Melissa Domingos and Milica Marković
Bad Baby Presents: Rules Control the Fun
*Warning: this review contains spoilers*
Bad Baby Presents: Rules Control the Fun is pure fun and Janelle Hanna is a standout comedy star in this one-woman show. This production is a meta-theatrical look at the creation and distribution of a Toronto Fringe show from the point of view of Bad Baby. She discusses the rules of the Fringe, the kinds of scenes that are necessary in the show and the advertising techniques required to promote the show. Bad Baby also outlines the reasons she wants to be an actor (to sleep in and kiss boys, of course). Before the show begins, Bad Baby comes out to the pre-show lineup to hand out flyers to the awaiting audience members while also explaining the process of flyering.
Hanna is crazy funny, donning a red nose and black rimmed glasses, as Bad Baby. She excels at a comfortable mixture of script preparation and improvisation, which keeps the show engaging. The funniest bits are when she pushes the improv as far as she can. For example, Bad Baby informs us that there is a kiss in the show despite the fact it is a one-woman production. The lights then come up on the audience and she picks out a man and keeps her eyes and energy on him throughout the entirety of the show. Also, when she fails to deliver her “surprise" to the audience, the audience erupts into a resounding “There is no surprise,” to which she quickly replies, “Hey guys, whose show is this?”
However, the most heartfelt moment is the last 15 minutes of the production where Hanna removes the disguise and sits in front of the audience as herself, the artist. Here, she discusses the stereotypes and limitations attached to solo female shows versus solo male shows, as well as the difference in topics and audience members who view these shows. It is a completely unexpected ending, but one that brings forth an ongoing and important conversation in the performing arts and entertainment industry.
Lemons Lemons Lemons Lemons Lemons
Imagine being limited to 140 words a day. What can you say within those limits and what can you express without the use of words? That is exactly what Lemons Lemons Lemons Lemons Lemons explores (I promise the title has meaning!).
Bernadette (Ruth Goodwin) and Oliver (James Graham) meet just as a new law is enacted that confines every person to 140 words daily. Lemons flashes back to the time they could freely engage with one another and flashes forward to look at how they struggle to develop a relationship under the complicated law.
Sam Steiner’s play is hilarious and extremely timely, providing a glimpse into the surveillance and censorship we endure today. Bernadette and Oliver are in a constant state of comical paranoia where they are always being notified of when their word limit will end, even to the point where they begin to count how many words they have left. Steiner explores the miscommunication in relationships as well as the ways in which we speak to one another (in abbreviations, sounds). The show never investigates what happens when these characters push the 140-word boundary, but the thought of what could happen is haunting.
Goodwin and Graham have fantastic and refreshing chemistry throughout the show, whether they are fighting or using their daily word limit to rap “The Fresh Prince of Bel-Air” theme song just for the heck of it. Their comedic timing is strong as they try to work out the kinks of Bernadette and Oliver’s relationship.
Caitlin & Eric Are Broken Up
In what should have been a comedy duet, Caitlin Robson and Eric Miinch play an ex-couple that tries to get back together while reminiscing about the reasons why they probably shouldn’t.
Instead, this was Eric’s very own stand-up show, with the script written mainly in Miinch’s favour. His character has all the dynamic, prissy energy that I love, complete with golden punch lines. Robson’s character, meanwhile, seems to have fallen into the “straight man” trap that many modern girlfriend roles are stuck in. It’s not a bad trope by any means; we’ve just seen it before. I would’ve liked to see them both written as full-on screwballs with some more balanced character development.
There are also times where them breaking the fourth wall is like beating a dead horse. They rely on it a bit too much, to the point where they even break out of character. Genuinely tense moments end up being unintentionally humorous as well, which really ruins the authenticity for me.
I still enjoyed the show and how creatively relatable it can be in spite of these less crispy setbacks. I think with another rewrite it could definitely be a contender in theatre comedy.
The Teeny Tiny Music Show
This is a show I’ve been dying to see all year, in which Sneaky Sneaky Production’s Artistic Director Hayley Pace pulls a Lemon Bucket Orkestra with her wacky nonet and tells us about her real love affair with a Detroit-based saxophonist in Balkan-esque cabaret fashion.
I had a lot of fun watching this show; the sheer dynamism, folksy spirit, and unpredictability of everyone involved makes you feel like you’re at an actual Balkan party – something I can relate to for sure. Pace, a born performer, makes this breakup story sound like a tale for the ages, sprinkled with her signature kookiness.
I don’t think Pauper’s Pub is conducive to the size and sound of this show, however; moving around and constantly doing different things didn’t always look comfortable for the performers, and the sound mix does need to be refined given how stylized and boisterous the music was. Speaking of which, while I know Pace to have a beautiful musical theatre voice, I think her vocals do need to be improved for the kinds of contemporary songs she’s selected for the show before she can inject her magnetic personality into them.
For more information on these shows and more, visit fringetoronto.com.