![]() ![]() The vaudevillian-type songs Mims busts out throughout the show are clever and quite well-sung. There’s a bit of everything here - some sock puppetry, prizes, wooing a pillow named Brie Larson and such - with Gillman’s slightly awkward charm the highlight. Greg McLean handles offstage audio and lights, providing the voice of AI Chabot, Mims’ virtual friend who appears onstage as a small round light that changes colour. The program lists the hour-long, one-man (plus digital pal) Break Time as “unclassifiable,” and while it’s a bit of an oddball show that’s not for everyone, there’s a somewhat interesting and quite topical story at its core.Īvery Gillman, who co-wrote the show with Allan Coleman, plays Mims, a lonely man who enlists the help of AI Chabot, a virtual assistant found online, to help him finish a script for a frog-centric streaming show called Little Jarlings. ![]() Rachel Browne Theatre (Venue 8), to Sunday ![]() The actors look as if they are having a good time performing up on the stage, telling the stories with a zestful sense of excitement, and it’s enjoyable to watch them have fun doing it. There are minimal props and you need to go in ready to use your imagination. This is hour-long production is geared towards children 3-12, but don’t let that stop you from attending if you don’t have kids, or even with older children this is a show the whole family can enjoy. That said, the play starts off a little slow, but as it goes on, it gets better and better, with Sirko and the Wolf the best of the three. You can’t lose when you’re privy to the folklore of another culture. The cast of Blabbermouth, the Puff Monster and the Wolf. This kid-friendly, imaginative story time features a robust cast of all ages re-creating three classic folk tales from Ukraine, performed in English: The Blabbermouth, The Puff Monster and Sirko and the Wolf. Tom Hendry Warehouse (Venue 6), to Saturday ★★īLABBERMOUTH, THE PUFF MONSTER AND THE WOLF The Barbarian Bombshells have performed at the Texas Renaissance Festival for almost a decade, so it’s possible their raucous and raunchy shtick just doesn’t translate to a sit-down theatre. And perhaps there’s an anatomical reason why sword-swallowing can’t be a grand finale, but doing it at the top of the show creates a difficult bar to clear, especially if it’s followed by copious amounts of awkward audience participation. Sadly, this intriguing idea - the barbarian/bombshell complex, if you will - is not explored in any meaningful way. Though they clearly have a blast together onstage and their costumes absolutely slay, they struggle to carry a 60-minute show, especially one with no discernible plot or theme outside of “barbarian.”Ī lot of the bombshells’ banter is hinged on catfights and slut-shaming each other, even though they are supposed to be powerful, man-eating matriarchs. This trio of bawdy barbarian babes from Houston, Texas, put the hot in hot mess. Tom Hendry Warehouse (Venue 6), to Sunday The show is likely to entertain, but don’t expect any deeper truths. “I love that y’all don’t agree on what’s funny,” he told the crowd at a recent performance, endearing himself to them after delivering a play on words that earned one loud squeal of laughter followed by widespread reactionary giggles. If you get a kick out of puns, or just enjoy groaning at terrible ones, Strickland’s got you covered. “What you walk away with is something that is true - for you,” as Strickland puts it. The moral of the stories is, invariably, about the strength of community. Strickland is a gifted orator capable of crafting emotional beats based entirely on folksy, “non-factual” characters. He takes the scenic route to steer his audience toward wordplay punchlines. Free Press 101: How we practise journalismĪmerican storyteller Paul Strickland returns with tall tales from his Ain’t True and Uncle False oeuvre in this hour-long, tightly woven routine of four comedic stories and a song. ![]()
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