Review of “Ruby Rocket Returns!” and “Fake Ghost Tours”

Reviewed by Peter Takach

Photos by Vancouver Fringe

A rainy Sunday in Vancouver lends itself to noir. As we skulked under the steel girders of Granville Bridge, I found myself ascribing tropes to my fellow theatregoers as we walked past converted warehouses. Over there walks our hero alone, the private eye in her overcoat, lighting a covert cigarette. Here, a pair of femme fatales with their red umbrellas. Walking along by the docks, you can almost see the ghosts of longshoreman past. But what was once a foggy place of corrugated tin factories is now a cobblestoned island of upscale markets, touristy boutiques, and luckily for me, theatre venues, home this month to the Vancouver Fringe Festival, where I took in two comedic shows.

Continue reading “Gumshoes and ghosts” – PRISM reviews the 2018 Vancouver Fringe

Review of “Weirdo”
Review by Liam Siemens
Photo by Robbie T

How do you make a magic show for the twenty-first century? In the tenth century, it was about grifting small coin from a few unsuspecting traders. In the nineteenth century, Robert-Houdin formalized it, founding a magic theatre, and performing tricks that Louie Bonaparte would later contract for political ends. In the twentieth century, magic gained visibility and grew weirder: Harry Houdini would survive public burial, magicians would establish their own club (called The Magic Circle), Criss Angel would gothify it and take it to television. So what about now? Continue reading “Weirdo is magic for the twenty-first century”– PRISM reviews the 2018 Vancouver Fringe Festival

Review of “Banned in the USA” and “Unscriptured”

Review by Laura Anne Harris

Photos by Vancouver Fringe

As soon as I entered the space of Gerard Harris’ “Banned in the USA”,  I was immediately disarmed by the charm of the performer improvising a tune on the piano. The show didn’t start traditionally with lights down or music swelling, rather, Harris (no relation!) began with some light chit chat as we waited for the show to officially start. Continue reading “Fringe is the truest, rawest and most intimate form of theatre” – PRISM reviews the 2018 Vancouver Fringe Festival

Review of “Dear Elizabeth”
Review by Issie Patterson
Photo by Wunderdog Theatre

Sarah Ruhl’s carefully-crafted and poignant “Dear Elizabeth” is an intimate piece for any audience with even a passing appreciation for poetry. Directed by Shelby Bushell, the show is constructed around a back-and-forth of real letters read aloud by Alexis Kellum-Creer as the witty, self-deprecating Elizabeth Bishop and Anthony Santiago as the sometimes arrogant, often intoxicatingly enthusiastic Robert Lowell.
Continue reading “Dear Elizabeth starts deliberately slow, gathering momentum for a powerful finish” – PRISM reviews the 2018 Vancouver Fringe Festival

Klara Du Plessis
Ekke
Palimpsest Press

Review by Anna Geisler

Even our finite world is brimming with choices, possibilities, transformations—this struck me as the main tenet in Klara du Plessis’ debut collection, Ekke. Her resonant poems, influenced by landscape, place, the body, and art, explore the exciting and multitudinous influences that act upon us in this seemingly concrete world. 
Continue reading Stones Skipping Across Water: On Klara du Plessis’ Ekke