Madeleine Says Sorry is the company’s inaugural production. Will it be our last? Depends how bad the hangover is…

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Where else can you see a 6×4 foot poster-shrine of David Suzuki, and a magical cardboard Apologemeter X that descends from the heavens?

HOW ARE YOU FIERCELY FRINGE?

How are we #FiercelyFringe?
 We collectively had three very successful fringe shows last year. Rowing, Silk Bath, and Knots. This one is nothing like any of those shows. Our process has been entirely funded by popsicles. 
We never start rehearsal on time. Our director cannot afford underwear. We are one of the most diverse teams in the Toronto Fringe! #FiercelyFringe

CONNECT

t: @MadeleineSaysTO
i: @madeleinesaysto


Pillow Talk

WHO ARE YOU?

We are a group of comedians, actors and creators who met while attending the Second City Conservatory Program. Shortly after graduating, Charlotte Cattell and Olivia Brodie-Dinsdale reconnected to start a sketch duo, the O.C. After their successful show at Montreal Sketchfest they thought there would be no better idea than asking their friend and fellow creative, Adam Martignetti to join them in making a completely original sketch revue.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Pillow Talk is not what you would expect from a traditional sketch revue, we wanted to keep things real and make it more than just making people laugh. We tackle those intimate and vulnerable moments in life that people wouldn’t normally talk about openly. Pillow Talk, doesn’t imply the usually sexual connotation. I mean, we would like to think we are pretty darn sexy!

HOW ARE YOU FIERCELY FRINGE?

Written by 3 real people about real experiences, Pillow Talk couldn’t be anything more than “Fiercely Fringe”! We are people with anxieties, fears and the notion that ghosts are real! But what is more fierce than displaying those moments for everyone to see.

CONNECT

f: @Pillowtalkfringe2017
t: @PTFringeTO17
i: @pillowtalkfringeto


Lysistrata

 

WHO ARE YOU?

how.dare.collective. is making their debut at this year’s Toronto Fringe. The brainchild of two-time Las Vegas Burlesque Hall of Fame performer-choreographer St. Stella and writer/director Kay Brattan, their mandate is to create theatre for the underdog – representing the underrepresented. The Lysistrata company is made up of experienced and talented performers from both the theatre and burlesque communities, and some of whom are well-known in both scenes, such as Sebastian Marziali (El Toro to the burlesque & boylesque community).

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Lysistrata brings an appetizing take on classic Greek comedy to the contemporary audience. Brattan has used her own words to combine three different translations of Aristophanes’ work, and through the combination of slam poetry, songs and striptease, this will be a retelling of the story the likes of which has not been seen before, with the two mediums blending to embody and convey the messages of the piece (such as female empowerment, peace not war and, of course, equality).

HOW ARE YOU FIERCELY FRINGE?

With this show, we bring together the varied talents of our diverse company to tell this story in a fresh, powerful and memorable spectacle. Bring on the glitter and good times!

CONNECT

i: @LysistrataTO
t: @Lysistrata_TO
#LysistrataTO
#SlamPoetrySongsAndStripTease
#GlitterAndGoodTimes


The Miserable Worm

 

WHO ARE YOU?

We are Let Me In, a theatre collective spearheaded by Justine Christensen and Patrick J. Horan. We seek to remix, alter, satirize, and break “classical” plays, thrusting them into a contemporary landscape.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Our show, The Miserable Worm, exposes gendered expectations often ingrained in old works, bringing to light new colours from Chekhov’s “untitled play”, which our show is based off of. The story is made new through gender-bent casting; particularly by placing a woman in the title role of the smarmy playboy Platonov.

HOW ARE YOU FIERCELY FRINGE?

Let Me In’s The Miserable Worm is Fiercely Fringe because it draws in and implicates the audience into the action. As soon as they walk through the doors of the Annex, each audience member becomes a guest at the Platonov Estate. They are privy to the events and intimacies of a fatal night of hard drinking and painful nostalgia. Oh, and it’s going to be really funny. 

CONNECT

t: @LetMeInTheatre


Lover Lover

WHO ARE YOU?

Subverting Something is a company founded by Veronika Gribanova and is now based in Toronto and New York. Our mandate is our name. We’re almost half serious.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

A lesbian and a straight man walk into a bar: a love story. It’s complicated. Lover Lover is a story about the limitations and possibilities of love. This site-specific play is an intimate conversation between strangers in a public space. At Nightowl, a bar in Little Italy, audience members can have a drink and watch the story unfold. Allow us to subvert your expectations.

HOW ARE YOU FIERCELY FRINGE?

Lover Lover explores issues that aren’t often discussed in a public setting. Questions of sexuality, identity, and polyamory, as well as of vulnerability and intimacy, are brought to light. We have risked placing emotion at the centre of our work and we are telling the truth as we understand it, which is both an obligatory and subversive act.

CONNECT

i: @subvertingsomething
t: @subvertingsome
#loverlover


For the Love of Pie

 

WHO ARE YOU?

I’m the daughter of a French Canadian mother who taught me the importance of butter and extravagance. For the Love of Pie, my play, showcases a lot of that French “je ne sais quoi”! Montrealers and Chicagoans were dazzled by the show nominating it for Best Solo Theatre Production (Montreal Fringe) and naming it one of of the 5 Best Bets of the Chicago Fringe (TimeOut Chicago).

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Why see it, Toronto? Because sometimes we take ourselves too seriously and need to be reminded that life is not as easy as pie and why not embrace failure as opposed to suppressing it.

HOW IS YOUR SHOW FIERCELY FRINGE?

It’s fiercely fringe because, well, it’s just me writing, producing and playing three very extravagant characters leading over the top ridiculous lives and my challenge is to make their story resonate with the audience.

CONNECT

t: @PieGeorgiaPeach
#FortheloveofpieTO


HEXEN  

WHO ARE YOU?

The Creation Coffin is a Toronto based company that focuses on progressive work, emerging artists and female creators. The cast and crew of Hexen are all recent Randolph Academy Alumnae.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Fringers should be sure to see Hexen because it is a savage critique on the society that we have constructed for ourselves, through a powerful, sexy and feminine lens.

HOW ARE YOU FIERCELY FRINGE?

Hexen is truly “fiercely fringe”. The show and our site-specific venue are designed to make you feel like you’re deep in a forest. Because of this we did the majority of our rehearsals outdoors and we have benefited greatly from the inspiration that nature provides. Stylistically, Hexen is quite pioneering – we would describe it as a “deconstructed musical”, something we have never seen done before but are fiercely experimenting with for this year’s Fringe Festival!

CONNECT

f: /thecreationcoffin
i: @thecreationcoffin
#hexenfringe


Wanted

WHO ARE YOU?

Sue Morrison is a world-class teacher of performance-oriented Clown and Bouffon.

Mélanie Raymond has been working and training at DynamO Theatre (acrobatical theatre) for 15 years.

WHY SHOULD PEOPLE CATCH YOUR SHOW?  

The performance has been described as like having a conversation with a best friend that you didn’t know you had. The arc of the show is affected by the qualities that the performer brings to the theatre each night, and the qualities of the audience, and how those interact. The audience is part of what happens each night and no two shows are the same.

HOW ARE YOU FIERCELY FRINGE?

This is outsider theatre. This is bottom-up, grassroots theatre. The collaborators developed the script through a process of question and answer, call and response between the outside eye and the inside eye… a bricolage brought to life using the language of twelve masks. There is a universality to the experiences that the performer encounters and explores.

CONNECT

t: @guayoyo_ca
i: @guayoyo_ca
#WantedTF


RISE/FALL  

WHO ARE YOU?

Malcontent Theatre Company is a diverse, grassroots indie company made up of performers from students to seasoned professionals. We are committed to inclusiveness and challenging standards.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

RISE/FALL is an immersive, site-specific production that has the audience divided by a wall. A unique show happens on each side, and occasionally interacts with the other side. The wealthy percentage of society has gained control of the government and banished anyone of minority to the other side of a wall.

HOW ARE YOU FIERCELY FRINGE?

This production is fiercely Fringe because we are an independent group of local artists, who are playing around with new theatrical concepts and tackling political issues with no holds barred. We are creating a show unlike anything any of us have ever seen, and are taking a huge risk with such a complicated concept. This deals with subjects that are close to everyone’s hearts, including segregation, prejudice, racism, homophobia, and Trump’s America.

CONNECT

t: @MalcontentTC
#RiseFallFringe #BreaktheWall


The Night Hart Crane Kissed Me  

WHO ARE YOU?

We are Spindrift and our combined talents include: acting, writing, directing, magic, music and stage combat! We put all of these to use in our very first Fringe outing, The Night Hart Crane Kissed Me.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

What’s a Hart Crane you may be asking? Answer: a sailor-loving, hard-partying poet who burned through the burlesque houses, vaudeville theatres, boxing matches and speakeasies of Jazz age New York before blazing out at 32. His grave merely says: Lost At Sea.

HOW ARE YOU FIERCELY FRINGE?

We chart his final hours, explore how his life and art intersect with our own, and attempt to invoke the feeling of encountering his poetry for the first time using all of the rad methods mentioned above. This summer we invite you to get #KissedByHart

CONNECT

t: @spindrifttc
i: @spindrifttheatreTO


Ten Creative Ways to Dispose of Your Cremains 

WHO ARE YOU?

We are Theatre Rhea and Neoteny Theatre.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Yes, it may have the longest title ever, but most importantly it’s a millennial love letter dedicated to the misfits of the Peter Pan Generation. Lucy and Bennett, our two main characters, are lonely but are given the chance to connect. Written by Rose Napoli and directed by Carly Chamberlain, be sure to visit us in the backspace of Theatre Passe Muraille, just down the street from the tent!

HOW ARE YOU FIERCELY FRINGE?

Our characters are just like the people who come to the fringe. People who exist on the periphery, and find a connection by being on the outside. The show itself may be about nothing. Or it may be about everything. But it’s definitely about an urn of ashes and six popsicles.

CONNECT

#CreaminsTO
t: @TheatreRhea


The Life Henri 

WHO ARE YOU?

Award winning Artist Adam Bailey: creator of Fringe hits The Assassination of Robert Ford and Adam Bailey is on Fire, and director of The Enchanted Crackhouse .This year I’m doing The Life Henri, a play about dead painter Henri Rousseau. It includes a slideshow and we’re selling wine. 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

It’s a really intimate experience that’ll sweep you away. We got four stars when we tested it in Edmonton and it deftly touches on some modern issues like bullying. Plus, slideshow!

HOW ARE YOU FIERCELY FRINGE?

Henri Rousseau should be the patron saint of Fringe. An outsider artist, spends years unlocking the key to success, overcoming poverty and incarceration along the way. Also, I mash his story with a 1970s horror movie and somehow that makes it all very touching.

CONNECT

i: @still_your_friend
t: @stillyourfriend
w: www.stillyourfriend.com
#thelifehenri


Traffic Jams

 

WHO ARE YOU?

Resilience Theatre. We are a feminist theatre company dedicated to telling women’s stories and those of the underrepresented. This is our first production and hope this opportunity will allow us to make connections and create more content that young people can relate to that illustrates their experiences.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Five-word pitch: woman attacks depression with ukulele! See this show because it’s funny, relevant, and sometimes uncomfortable. It deals with issues many young people are facing, particularly artists, and highlights the different ways mental illness can surface within one person.

HOW ARE YOU FIERCELY FRINGE?

This show came from a late-night phone call between two friends about mental health and artistic struggles. We refused to wait for this story to be told, so we’ve brought it to the stage ourselves. Mental illness is tough to talk about, even for us, but by taking the risk to show this battle, we can contribute to a dialogue on mental health.

CONNECT

f: /resilienceTO
t: @resilience_TO
i: @resilience_to
#trafficjams


Love and Information  

WHO ARE YOU?

The play is by Caryl Churchill, will be directed by Andrea Donaldson and performed by the 5th term students at Randolph Academy for the Performing Arts. Our show is essentially 50 mini shows packed into one.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Contemporary issues regarding knowledge, communication, and our capacity to love and be loved are beautifully represented. We explore these issues in the most unique ways, incorporating movement, song, and even silence. There is so much to take away from this beautiful painting of humanity.

HOW ARE YOU FIERCELY FRINGE?

As the actors, we have been very thankful for the process. Every day we go into rehearsal and are utterly moved by our discoveries. We dive into various human behaviours, points of view, sexualities and cultural differences. When something doesn’t work, we ask ourselves why, and approach it from a different angle. It has been the most incredible journey for us, and we cannot wait to share it with Toronto.

CONNECT

#RALoveandInformation #LoveandInfo #LoveandJan #JanLovesInfo #RAPA


 The Resurrectionists  

WHO ARE YOU?

House of Rebels Theatre started in 2014 as a podcast audio drama company, that has since expanded into interviews and original stage plays. In the 2016 Toronto Fringe, we produced King of the Castle, and are excited to bring another exploration of morals and humanity to the Randolph Theatre this year!

WHY SHOULD PEOPLE CATCH YOUR SHOW?  

The Resurrectionists tackles one of the western world’s best-kept, darkest secrets. Grave-robbing in the 19th century was a rarely-reported crime that occurred anywhere people studied medicine. Shortages of bodies with surpluses of students lead to creative, criminal solutions to the growing demand. This play examines Canada’s habit of hiding it’s less-savoury history, and why we keep letting ourselves do so. 

HOW ARE YOU FIERCELY FRINGE? 

The Resurrectionists is co-produced with Theatre Parallax. We are companies interested in theatre that is provocative AND entertaining – and we don’t believe those are mutually exclusive qualities. We want to have our art, and like it too.

CONNECT

t: @RebelsTheatre
i: @RebelsTheatre
w: www.rebelstheatre.com


Kassandra aka Joyia, Fringe Concert Series  

WHO ARE YOU?

My name is Kassandra, aka Joyia, and I’m a musician. I’ve made it my mission to make unique music, which represents myself. I make all of my songs in both acoustic and electronically produced versions. I make music that combines R&B with a bit of an electronic sound. I’ve coined my genre as “soultronic,” and want to bring the genre to life in my own unique way.

WHY SHOULD PEOPLE CATCH YOUR SHOW?  

I’m part of the Fringe concert series on July 9! True songwriting and composition has always been my passion, and I’ve been building up a new repertoire over the last few months. For the first time, I’m making music that I feel is 100% me, and it’s the most liberating feeling ever.

HOW ARE YOU FIERCELY FRINGE?

I create art for the reason art was created. It’s a freedom of expression, a chance to connect people. It’s finally giving me a chance to share my true self with people. It’s been a long journey of self-discovery, and I can finally say that the music I make truly represents me. 

CONNECT

t: @joyiamusic


Life Records 2: Side B 

WHO ARE YOU?

I’m Rhiannon Archer & I wrote/perform Life Records 2. This company is just me & I named it after my late dog Beefy. He was really great! 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

2 words: IT’S FUN! Everyone should see Life Records 2. Unless if you hate fun, then maybe just stay home.

HOW ARE YOU FIERCELY FRINGE?

7 words: Because I’m Fierce & in the fringe! I’m really putting myself out there in order to connect myself and the audience with one another.

CONNECT

t: @rhiannonarcher
@LifeRecordsTO
i: @rhiannonarcher


A Flea in Her Ear

 

WHO ARE YOU?

Pulse Theatre’s “A Flea in Her Ear” is a modern adaptation of one of the greatest vaudevilles ever! We made the characters quirkier, the relationships more sensual, the show more exciting! A splendid cast, terrific creative team, a visionary director.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

The energy, the sexiness, the colorfulness, the playfullness- our show is funny and entertaining! All the original comedy gold, plus hippies and furries, and just a touch of…well, let’s not spoil the surprises! Even if you do know the original script – you don’t know this show!

HOW ARE YOU FIERCELY FRINGE?

A part of Pulse Theatre’s mandate is working with immigrant artists and diverse performers – “visible and audible minorities”, and we did just that – our talented cast and crew depicts the wonderful diversity of Toronto’s theatre scene. A fierce comedy with a powerful ensemble and crew, and beautiful promo art by the amazing Derrick Chow! Our Flea roars like a tiger!

CONNECT

#afleainherear


The Balding 

WHO ARE YOU?  

Jeff Gandell is a Montreal writer, storyteller, actor, musician and teacher. I tell stories that aim to make people laugh and feel a greater connection to the emotional landscape of the universe.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

The Balding is a hilarious story about a twenty-year-old man who’s convinced he’s going bald because he’s still a virgin. In his quest to find romance, he falls down a rabbit hole of dangerous car accidents and property destruction. It’s a show about learning to love the fleeting nature of all our lives. Basically, the lighter side of mortality and decay.

HOW ARE YOU FIERCELY FRINGE?  

It’s funny! The rawness and vulnerability of the protagonist will make audiences concurrently laugh and feel better about their own insecurities. Plus, there are a couple of raucous rock n’ roll numbers. And it’s a masterfully constructed story that will leave audiences breathlessly anticipating what comes next. Come on!

CONNECT

t: @jeffgandell
i: @jeffgandell


Recall

 

WHO ARE YOU?  

Seven Siblings Theatre utilizes the Michael Chekhov Acting Technique to create the Theatre of the Future, Fantastic Realism. We’re presenting a sci-fi thriller that pushes the boundaries of government control. Written by genre-shattering female playwright Eliza Clark, the show is centered around a mother and daughter relationship holding their ground as the government tries to “RECALL” potentially dangerous or psychopathic children. 

WHY SHOULD PEOPLE CATCH YOUR SHOW?

Clark dives into a troubled child’s mind and examines emotional understanding as the two desperately try to start fresh. The world of this play is a truthful and surreal depiction of our future society.

HOW ARE YOU FIERCELY FRINGE?

This Fiercely Fringe show not only gives us sci-fi in theatre, something you don’t see often, but gives women the lead narrative in what is usually a male domain. Plus… we have violence, blood, guns, mature language, a shopping list of food props, sci-fi machinery, and a sick sense of humour. We’re fierce as f$%k.

CONNECT

t: @SevenSiblingsCo
#RecallTO


On The Inside  

WHO ARE YOU?

My name is Michelle Thoms and I’m the writer and director of On The Inside, a play about a young woman caught in the vicious cycle of Canada’s Corrections System. It doesn’t stop there though, it’s also about humanity and the lengths people go to survive.

WHY SHOULD PEOPLE CATCH YOUR SHOW?

People should watch this show because it raises questions about solitary confinement, society and about the grey area that sits between professionalism and caring.

HOW ARE YOU FIERCELY FRINGE?

We are pushing the envelope by taking a true story and extending and exploring further questions that surround it. Questions like: Why is the rate of women of colour increasing at a dramatic rate in Canadian federal prisons? Why is self injury increasing in women’s prison? Is “othering” used in the prison system and to what extent?  As well, On The Inside is taking a risk because it is being presented as a docutheatre production. 

CONNECT

t: @ontheinside17
i: @ontheinside17


*Submissions have been slightly edited for clarity and length.


But wait! There’s more!

For more #FiercelyFringe, continue here.

 


 

Call for Submissions: How Fiercely Fringe Are You?

We’re compiling the most epic Toronto Fringe preview and we want to hear from all of you boss Fringe babes why you are the most #FiercelyFringe and why Toronto NEEDS to see your show.

 

Find out more about how to submit here!