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His raw gut-spilling is punctuated by standup-style jokes that are rarely more than slightly amusing. The hour-long Dangerous Mind is mostly an excruciatingly awkward, sordid inventory of Porteous’s addictive behaviour. Porteous lacks the writerly skill to give his autobiography a narrative shape, create compelling scenes or dig into universal emotions like shame and loneliness. But merely informing the audience of this in a self-absorbed way does not constitute storytelling art. It takes courage to confess to being “warped” and “tainted” by porn. After being exposed to video porn as a seven-year-old, he went on to become a porn addict and a paying customer of sex workers. As a highly anxious kid in the North End, he was bullied and plagued by insecurity. Scott Porteous, a Winnipeg standup comedian in his late 30s, has led a difficult life. Planetarium Auditorium (Venue 9), to July 29 Jo and Francis leapt at his invitation to join him at his table. Next, he welcomes the “small but mighty audience,” speaking and looking directly to each one of us, sprinkling tricks in between tales from his pandemic living room to Iceland. Magician and storyteller Brown begins with a warm, beautiful land acknowledgment, setting the tone for an intimate, generous hour to come.
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But Brown’s skill of illusion is not the only thing that has audience members laughing, open-mouthed and full of wonder like a kid at the end of a good story demanding, “Again! Again!” The sleights of hand are astonishing and fun. I overrode my aversion to magic shows and went to the first of seven performances by London, Ont.’s Keith Brown in part because the poster quotes the Foo Fighter frontman’s review: “You’re incredible.” And Grohl is right. ★★★1/2Īlloway Hall - Manitoba Museum (Venue 5), to July 30 The momentum falters at times, but Hunter’s sweet face and antic energy picks it up and keeps it rolling to a wonderful conclusion that reveals what their show is really about. Speaking of spines, the show is ostensibly about skeletons, ostensibly about the science thereof, which invites and enthusiastically receives audience participation, questions and voting. Then another costume, and another, the shedding and donning of which is the spine of this mashup of storytelling, confession and clownery.
There were more giggles as Hunter arrived in another costume with tales of bodily aches, pains and peculiarities. This coward did not and regretted it as one after another listener began by smiling and then giggling. If you go - and you should - you will see another kind of white tube on stage, beside an invitation to “have a listen on the way to your seat.” Many did. The poster has them wearing a pink hooded bodysuit with a white tube attached. This is the first solo show for Portland, Ore.’s Amica Hunter (they/them) of the physical-comedy duo A Little Bit Off. Still, her deeply moving finale, in which she melds her voice with Young’s ghostly taped vocals, brings a lump to the throat, in this unabashedly sentimental, insightful journey back home. More stage business would have further brought her narrative to life, with Gall appearing oddly stiff at times during her numbers sung to a pre-recorded jazz combo.
Some opening-night wonkiness included her slide projections of evocative archival photos cutting out midway through the one-hour performance. Her showstopper, Brother, Can you Spare a Dime?, is worth the price of admission alone, as is another highlight, Yiddish theatre classic Bei Mir Bistu Shein. The operatically trained soprano belts out greatest hits by Gershwin, Porter, Berlin and others, as she recounts Young’s big band roots in Toronto with a “booming baritone” voice rivalling Sinatra’s. Albert, Alta., gets personal with her latest musical, a poignant love song to her late musician grandfather, Jack Young. Internationally renowned Canadian chanteuse Melanie Gall ( Ingenue: Deanna Durbin, Judy Garland and the Golden Age of Hollywood Opera Mouse) hailing from St. It’s sappy, and it knows it, but you’ll still clap your hands.
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Based on the series of books by Robert Fulghum, All I Really Need to Know… is sentimental and ultra-saccharine, but there’s a real joy in seeing the actors ham it up and play make-believe, which might give others the confidence to give something new a try. Once class is in session, the players - most of whom are middle-aged - turn back the clock and give the audience a reminder that wisdom shouldn’t necessarily come at the expense of wonder, self-belief and a can-do attitude. Winnipeg’s Shoestring Players have a ball as they bounce their way through this hour-long collection of comic vignettes depicting the never-ending education that comes with being a member of the human race. Tom Hendry Warehouse (Venue 6), to July 30
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Free Press 101: How we practise journalismĪLL I REALLY NEED TO KNOW I LEARNED IN KINDERGARTEN.
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