logo
Edmonton Fringe Festival unveils 2025 theme: A Fringe Full of Stars

Edmonton Fringe Festival unveils 2025 theme: A Fringe Full of Stars

Calgary Herald13-06-2025
The Edmonton Fringe Festival has unveiled its theme for the 2025 edition of the theatrical free-for-all.
Article content
Playing off the notion that the festival is a constellation of artists, volunteers, and audiences who help the event shine, organizers announced Friday the theme for this year is A Fringe Full of Stars.
Article content
Article content
'When you Fringe with us, you become part of an ever-expanding constellation. A vast network of dreamers, darers, rule-breakers, razzle-dazzlers, and day-long dance-party starters,' a festival press release reads.
Article content
Article content
'At Fringe, you're not just part of the crowd — you're part of the cosmos. A galaxy stitched together by music, by story, by the fearless pulse of play. Every ticket you buy, every show you see, every beer you drink, every story you tell, adds a new spark to our sky.'
Article content
Article content
Artwork to accompany the theme was created by Yu-Chen (Tseng) Beliveau, who is the Fringe's own graphic designer.
Article content
The event will feature 223 theatre productions in 40 venues, more than 1,600 artists from Alberta, across Canada and around the world.
Article content
As part of Friday's theme launch, the festival also announced the return of the pêhonân Series, an Indigenous-curated and Indigenous-centred performace series led by MJ Belcourt Moses.
Article content
There will be a free nightly music series on the ATB stage in McIntyre Park, and the Late Night Cabaret will run at the Granite Curling Club over seven nights.
Article content
Article content
The festival also announced a collaboration with Sea Change Brewing, the Fringe beer supplier: Fringe Beer Tent Blonde Ale, which will be available in the Whyte Avenue area through the summer, and will a portion of proceeds from the sale of the beer will help support the festival.
Article content
Article content
Meanwhile, the Fringe also announced that its Sustain Fringe campaign has hit more than 540 supporters, which helps the festival continue this year, but pleaded for more donors to step up.
Article content
'Expenses continue to staggeringly outpace funding supports,' Fringe Theatre executive director Megan Dart said in a release.
Article content
'We've built this Festival on duct tape and dreams since we first exploded onto the scene in 1982, but we need the continued help of our community if we're going to sustain the Edmonton Fringe Festival for generations to come.'
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Calgary Folk Festival adds Begonia to Sunday lineup
Calgary Folk Festival adds Begonia to Sunday lineup

CTV News

time24-07-2025

  • CTV News

Calgary Folk Festival adds Begonia to Sunday lineup

Begonia has been added to the weekend lineup of the Calgary Folk Festival. The Winnipeg singer-songwriter was named as a last-minute replacement for Riognhach Connolly and Honeyfeet, who were forced to cancel their appearance due to injury. "We're thrilled to announce we've made lemons into lemonade and replaced Honeyfeet with Winnipeg's powerhouse thinking woman's pop princess Begonia!" the folk fest social media team posted on the festival website. 'Begonia will open Sunday July 27's ATB mainstage, plus collaborate with other artists on our unique sessions over the weekend.' The folk festival kicks off Thursday, with gates open at 4 p.m. Tonight's mainstage features performances by Olive Klug, Elisapie, Arrested Development and Sierra Ferrell. For more information, go here.

Fringe reviews 8: You decide to exit, pursued by a bear
Fringe reviews 8: You decide to exit, pursued by a bear

Winnipeg Free Press

time20-07-2025

  • Winnipeg Free Press

Fringe reviews 8: You decide to exit, pursued by a bear

BODICE RIPPER: A LOVE STORY Holly M. Brinkman MTC Up the Alley (Venue 2), to Saturday ⭐⭐⭐⭐ Part improv and part sultry set piece, Holly Brinkman's spicy, mostly one-woman show digs into her love of romance novels. Each show features a different guest performer from the fringe, who offers their own brief, steamy monologue before Brinkman steps back on stage. She breaks down romance novels into their component parts — 'meet cute,' 'sexy middle,' 'crisis' and 'happily against all odds,' although not delivered in that order in the show — taking suggestions from the crowd on character names, scenarios, genres, etc. An interactive slide show lets audience offer suggestions through their phones — an interesting albeit slightly distracting way to help shape the story. The Victoria, B.C., performer is a very good storyteller, who never falters while cooking up sensual stories on the fly from audience cues and fleshing out compelling plotlines. The steamy 50-minute show will vary slightly based on the guest performer, who returns to act out a 'meet cute' and play a saucy game of truth or dare with Brinkman to close the show. — Ben Sigurdson CHUCKLE HUNTERS LIVE Chuckle Hunters Improv The Rachel Browne Theatre (Venue 8), to Sunday ⭐⭐ In this episode of Chuckle Hunters Live, one improviser chooses the costumes, sets the scene and predicts how the performance will end. It's a good concept in theory, but one that flounders in practice. There's talent and fun chemistry among the Chuckle Hunters — a Winnipeg improv troupe of Brody Sjodin, Charles Hunter, Kathryn Derksen and Quinton Vander Aa — but the dynamic is thrown off by the format, which creates a vested interest in things progressing a certain way. The result is too much 'well, actually' and not enough 'yes, and.' The 60-minute improv show was also bogged down by character details neither the audience nor the performers could remember. The wittiest improvisations and funniest lines came when the cast was able to stretch out and explore a scene without interruption. — Eva Wasney INESCAPABLE Concrete Drops Theater PTE — Colin Jackson Studio (Venue 17), to Sunday ⭐⭐⭐⭐⭐ Fringe vets Martin Dockery and Jon Paterson team up again for this hilarious, anxiety-riddled and brain-bending cyclical show that takes the audience to the brink of madness and back. Jon Paterson and Martin Dockery in Inescapable (Vanessa Quesnelle photo) Before things even kick off, Let it Snow plays on a loop over the PA, setting the tone for the lunacy to come. Taking a break from a holiday party, Dockery and Paterson are examining a mysterious small box the latter dug out of the former's closet. Seemingly stuck in some sort of time loop, every few minutes Dockery's character frantically asks versions of the same questions about the box. As Paterson's answers evolve slightly each time, clues about the duo's backstory of fraught friendships, infidelity, unhappiness and more are gradually revealed. In anyone else's hands this show might not work, and if Inescapable were any more than 45-ish minutes long, the play might live up to its name. But the writing and frantic pace here are pitch-perfect, and Dockery and Paterson's performances prove mesmerizing. — Ben Sigurdson HMONG CLASS 101 Jasmine Yang The Rachel Browne Theatre (Venue 8), to Sunday ⭐⭐⭐⭐ Learning how to 'smile until your cheeks hurt' as a trained Hmong dancer has served Jasmine Yang well. She puts that skill to use in this 45-minute comedy, lighting up the stage with her megawatt smile and natural charisma. The Detroit-based theatre grad also shows off her acting chops, embodying a variety of characters to explore both the history of the Hmong (the 'h' is silent) people and her own identity. You won't find anything about this stateless ethnic group at Folklorama next month, so take this opportunity to learn more about the Hmong's rich culture and nearly lost language in a thoroughly enjoyable show that honours their perseverance. Yang beautifully examines how to navigate identity in a world obsessed with labels. If you've ever felt like too much — or not enough — this show is for you. And in a story about belonging, it's clear Yang belongs on the fringe stage. — Jeffrey Vallis HOCKEY STICKS AND BEAVER PIE Melanie Gall Presents Théâtre Cercle Molière (Venue 3), to Sunday ⭐⭐⭐ Vocalist Melanie Gall returns to the stage for her 13th year at fringe, delivering a performance filled with a history lesson for — and love letter to— Manitoba. Kicking off the 60-minute musical with a sing-along, the Alberta-born songbird breezed through and belted out Manitoba's most memorable moments, local landmarks and iconic figures, while inserting stories about growing up in oil country and living in Brooklyn, N.Y. Endearing and witty, Gall embraces the monumental moments that put this province on the map (If Day, Gimli Glider), while acknowledging the complex legacy of others (Hudson's Bay Company). Although Gall's vocal range is wider than the history she covers, her performance does feature a surprise — her banjo. This feel-good, family friendly show will keep your toes tapping, and heart warm for this beautiful province. — Nadya Pankiw A LESBIAN IN THE KITCHEN Willow Roots Productions The Output (Venue 12), to Sunday ⭐⭐⭐ In Willow Rosenberg's kitchen, there's no obligation to follow the recipe. In fact, doing so is actively discouraged. This hour-long cooking show is about adapting, bucking tradition and finding your own flavour. And like any good cooking show, there's personal storytelling and live demonstrations. Sporting a Julia Child-esque frock, Winnipeg's Rosenberg shares her late mother's recipes for challah and hamantaschen, while discussing Jewish culinary traditions and her trans lesbian identity. There's a lot on the table, including obvious nerves, but the concept is sweet and fans of food memoirs will likely enjoy a live take on the genre. The set is also well-conceived and made to look like a TV cooking studio with a top-down camera and a real (Easy-Bake) oven that infuses the room with the aroma of freshly baked cookies. — Eva Wasney A MYSTERY AT MURDER MANOR Chris Gibbs Planetarium Auditorium (Venue 9), to Sunday ⭐⭐⭐⭐ Barnaby Gibbs, the bumbling Dr. Watson-like right-hand man of Sherlock Holmes-ish sleuth Antoine Feval, is back to narrate a brand new, hilarious investigation. The large, enthusiastic crowd out for opening night of the one-man show speaks to the success of British-born Torontonian Chris Gibbs' 2024 shows (Not Quite Sherlock: The Tunnel of Terror and The Gaslight Detective). In Murder Manor, Barnaby recounts how he and Feval dealt with the appearance of a mysterious ghost in the sprawling manor of the uncle of one of Barnaby's former classmates, which is rivetingly unpacked in due course. This new show saw a couple of lines slightly flubbed, but Gibbs was quick to poke fun at himself, garnering big laughs. And despite a mic issue, he easily projects his voice across the packed house as he jumps between characters (including a fight scene between a half-dozen characters where he showed off his impressive physical-comedy chops.) At 60 minutes, the show's tighter than last year, and Gibbs' nimble, charismatic delivery and ability to connect with the crowd (often via asides) leave folks in stitches. — Ben Sigurdson ODDS ARE Good Grief Asper Centre for Theatre & Film (Venue 10), to Saturday ⭐⭐⭐⭐ 'Never tell me the odds.' — Han Solo Let's just say New York artist-storyteller Smita Russell is very un-Han-like in her 60-minute solo show (not counting a cellist accompanist). She is fascinated by odds, and at first, the predilection is benign, beginning with coincidental Anne Hathaway sightings in New York immediately after she has watched Anne Hathaway movies. The wife of a scientist, Russell has a number of scientist friends whom she can consult on the odds. But the stakes are raised when applied to her own tragic history of losing late-term pregnancies. Her actuarial obsession is mixed with an earlier love of Greek mythology — as a child, she designed a Halloween costume depicting fertility goddess Demeter — and Russell feels obliged to come through the crisis for the sake of her successfully birthed son. The writing here is very elegant, but not so cerebral that it doesn't give play to an unfathomably difficult emotional journey. (At the beginning of the monologue, she is sitting demurely at a desk. By the end, she's standing on it.) Russell is a New Yorker, but the show has a local element: she was brought to Winnipeg by producer Jacquie Loewen, who directed an earlier iteration of the show. — Randall King SHIT: THE MUSICAL Misty Mountain Music Théâtre Cercle Molière (Venue 3), to Saturday ⭐ Winnipeg performer Donnie Baxter's one-man musical feels like a '90s after-school show gone horribly wrong — like if Barney sang about bowel movements instead of friendship. Set in a university lecture hall, Dr. Eaton Fartmore teaches a class on the semantics of poop through stories and off-key songs that drag on like a bad bout of constipation. As the title suggests, the show is packed with relentless bathroom jokes that are about as funny as they are original. The music — available on SoundCloud via a QR code in the fringe program — has to be heard to be believed, though you probably won't want to hear it twice. The 45-minute runtime was a slog, proving too much for three audience members who walked out before the end. When Baxter sheepishly waved and backed offstage without taking a bow, it felt like even he knew: this shit was a real stinker. — Jeffrey Vallis THE TEMPESTUOUS: A SHREW'D NEW COMEDY Penash Productions John Hirsch Mainstage (Venue 1), to Sunday ⭐⭐⭐⭐ ½ But soft, what blazing ball of energy and brilliant stagecraft descended upon the John Hirsch Mainstage stage? Why, it's award-wining triple-threat Penny Ashton, who returns to the fringe after an eight-year hiatus. Tempestuous: A Shrew'd New Comedy (Supplied) The Auckland, New Zealand-based performer, who last appeared here in Promise and Promiscuity, unleashes her latest torrent, er, one-woman musical, co-written with the Bard, about 'stroppy spinster' Princess Rosa, who rails against belching stepfathers and cocksure suitors to realize her destiny as a newly empowered, validated queen. Ashton scarcely misses a beat as she morphs among a dizzying array of Shakespearean-styled characters during the 90-minute comedy, crafting each one with distinct vocal inflection and physical mannerisms. Not only can she belt out numbers and dance like no one's watching, she's also a crackerjack improviser, with her audience participation sections adding even more mirth to this roiling cauldron of feminist fun — including one particularly pointed political barb. While it's admittedly tricky at times just to keep up, this force of nature is back with an Elizabethan bang. — Holly Harris

Fringe needs you more than ever
Fringe needs you more than ever

Winnipeg Free Press

time18-07-2025

  • Winnipeg Free Press

Fringe needs you more than ever

Opinion There's lots to love about the Winnipeg Fringe Theatre Festival. For one, it's not on your phone. Fringe is a chance to be entertained by art that isn't being blasted into your retinas by a relentless, algorithmic feed on a small screen, often while you're watching something else on a big screen. It's a chance to reconnect with your attention span and be moved to laughter or tears, in the dark, with other people — while your phone is blissfully turned off (I hope) and tucked away. This is the magic of live theatre. For another, it's a chance to be exposed to art and ideas you might not see anywhere else. The theme at this year's festival is Choose Your Own Adventure and, as most frequent fringers will tell you, this festival is always an adventure, for better or worse. But a feature which might get overlooked sometimes, despite the fact a recording reminds us before each and every show, is that 100 per cent of ticket sales go back to the performing companies. This has always been true of the fringe, but it feels extra important in an era in which being an artist — of any kind — feels particularly crushingly hard owing to a host of new existential threats such as the casual use of ChatGPT and generative AI that not only steals designs from graphic and visual artists but now threatens to steal their livelihoods. Or the public's over-reliance on streaming giants such as Spotify that barely pay musicians. Or even the Manitoba government's recent decision to ask local makers and artists for free product to be included in gift bags for — and I wish I were making this up — a 'Buy Local'-themed event (!) being hosted in the province in September. ('The province has received multiple positive responses from businesses and entrepreneurs that appreciated the opportunity to showcase their work to a potentially new market,' reads an unattributed emailed statement provided to CBC by the province.) We all love art. We all love local art. It just seems like sometimes people have an awful lot of trouble putting money where their mouth is when it comes to 'supporting artists.' Fringe's format, then, is a welcome corrective, an easy way to tangibly, directly support artists who, by the way, still might lose money or barely break even on this festival. It's expensive and hard to be any type of touring artist, especially in the current economic climate, and a fringe performer is no exception. Many fringe artists sell merch at their shows; at a performance I caught yesterday, one said it's so she can buy coffee on the road. So, you might ask, why are reviewers so harsh sometimes? I still maintain, as I have argued before, that it is not a reviewer's job to make sure a performer sells tickets to their fringe show — that is the artist's job. Our job is to be fair. We all understand that this festival is a uniquely pro-am event, but we can still expect a certain level of quality. Wednesdays Columnist Jen Zoratti looks at what's next in arts, life and pop culture. Luckily for everyone involved, this is subjective: I have seen polished must-sees from amateur theatre companies and hot messes from professional ones. I have also loved shows my fellow reviewers have hated, and vice versa. Life's rich pageant. (Plus it's not as if fringe reviewers don't also have to actively convince people to support our work. People tell me all the time, to my face, that they just get their news 'online.') Art is a labour of love, to be sure — but it's still labour. It deserves to be recognized, supported and compensated as such, not through 'exposure' or the promise of opportunities that never come. Otherwise, all our art will be fed to us via an algorithm on a screen and, without artists, won't look much like art at all. Jen ZorattiColumnist Jen Zoratti is a columnist and feature writer working in the Arts & Life department, as well as the author of the weekly newsletter NEXT. A National Newspaper Award finalist for arts and entertainment writing, Jen is a graduate of the Creative Communications program at RRC Polytech and was a music writer before joining the Free Press in 2013. Read more about Jen. Every piece of reporting Jen produces is reviewed by an editing team before it is posted online or published in print – part of the Free Press's tradition, since 1872, of producing reliable independent journalism. Read more about Free Press's history and mandate, and learn how our newsroom operates. Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store