It’s that time of the year, when Toronto theatre- and dance-goers put on their running shoes, pack bottles of water to keep hydrated and snacks to munch on while standing on line.
Yup, it’s Fringe time, with the 23rd annual festival taking over dozens of downtown spaces, both in conventional theatres and in the new site-specific productions, where the performing space is as vital as the script.
Between today and July 17, 143 companies will present their best efforts to tens of thousands of viewers, with the box office proceeds going to the artists.
The Fringe has become one of the biggest arts draws in the city, and – with other Fringes around the country, as well as a few offshoots in the States – in Canada as well.
I’ve been going to the Fringe since it began, and one of my festival joys is discovering new talent. Sure, a piece by an established artist is probably worth seeing, but it’s memorable shows by people who I’ve never heard of, people who are just starting a performing career, that give me the most pleasure.
Since the Fringe is a lotteried festival, it’s a level playing field for all those who submit their shows. And yes, it’s true that not every show I see is successful for me, but that’s the nature of the Fringe. Remember, too, that everyone in an audience has her or his own opinion of what constitutes a good production what works for one viewer might not work for another.
Don’t forget the new addition to the festival, the Visual Fringe (more here). And if you’re curious about why the previous Bring Your Own Venue shows have become site-specific productions, look here.
Wondering what to see in the sometimes bewildering maze of productions? First off, start with the full program, (you can pick up a free copy around town at Book City and various other sites, including Fringe venues), online (either fringetoronto.com or our site, nowtoronto.com/fringe) or you can view the NOW Fringe mobile on your phone.
For NOW’s recommendations, check out the Fringe pull-out in tomorrow’s (Thursday, July 7) edition of the paper.
We’ll be filing our reviews online as soon as we can after seeing a show, and you can respond to them and leave your own comments or reviews on the site. Of course, sharing any of this info to social networking sites is also a great idea.
If you’re relying on the printed version of the blue-covered Fringe guide, note a couple of changes in what’s listed. Two shows – The Gingerbread Guy (Palmerston Library Theatre, FringeKids! venue, page 10) and Robbie Jensen: Live With A Vengeance (Helen Gardiner Phelan Playhouse, venue 8, page 47) have dropped out of the festival. There’s also a typo on the venue for one of the more intriguing site-specific shows, The Godot Cycle it’s venue 19, not 17 (page 67).
One of the best ways to get a sense of the quality of shows is to talk to people on line, who might have seen some of the shows you’re interested in or might rave about a production you haven’t even considered. Most people are happy to offer their opinion.
I suggest you not follow the suggestion in one of the dailies of eliminating productions simply because of where they’re staged. Maybe the article was tongue in cheek, but I betcha the 26 companies in the three venues cited (because of too many stairs, being too hard to find and so on) didn’t love what sounded like an absolute dismissal of their shows.
When you’re planning, note the running time of the shows on your schedule. Most are an hour, but some run as long as 90 minutes. Since the Fringe has a policy of not admitting latecomers, you don’t want to show up after the doors have closed. Even if you’re the playwright’s out-of-town cousin who’s driven hours to see the play, you’ve missed the chance.
Don’t forget, if you’re seeing a number of shows in a day, to work in a break for a meal and some down time four shows a day can be a lot without nourishment or a respite, possibly at the beer tent.
Happy Fringing.
