Infinite Diversity & The Creative Mix: The 2010 Edmonton International Fringe Theatre Festival - Feature

The texture of theatre is based upon the necessity of experimentation which in the discussion of the Edmonton International Fringe Theatre Festival speaks to an implementation of diversity from motifs of isolation to the inherent failings of human behavior. With operettas, social commentary and sheer noir perceptions, the swirling ideals reflect herein an interior knowledge of those diatribes that continue to permeate society.The initial foray was "The Metamorphosis", a short hour operetta by composer Andrew Creghan based on the Franz Kafka novel. Creating music tonations that bring to mind the best of Danny Elfman mixed with Michael Nyman, there is an undeniably gothic perception to the melodies which, at times, can be haunting. Wholly original in many of its progressions yet with a determinate accessibility to them, the structure doesn't allow for an overwhelming of the singers, specifically in balance to the story. While most of the intermezzos simply serve to tell the story, there is an utter highlight in the way the different instruments between the cello, viola, flute, clarinet and bassoon truly have their own identity in paradox to the composer's own classical guitar playing bridging the gap. The bassoon specifically adds a degree of bass tones which gives a true inclement to the story as its sound is what brings gravity with the shill of the strings (which is reminiscent of "Peter & The Wolf"). Creaghan doesn't try to overcome the audience with subtext, simply with the fact that Gregor is a person who has lost everything he has known. The operetta also reflects the quickening of Gregor's mind as it begins to change which is more than wonderfully personified in the singing of Mirielle Rijavec who plays Grete as she mollifies over the fact that her brother should have "left long ago". "The Metamorphosis", as an operetta, provides a definitive perception into the blending of visual and modern musical perception, especially with its addition of percussion to the mix, giving its light a full-rounded view."Spiral Dive: Episode III", the third episode of a trilogy, created by TheatRepublic, tells the tale of an air force sector supposedly grounded on the cusp of France during World War II. The defining aspect of the play is its use of no working sets and the ability of the actors themselves to change characters just within the movement of their faces and bodies. This is the none the more interesting than in the performance of Caley Suliak who plays both Eva, the Russian woman of Jack's Harding's focus, as well as their fellow male flyboy and numerous other bobby sox and idealist women. The sheer prowess and pinpoint of her talent against the three other boys give this section of the play a sense of weight. Even if the previous two installments are not seen, there is a distinction of gravity enough to envelop the audience. While the bar scenes and bravado humor work well, it is the eventual bombing scenes using scaffolding and handheld lights and nearby fog machines that are wonderfully staged with a tense claustrophobia. This form of theater at times is much lost of a modern theatergoer because of all the overarching tendencies of sets but the sheer artistry of the actors here, as buoyed by the standing ovation of the audience, bodes well for future outings."Pulse", by comparison, functions more as a music project with an penchant of impending performance art. Using tribal structures mixed with a limited perception of electronica, its fusion pespectives are quite riveting at times but, in an overall sense, derivative of other works highlighted by the breaking of character as well as the overarching use of covers. Using a perception of African drums with a balance of electric cello, the classical structuring at times plays against the group's inherent intent. While the structure and delivery of "Zombie" originally done by The Cranberries was infinitely a highlight of this set, the would-be beatnick glow essence of "My Baby Shot Me Down" mixed in contention with Bowie's "Heroes" before heading into a parallel of Peter Gabriel's Middle Eastern influences paints an unbalanced show which was incandescentally fun for the performers but failed in most instances to connect with the audience."Social Sundays", produced by Rapid Fire Theatre, moves in the completely other direction, completely aware of the perceptions it both idolizes and makes fun of. Using the basis of film noir, sex comedies of the 50s and the current celebrity gossip hungry personifications of the media, it has an undeniable wretchedness in its perception of social climbing. The actors are perfectly cast and overplay their roles with relish, especially the husband of the social climber with everything to lose. While little improv bits seem to play into certain stylings, the wit and bite of this piece is razor sharp hastened and made viscerally more hungry by an "in-the-round" functionality that places you nearly within the laps of the actors giving an untapped intimacy even more poignant at times than "Spiral Dive" but with less emotional resonance and more popcorn revelry. "Social Sundays" definitely functions as a crowd pleaser."Something's Gone Wrong In The Dreamhouse", in tandem, a production of Scream Blue Murmur from Ireland, tended to fall short of the mark despite its focused perception of social perspective and political stylings set within the world of prose and interactive idealism. With music-tinged interludes that bordered on folk but with poetry introspectives that harked back to perceptions of the Depression era and post World War I parallels to today's economic downturn, the connections, though thin, tended to move against the group's own truism because of race and totalitarian references that while definitely in play don't bring into structure certain sociological evolutions of today.Evolution always involves the diversity of food that becomes the structure. While a quick Big Rock Trad Ale and a basket of fries at New City during the "Pulse" performance definitely maintained the focus up in Downtown, the possibilities up and down Whyte Avenue (within easy walking distance from the Fringe Festival in Old Strathcona) offered late night and lazy afternoon highlights that reinforces the area's identity as one of North America's coolest old school neighborhoods (think Austin's Sixth Street).Packrat Louie offers a little more of a fine dining experience with a bit of bistro idealism and sits literally steps away from theTransAlta Barns where many of the performances were staged.The Sin City Cocktail at Packrat began the twilight wrangling mixing 42 Below Vodka, Alize Red, cranberry juice and soda for a light but lithe intro. The Caesar Salad topped with double smoked bacon and a smooth mushroom chowder continued the progression providing sustenance but not overwhelming with taste.The Grilled Ostrich Tenderloin, served medium rare as the main course, came off less chewy than anticipated which requires proper handling surrounded by a wonderfully goat cheese-infused braised cabbage that perfectly balanced the delight.The Strawberries & Ice Cream Salad which followed mixing Julianned mint leaves and a balsamic syrup was undeniably misinterpreted in a wonderfully complacent way giving a paradoxical ideal of flavor that perfectly ended the progression without overfilling the occupant.The Next Act, by comparison, more of a late night haunt but the spot of choice for actors and artists at the Fringe Fest alike, recently took over new ownership with a young vibrant crew who understands the distinct balances in certain draft elements but also the importance of both nouveau dishes but also a mix of comfortable favorites.Sipping on Apirkat from Alley Kat Brewing, an appetizer of Poutine, a Canadian comfort food [heard of in Montreal at Fantasia Fest but unsampled] entered the vision. Made of hand cut fries and topped with cheese curds and gravy, its intention is so wrong but its inevitability is truly right.In terms of a main meal at The Next Act, "The Writer" which uses the stacked burger complex mixing in blue cheese crumbles and panacetta ham worked undeniably well with a side portion of Caesar Salad on the plate which perfectly switches out when poutine is involved. Filling and dexterious but with a laid back vibe, late kitchen hours and location almost directly across from the Fringe [and literally caddycorner to Packrat Louie's], this spot literally becomes a no-brainer.Another late night haunt where the kitchen runs late [till midnight] (which is always good when catching a late show),O'Byrne's Irish Pub dignifies the old world feeling with an outdoor deck which appeals to the many enticements in town. Inside the bar in undeniably warm in its structure with constant bands playing into the late evening without the noise being too overbearing.Enjoying a Big Life Amber Ale from Big Rock Brewery, an outfit out of Calgary, the undeniable pull of the European favorite "Bangers & Mash" overcame the ideals simply because it maintains its quotient with flying colors. Despite its hearty countenance, a fries intensity as a side basket worked wonders especially with the addition of an unexpected but quite effective use of curry sauce as a dipping mechanism.For an early afternoon lunch, the reliable always persists in Dadeo, an old school diner spot that revels in its Cherry Cokes and literally "melt-in-your-mouth" po' boys which among all perspectives gets the blood flowing especially with their Tiger Shrimp dish which doesn't let anyone get out alive.Another quick bite that satisifies the soul is the family run business of Arriba's behind the personage of Top's Liquors further up Whyte. It is small spot but the enchiladas with a spicy sauce and an impetus of rice along with a fresh horchata simply soothes.The final late night possibility working through the stroke of last call is Mike's Famous Burgers. Like those burger joints of lore, this local institution, still located within Old Strathcona, uses full blown patties with generous onions, thick cheese and a special sauce which along with fries makes for sweet dreams indeed.The Edmonton International Fringe Theatre Festival knows that diversity in entertainment and creativity makes for an equally interesting outing on the part of the consumer. With a dexterity of different shows definitely highlighted by the operetta "The Metamorphism" and the biting sarcasm of "Social Sundays", the name of the game is edgy. Balance that with an fun and vibrant old school neighborhood like Old Strathcona, late night and brimming in its culinary comfort, and Edmonton becomes the place to beat.