Review: ‘Swordplay: A Play of Swords’ at Winnipeg Fringe

This is the first and only non-Winnipeg-based theatre company production I attended at this year’s Fringe. I didn’t plan it that way, but that’s how it turned out – I’m just naturally attracted to local talent, I guess. But after I heard a rep from Sex T-Rex promote Swordplay: A Play of Swords at The Cube as “a retelling of The Princess Bride told through an ’80s video game,” I was sold.  The Princess Bride is very near and dear to my heart. I knew I had to make the trek out to the West End Cultural Centre to see this show.

It’s difficult to be consistently funny – either you’re not funny, or the actors get exhausted, or they start to annoy the audience. But Swordplay, thankfully, does none of these things. They are funny throughout the hour-and-change play, taking every opportunity to make a meticulously-crafted joke. Every line has been chosen deliberately to advance the plot or be funny; every line is important.

This show has been performed and workshopped just enough that it’s in its sweet spot: it’s been through other Fringes and will continue on after this one, but Swordplay is seeing its first Winnipeg audience. It’s still fresh and funny and hasn’t been overperformed.

The DnD Improv crowd will enjoy this one – it’s nerdy and has hints of inside jokes while paying homage to video games and poking fun at fantasy clichés. It’s not so niche that others won’t enjoy it. I consider myself a very middle-of-the-road yes-I-like-nerd-things-but-I’m-not-a-dungeon-master-or-anything kind of nerd and I was able to catch every joke. That’s when you know that the comedy is good: it can still be about a particular thing to a particular audience, but it’s still funny to everybody.

Although Swordplay borrows from nerd culture across the map, it’s still a original tale with just the right amount of camp. I didn’t even want to take notes because I didn’t want my eyes to leave the stage and miss anything. Many of (if not all) the Fringe shows I saw this year left me thinking about vast topics on my drive home, but this one wasn’t. This is just a good ol’ no-thinker funny (without being offensive) swashbuckling adventure. And that’s a good thing.

Swordplay: A Play of Swords and the Winnipeg Fringe Theatre Festival are on now until July 30. For ticket information, show times, and a venue map, visit

5/5 stars

Here’s how I’ll be starring all my Fringe reviews:

  • 5 stars = Astounding. I will physically push you in the direction of this show. Must see.
  • 4 stars = Very good! Highly recommended.
  • 3 stars = Well done. People interested in this genre/subject matter will enjoy it, but it may not be for everyone.
  • 2 stars = Only people interested in this genre/subject matter will probably enjoy it.
  • 1 star = Not recommended to anyone.
  • 0 stars = Run in the opposite direction.

Read my other Fringe experiences:

• Review: 4.48 Psychosis
• Review: The Trump Card
Review: Joe Job
• Recap: SLAM!
• Review: Macbeth
• Review: KING


Review: Knavish Hedgehogs’ ‘Macbeth’

I love Shakespeare, I love innovative lighting, and I love weird theatre superstitions. After Knavish Hedgehogs reached out to me on Twitter when I was looking for suggestions, I knew I had to make their production of Macbeth (or as you say in the theatre, The Scottish Play) part of my Fringe schedule.

Here’s the elevator pitch: the original text, condensed to an hour or so, seven actors, and no sets, no costumes, and no lights. The cast is illuminated only by each other’s handheld flashlights.

It’s not hard to see or hard to follow. The cast has been expertly coached by director Ari Weinberg to be in the right place at the right time, moving so swiftly and carefully that they occasionally startled me when they flicked their lights on. Theatre doesn’t scare me a lot – it was a nice change. I actually purposefully moved closer to the stage so I could see faces, and I’m glad I did.

Macbeth is my favourite Shakespeare play and the Hedgehogs did it well. Daniel McIntyre-Ridd as the titular character was wonderful, not serving up the typical power-hungry-into-paranoid Scotsman, but instead making him anxious all the way through (which, admittedly, reminded me a little of Evan Hansen – which is a great thing; don’t give me an opportunity to talk about how much I love Evan Hansen because I won’t stop), giving new depth to the ancient character.

Lady Macbeth always steals the show, but Miranda Baran slayed. Pun intended. Also portraying one of the witches, she showed why Shakespeare ladies continue to be dream roles for any actor. She commanded the stage, commanded your attention, and got it. Deservedly.

I appreciate Shakespeare much more as an adult, and much more when acted instead of read, like it was intended. When you were first exposed to the Bard, you probably read it aloud in your ninth grade English class with kids who couldn’t pronounce “Fleance” without stumbling. This production is the opposite. The ending left me speechless. It is a masterpiece.

Macbeth and the Winnipeg Fringe Theatre Festival are on now until July 30. For ticket information, show times, and a venue map, visit

5/5 stars

Here’s how I’ll be starring all my Fringe reviews:

  • 5 stars = Astounding. I will physically push you in the direction of this show. Must see.
  • 4 stars = Very good! Highly recommended.
  • 3 stars = Well done. People interested in this genre/subject matter will enjoy it, but it may not be for everyone.
  • 2 stars = Only people interested in this genre/subject matter will probably enjoy it.
  • 1 star = Not recommended to anyone.
  • 0 stars = Run in the opposite direction.

Read my other Fringe experiences:

• Review: 4.48 Psychosis
• Review: The Trump Card
Review: Joe Job
• Recap: SLAM!

Recap: SLAM! at Winnipeg Fringe

Screen Shot 2017-07-26 at 10.43.00 AMI didn’t want to call this a “review” because I knew it couldn’t be: the poets rotate, the poems are different, the audiences are different – it would be impossible to give my thoughts on any given night because they are all different.

I’d never been to a poetry slam before, although I’ve always appreciated the art, I hadn’t built up the courage to sit in an audience and look performance poets in the eye as they bared their souls. My only exposure to poetry slams was that scene in An Extremely Goofy Movie (which is still an incredible modern-day classic, by the way). I figured that Fringe would be a risk-free opportunity to get exposed to some poetry. It felt excellent to dip my toes in that pool.

Here’s the way it worked: each performance that Winnipeg Poetry Slam has at the Fringe will feature four poets (out of eight, in a round robin tournament). Picked in a random order, they all perform one poem. The judges (picked from the audience) give scores out of 10. At “halftime,” the audience takes turns writing haikus. Here’s mine:

A haiku for Winnipeg Fringe:
Sweet mini donuts
I could eat two buckets, man
Wait, no. Big mistake.

The poets then each perform another poem, and are again scored. Depending on their standings, they each earn points, which determines how they rank. The top four poets will perform in the final, and will earn a real prize – money from ticket sales. You can check out the tournament standings on their website.

It was difficult to take notes during performances, because the rhythm and smoothness and passion that the poets exert is so difficult to describe in a word other than “poetry.” I wrote that down in my notebook: “How do I use a word that isn’t ‘poetry’ to describe poetry?” It’s an artistic expression of the human spirit, combining words and emotions and occasional rhymes and body movements to attempt to convey inside gut reactions that can only ever truly be felt, but the poets came close to portraying them effectively, as close as possible.

They covered topics like love, death, inner demons, and even Batman. It can’t be predicted what could come up next, but take my word for it – I’m hooked on poetry slams.

SLAM! and the Winnipeg Fringe Theatre Festival are on now until July 30. For ticket information, show times, and a venue map, visit

Read my other Fringe experiences on

• Review: 4.48 Psychosis
Review: The Trump Card
Review: Joe Job

I Love New York

I really do, you guys.

The view from just outside our hotel. That’s Times Square down the street.

About a month ago, I went to New York City – my favourite place in the world. And I finally have time to tell you all about it, because holy god, I saw a lot of theatre, and that was the best money I’ve ever spent in my life.

On my wedding blog, I talked about going on a pre-honeymoon, because a honeymoon after your wedding isn’t always an option – sometimes you have to work, or deal with immigration visas, or maybe you just don’t have the money to go on a sweet vacation right after you get married. This trip was sort of those things, but honestly – I just wanted to go to New York. And I had Hamilton tickets. Hello!

Over our six days in the Big Apple, we saw four shows (I entered some lotteries to fill our Wednesday matinee but to no avail, so we spent our afternoon in Central Park instead). Let me talk about them all while showing you semi-related photos.

Tuesday, February 21: Natasha, Pierre & The Great Comet of 1812
Imperial Theatre
Understudies: None

This show is a trip from the very beginning. I was in this theatre three years ago to see

Outside the NYPL. Jeremiah called it a “knowledge palace.”

the Les Misérables revival, and it has been completely transformed. You walk in just having been in 2017 New York, and the box office and lobby are communist Soviet Union, coated in anarchist posters and spray paint and exposed concrete and brick. But then you walk into the theatre, and you once more are transformed to 19th century Russia, where dreamy red curtain and tea lit mirrored tables intersperse with the seats. You’ll hear people talk about how interactive this show is, and they’re not wrong – cast members stared into my face and I sat in the very back row. They threw perogies at me and they were incredible. Girls in the rows below me got egg shakers and papers and a front-row seat to some crazy club scene domination. I’m predicting it for the Best Musical Tony already, simply because this is the most interactive, innovative experience I’ve ever had in a theatre ever in my life, and I doubt anything will ever come close again.

I’d listened to the cast recording before, and I knew the story was only so-so, but the incredible set, choreography, and overall spectacle make it worth the trip.

Wednesday, February 22: Sunday in the Park with George
Hudson Theatre
Understudies: None

This show holds a very special place in my heart. As you know, I wrote a book heavily featuring Sunday, and it was an absolute dream to get to see it in person – and not just in person, on Broadway. With Jake Gyllenhaal (who was the PERFECT George) and Tony winner Annaleigh Ashford. What is my life, you guys?

The Broadway Theatre, where Miss Saigon is currently playing. Eva Noblezada has a shot at a Tony too.

Sunday has always been troubled in its productions, but this one was absolutely perfect. Every time I think about it, I get misty-eyed. It was precise, dreamy, and story-driven, not set-driven like it’s often mistaken for. This production finally gave the story the spotlight it so desperately needs, and it was perfect.

I went last preview, and Sondheim went the next night for opening.  I never saw him in the street or anything but it somehow still gives me chills knowing that we were in the same city at the same time.

Thursday, February 23: Dear Evan Hansen
Music Box Theatre
Understudies: None

Ben Platt is going to win a Tony Award or I’m going to do something dramatic. Everything you’ve heard about his performance is true. He is breathtaking in the title role. So much so that I think once he leaves, this show will suffer.

That’s not to say that it isn’t an incredible show – it completely is. It’s a beautiful story

Central Park.

that I know I’ll go back to over and over again in my life because I’ll be able to relate to a different character in different stages of my life. But the story is kept secret, and for good reason. It’s better to find out when you’re there. But without his outstanding performance to brag about, I’m not sure it’ll be as big of a sell. But tickets are on sale through March 2018 right now, so I think they’ll be fine.

A totally original show, and totally unmissable. If you can get tickets, go. Don’t hesitate.

Friday, February 24: Hamilton
Richard Rodgers Theatre
Understudies: Jevon McFerrin as Hamilton

You all know how Hamilton goes, so let me talk about the new cast members (new from the cast recording) that I got to see.

Three words: Brandon Victor Dixon. Oh my God. Leslie Odom Jr.’s Tony winning performance is a calm, composed Burr, but BVD is the opposite. He’s sassy, he’s annoyed, and in the second act, he’s ready to get his. He pushes the role vocally and physically, and was undoubtedly the star of the show.

Mandy Gonzalez was a commanding Angelica. She also pushed the role vocally and when she was on stage, all eyes were on her. I started crying during “Schuyler Sisters,” that’s how good she was.

Jevon McFerrin, son of Bobby, gave a new approach on Hamilton. He wasn’t as silly or sly as some interpretations are, but being (probably) one of the youngest people to play the title role, his naïvety came across in the first act, perhaps more than full-time Ham Javier Muñoz (who was out because of a back injury at the time), known as the “sexy Hamilton”, brings to the role.

I spent a lot of money on this trip, but I would do it all over again. New York is my soul city. I feel so renewed when I’m there. After we saw The Great Comet and we were walking back to our hotel room (side note: stay at the Wellington Hotel when you go to NYC if you’re all about location), I told my fiancée that going to theatre to me is like going to the spa – and Broadway is the biggest and best of all.

La La Land Will Make You a Believer & It’s About Damn Time

The word “magic” gets thrown around a lot, but… Image via IndieWire.

I walked into the movie theatre on Saturday honestly expecting to hate La La Land. It has the most hype for a movie so far this year, and I’m usually disappointed when a movie has this much excitement behind it. But the hype train is real, you guys. And after its record-breaking sweep at the Golden Globes, the hype train has turned into an unstoppable freight train.


This dreamy, pastel-painted Hollywood magic only comes along once every few decades. Living in a post-Debbie Reynolds world and having just pored over Singin’ in the Rain for the millionth time, La La Land was exactly what I needed to start feeling hope about the world again. The songs are catchy, the story is human, and the cinematography is dizzying in the best, dancey way.

It’s not without its problems, though. Most of the women sing in high, falsetto voices, which bothered me, because I know Emma Stone can really sing (she played Sally Bowles on Broadway opposite Alan Cumming, for god’s sake), but whatever doubts I had were lost after “A Lovely Night,” the tap number the 21st century needed, and when Stone’s character Mia gets her spotlight at the end, they finally finally let her belt. I also wish that there had been more songs when the characters were upset or angry, as they have to feel extreme emotions on both ends of the spectrum and not only sing when they’re happy.

But really – these are nitpicky, musical snob things. If you don’t scope the Broadway scene for current ensemblist news like I do, you might not even notice these things.

I’ve heard people say that although they don’t like musicals, they loved this movie. Well, I hate to break it to you, pal – but you like musicals. You just hadn’t seen one up until this point that resonated with you. Musicals can be cheesy, and some of them are plain ol’ just not good, but they can also be political, passionate, and can sweep you off into self-reflection and imagination like only theatre can.

So get out there and go see what is already the most award-winningest film of the 2017 awards season. But if you like it, then go out to your local theatre and give them a shot too. If you love the artists in this movie, you’ll love the Mias and Sebastians of real life who are trying to achieve their dreams.

Look, I made a hat! I’m launching my first novella, SON OF SONDHEIM, on January 28 at 7 pm at the King’s Head Pub. Pre-order your copy now & get your launch party tickets here!