Fringe Reviews

3 Hours, 10 Minutes
Fringe Mini Bar Ringside

Sometimes taking a moment to appreciate the simplicity of a good thing can be overlooked; these days, often in the rush to look at the next thing, and the next, and so on down social media timelines that can eat through our lives if we let them. But when we stop to observe and to stretch those muscles that flex our attention span, we may be amazed at what we find -- whether a painting or a human face in front of us. This, in part, is what Raymond Beauchemin’s play “3 Hours, 10 Minutes” asks us to do.

After entering the Ringside space, the audience is transported to a gallery where Mark Gamache’s stoic “art appreciator” intently absorbs a painting as part of a challenge to focus on something other than technology for 10 minutes. Moments later he is joined by Melissa Murray-Mutch’s “somewhat more casual art appreciator.” The pair contemplate what they see in front of them, confronting questions about how technology is shaping our attention spans, our view of self and each other, and how we see the world around us. Gamache and Murray-Mutch gracefully dance us toward a resolution that reminds us that the good things in life are often simple.
- Anthony Perri

500 Doubloons
The Westdale Theatre

“500 Doubloons”, is a clever show from Toronto theatre company Friendly Bear Productions. It explores an anecdote from the golden age of piracy in the late 1700s, about a sailor who upon returning to shore gives all of his money to a sex trade worker. But here's the twist in the story, for nothing more than getting to see her naked.

Putting aside the obvious question, about the sexualization of the human body, there is still the stigma of admitting to engaging in sex acts for money. Would the story be quite so remarkable if he had visited a brothel and given away all his money after having sex? Indeed the folk music of the era is full of stories about sailors coming back to land after long journeys and losing all their money and clothing. The Liverpool folk song “Maggie May”, is just one such example of the genre.

The heart and soul of this particular production is playwright Katherine Teed-Arthur, who also acts in the show. As I was coming into the Westdale, she asked me to dump a bucket of water over her head. This shows great commitment to the project, as I gather the water was quite cold!

The rest of the cast was also quite strong, and included Jillian Robinson, Sivert Das, Giselle Magie, and Brett Seivwright; all of them play multiple roles, as each time the story is reenacted there is a different take on it. Director Max Cameron Fearon keeps the pace fast, and fluid.

I laughed quite heartily at much of the comedy, although several of the scenes seem to be channeling "talk like a pirate day", a wonderful thing that happens on social media every year. The double entendres fly fast and furious in the show; which I enjoyed very much. 500 DOUBLOONS, was very different from everything else that I have attended so far. And that's one of the joys of the Hamilton Fringe is the sheer diversity of productions on offer.
- Brian Morton

A Canadian Explains Eurovision to Other Canadians
Mill’s Hardware

I walked into this performance with no idea what Eurovision was and left with not only an appreciation for the sometimes intense, sometimes wacky song contest but also with cheeks sore from laughing, and a heart touched by a personal journey.

What sometimes feels like an informational talk (complete with slides), sometimes a cabaret, and sometimes stand-up all blends beautifully together in this one person show by creator and performer Matti McLean.

McLean is lighthearted, passionate, and sometimes vulnerable. By the end of the show we know more about Eurovision (perhaps more than most), more about how this special interest has woven it's way through McLean's life, and perhaps a little more about the human condition itself.

I laughed, I cried, I sang, I laughed even harder. This is the Fringe at it's best. I'd see it twice if I could.
- Crystal Rose Haygarth

Radiating with the joyful energy of PRIDE, “A Canadian Explains Eurovision to Other Canadians” is a one-person show that blends humour, heart, and high-energy musical tribute. Performed by Matti McLean, a charismatic artist originally from North Bay, Ontario, the piece is as much a love letter to Eurovision as it is a celebration of queer identity and resilience.

Now based in Ottawa, McLean uses his lifelong obsession with the Eurovision Song Contest — Europe’s famously flamboyant music competition — as the backdrop for an engaging personal journey. The show is part musical revue, part confessional storytelling, and McLean seamlessly blends the two. He takes the audience through iconic Eurovision hits spanning decades, using them as milestones in his own life; from growing up the son of a religious pastor, to coming out, falling in love, getting married (and divorced), and learning to live proudly as himself.

There’s a delightful mix of comedy and emotional depth throughout. McLean’s delivery often borders on stand-up, full of sharp wit and campy charm. But he also allows space for quieter, moving reflections, especially when discussing the struggles of identity and self-acceptance. The stories behind his tattoos add another layer of intimacy and humour.

Fresh from a successful run at the Toronto Fringe, the show feels polished yet deeply personal. McLean’s vocals are strong, his stage presence magnetic, and his joy infectious.

Whether you’re a longtime Eurovision fan or don’t know your ABBA from your Måneskin, “A Canadian Explains Eurovision to Other Canadians” is an hour of music, laughter, and heartfelt storytelling that leaves you both entertained and inspired. It’s queer, it’s proud, and it’s pure Fringe magic.
- HM

A Gentleman’s Murder
Player’s Guild

“A Gentleman’s Murder”, a one man show featuring Tyler Brent, follows one Victorian gentleman’s descent into darkness after a palm reader, or should I say chiromancer, predicts he will commit a murder.

Visually the play is very dark with limited lighting illuminating only the part of the stage Brent is occupying. Brent’s black suit and coat contribute to this unremitting lack of light, resulting in an oppressive sense of foreboding that permeates the play.

The script itself is clever, raising questions of predestination vs. free will, and the nature of self-fulfilling prophecies. The play is not at all unremittingly dreary however, far from it. There are numerous references to Oscar Wilde and The Importance of Being Earnest, and Brent’s deadpan delivery ensures each of those laughs lands well.

A one person play such as this lives or dies on the strength of the actor. This dark comedy-drama succeeds because Brent hits all the right notes to keep us engaged as his character fights what appears to be his dreadful destiny. Highly Recommended.
- Julian Nicolson

A Non-Canonical Musical Adventure with Pookamhura: Mistress of B-Roll
Staircase Studio Theatre

Are you looking for dwarves, paladins, mages, music, adventure, and the bond between friends known only through the magic of the internet? Pookamhura has it all.

We find our four intrepid adventurers in their gaming chairs, headphones on, mid-raid and through both song and story we follow them as they face battles not only with mobs but also with wait times, guild politics, and even battles IRL.

The original music, written by Chris Cracknell, will have you clapping and laughing, the choreography and lore are rich, the dwarves are mighty. We see our heroes not only as they are represented on stage by our vibrant actors but also in-game through the use of extensive projection.

Although audience members with experience in MMORPG gaming will definitely catch many references; no levels in gaming are required to have an excellent time. Log in to the world of Pookamhura for adventure, song, laughs, and friendship.
- Crystal Rose Haygarth

If you’re a fan of video games, animation, and original music, “A Non-Canonical Musical Adventure with Pookamhura: Mistress of B-Roll” is a must-see at the 2025 Hamilton Fringe Festival. This inventive 70-minute musical blends gaming culture with theatrical flair, offering a bold, imaginative experience unlike anything else on the Fringe stage.

Set in a stylized World of Warcraft-inspired universe, the show features stunning animation projected on a large screen, enhancing the immersive fantasy world. Strong vocal performances from Emily Bolyea and show creator/composer Chris Cracknell add emotional depth and energy to the performance. The songs are catchy, character-driven, and perfectly woven into the game-inspired setting. The dialogue brings plenty of humour too, with playful banter and clever nods to gaming culture that had the audience chuckling throughout.

Director Brian Morton and producer Donald Cudmore deserve praise for orchestrating such a technically ambitious production. The coordination between live actors and animated visuals is smooth and engaging; no small feat. Every detail, from costume design to sound mixing, contributes to the show’s impressive production values.

While the show begins as a lighthearted, whimsical adventure, its emotional impact sneaks up on you. In the final twenty minutes, the story takes a moving turn with the character arc of “Hunter/Robin,” played by Francis Wallace. Their journey toward self-discovery and identity reveals the show’s true emotional core. Wallace’s performance is heartfelt and affecting, delivering a poignant message about authenticity and acceptance that lingers long after the final scene.

The audience at the performance I attended was clearly captivated, rewarding the cast with genuine and enthusiastic applause. This is what the Fringe is all about; taking risks, pushing creative boundaries, and exploring new storytelling possibilities.

“Pookamhura: Mistress of B-Roll” is a unique and rewarding experience. It’s fun, it’s smart, and it’s full of heart. Don’t miss it.
- Ray Z Rivers

A Question Of Character
Mill’s Hardware

“A Question of Character” forces you to spend eighty minutes with one of the most odious, brilliant, frustrating characters in the history of cinema. The play is written by Steven Elliott Jackson, directed by Alice Lundy, and features Paula Wing as Riefenstahl and Tanisha Taitt as Paulina Mitchell, a journalist coming to interview her.

Leni Riefenstahl achieved both fame and notoriety as Hitler’s filmmaker, creating films such as Triumph of the Will and Olympia that celebrated the rise of Nazism, although to be fair she took some criticism from Goebbels for her heroic treatment of American runner Jesse Owens. Nevertheless her close association with Hitler and the Nazi party along with her adamantine refusal to acknowledge any complicity with or awareness of the slaughter of millions of innocents in the Holocaust made her a polarizing figure after World War 2.
Riefenstahl’s apartment is the attractive set for the play, with a bookshelf, three tables an two chairs for the actors to interact with. The pre-show music is from the battle scene from Star Wars, a deliberate reference to the influence Riefenstahl had on many of the shots in that movie.

The play itself is a game of cat and mouse, with the seemingly innocuous questions of Mitchell becoming more and more pointed as the play progresses. The two actors are uniformly excellent, slowly unveiling their feelings and thoughts. Ms. Taitt has the greater change through the play, dealing with her character’s strong reaction to Riefenstahl, but Ms. Wing matches her emotions with an icy strength that is almost impenetrable. There are two shocking reveals throughout the play, which radically change the nature of the relationship of the two characters, and serve to ratchet up the tension through the interview. This is an excellent and intelligent play, well acted and directed.
-Julian Nicolson

A Very Queer Easter Pageant
Player’s Guild

Rebecca Casalino’s “A Very Queer Easter Pageant” reimagines the final days of Jesus Christ— his death and resurrection — through a queer lens, brought to life by a cast of nine drag performers. Rooted in theatre’s religious origins, the show revisits a story familiar to many from childhood or Sunday school, but with bold flair and irreverent charm.

For those raised on “Jesus Christ Superstar” like I was, it’s impossible not to mentally hum along to familiar tunes — even though this production takes its musical inspiration from Billy Talent, the Mississauga alt-rock band from the 1990s. The energy is electric, and the unexpected musical choice adds a unique edge.

Unfamiliarity with drag conventions initially threw me, especially the fact that all songs and dialogue were lip-synced. But it quickly became a stylistic strength, akin to techniques used by playwright Dennis Potter in “Pennies from Heaven” and “The Singing Detective”, where lip-syncing adds a layer of surreal commentary.

Some of the musical numbers are genuinely spectacular in their staging. The makeup and costuming are among the best I’ve seen at the Fringe; meticulous, creative, and expressive. A highlight is the campy yet clever use of puppetry in scenes involving Old Nick (the devil), blending humour and craftsmanship.

There was no program or online credits, and while the cast’s names were read aloud at curtain call, I didn’t catch them in time. That’s unfortunate, as every performer deserves recognition for their outstanding work.

Ultimately, this show is a hidden gem. Irreverent but heartfelt, it celebrates queer culture with boldness and joy. While those wary of religious content might hesitate, that would be a mistake. A Very Queer Easter Pageant offers a smart, subversive, and wildly entertaining take on a well-worn tale — and it’s absolutely worth seeing.
- Brian Morton

All The World’s A Cage
Player’s Guild

“All the World’s a Cage” marks Robb Gendron’s first stage collaboration with Sabina Stan and his second production at the Hamilton Fringe. A dark comedy, it explores how positions of power can foster toxic working environments—especially within the vulnerable world of young, eager performers. The result is a sharp, unforgettable piece of theatre.

Gendron wears multiple hats here; writer, co-producer, and narrator — and his performance is both mesmerizing and unsettling. With a Joker-like grin and a cautionary glare, he evokes shades of Joel Grey’s Emcee in “Cabaret”. His grounded presence frames the play and draws us into its twisted world.

The ensemble is strong across the board: Lee plays Jack, our central protagonist; Zihan Zia is Al, a schemer and comic relief; James Rabinovich brings restraint to Lane, the butler; Olivia Gamble is Gwen, the love interest; Matt Hunt shines as Lady Augusta; and Drew Murphy closes the cast as Cecily.

Each performance is focused and grounded, keeping the audience engaged throughout the hour-long runtime. The themes are emotionally intense, often leaving us to wonder, “Should I be laughing at this?”

If anything, the large venue made some dialogue hard to catch from the back. Still, this is compelling, resonant theatre.
- Carlos Jimenez-Rauda

Brown Noise
Ringside

Indo-Canadian actors Medha Arora and Rishabh Kalra build strength on strength in a curry of standup and sketch comedy in “Brown Noise,” part of the Mini Bar Series being held at Ringside (324 James St. N., enter through the alley near Architect barbershop).

Particularly strong were a sketch with Rish interviewing Medha (she called herself “Meta” until “Zuckerberg stole it”) for a “brown” card, with a points awarded depending on how brown, or South Asian, her answers are; a post-9/11 airport luggage check where Medha riffles through Rish’s emotional baggage – he’d have been better with carry-on! – and the beautifully Proustian riffs on memory and mangoes.
- Raymond Beauchemin

Crane Girl
Theatre Aquarius Studio

“Crane Girl”, presented by Toronto’s Falling Iguana Theatre, is one of the most distinctive and visually captivating shows at this year’s Hamilton Fringe Festival. Winner of the 2024 Hamilton Fringe New Play Contest, the piece blends poetic language with movement-based theatre to tell a powerful, true-to-life story.

The play is inspired by a widely reported 2017 incident in Toronto, when a woman climbed a crane in the early morning hours. As a crowd gathered below, fearing the worst, a brave rescue team managed to bring her down safely. While many may recall the headlines, “Crane Girl” dives deeper, offering a nuanced fictional exploration of what might have led to that moment.

Playwright Alexa Higgins crafts a richly layered narrative that explores trauma, isolation, and the societal pressures faced by women; especially around marriage, motherhood, and identity. The story begins with a fatal traffic accident, triggering a post-traumatic spiral in the central character. What follows is a desperate climb — both literal and emotional — where the only direction left is up.

Higgins also stars in the production, delivering a fearless performance in which she never once touches the ground. Alongside cast members Ian Ottis Goff and Katherine Cappellacci, the trio move seamlessly across a scaffolding unit that evokes the real crane. The physical trust and coordination required are immense, underscoring the emotional stakes of the story.

“Crane Girl” is more than a dramatization; it’s a metaphor for the emotional precipices many people face today. It captures that feeling of being trapped, where every choice feels like a dead end. The show is lyrical, haunting, and rich with symbolism.

Of all the Fringe productions this year, “Crane Girl” is one that lingers. It’s not easily digested in one sitting, and that’s precisely why it deserves to be seen, and remembered.
- Brian Morton

Gaumukhi (Cow)
The Westdale Theatre

The Ghare-Baire Collective presents “Gaumukhi (Cow)” at the Westdale Theatre, a compelling solo play written and directed by Kush Shah. Set in 1992; a year marked by intense religious violence in India. The production takes place during a time when the Brahmin caste, dominant in shaping public discourse, revered cows as sacred, even as brutal persecution unfolded in the name of religion and caste.

Performed with striking clarity by Deval Soni, the play unfolds as a one-person monologue, where the protagonist is, in fact, a cow. This symbolic character undergoes education, social conditioning, and systemic oppression, mirroring the turbulent socio-political atmosphere of the era. Shah’s script is structured with care and deliberation, using allegory and irony to highlight casteism, nationalism, and the complex politics of identity.

What elevates “Gaumukhi (Cow)” beyond the written word is the live music. Two musicians accompany the performance onstage, blending classical Indian styles with evocative rhythms that deepen the emotional and cultural layers of the story. While the absence of a program means their names are unknown, their contribution is powerful and unforgettable—bringing a rich musical texture to the show and introducing Indian musical traditions to the Hamilton Fringe audience.

Created entirely by a South Asian cast and creative team, “Gaumukhi (Cow)” is a work of political theatre that confronts difficult histories while offering space for dialogue and reflection. It is both timely and timeless, giving voice to stories often marginalized or misunderstood. The performance challenges audiences to consider not just what is being said, but who gets to say it—and why that matters.

Whether or not you're familiar with South Asian politics or culture, this play resonates on a human level. It’s a moving and provocative theatrical experience that encourages connection, introspection, and cross-cultural understanding.
- Bryan Boodhoo

Horseface
Theatre Aquarius Studio

Here’s an invitation, gentlemen: Get off your duffs and head on down to Theatre Aquarius’s Studio Theatre for a real kick in the nuts. Women, I suspect, will see themselves in Alex Dallas’s laugh-through-the-tears tour-de-force, “Horseface.” There’s plenty to identify with: the groping, the sexual innuendo, the assault and rape, the incursion or intrusion on personal space, the grooming, the shame-and-blame game.

It’s the men I wonder about. How many will recognize in themselves the cringey, offensive, obnoxious, demeaning, insulting, misogynistic, criminal behaviour Dallas depicts in her one-woman play. Through the use of set pieces, autobiographical almost parenthetical asides, play with and against stereotype, and well-timed musical cues, Dallas takes on every guy in her life (or any woman’s life) who turns into a nightmarish wolf with a very clear, simple challenge: one misstep, buddy, and you’ll get it where it counts.

Thankfully, at least in this play, what we get is a belly laugh and plenty to think about.
- Raymond Beauchemin

I’m Actually Right About Everything: A Bisexual Love Story
Staircase Studio Theatre

Toronto comedianne, Tracy Hamilton presents the premiere of her latest work a solo show called "I’m Actually Right About Everything: A Bisexual Love Story". Like many of the other one person shows in the Hamilton Fringe this year, this is essentially autobiographical material, shaped and developed specifically for stage performance.

As an audience member who has seen a number of these solo shows in the past week, it can be a bit daunting to listen to people's existential angst! So I am happy to report that Tracy's show is none of these things. It is instead, a coming-of-age story about a crush in middle school, that ultimately became one of her best friends for the rest of her life.

A furtive kiss, between two pre-teen girls when they were 12, essentially became something that they didn't talk about, and then something that they did talk about, and then something that turned into a beautiful wedding years later, although not to each other.

Although I say that this is a solo show, actually there is another character that is pre-recorded, that allows there to be crucial dialogue in the play. In fact much of the humour comes from the interaction of these two characters, even though one of the two actors is not physically present on stage.

Tracy's story takes us from suburban Toronto, down to San Diego California, and then over to Tuscany, Italy for a wonderful wedding of her best friend. While there, she meets the person who ultimately becomes the love of her life and her spouse, someone who is loving and supportive, and has generously offered to let her tell the stories that most couples would probably be prefer remain private.

There was a distinct Jane Austen vibe about much of this play, even though it is not set in the Regency era, the quest for true love of course being paramount. The play was well attended at the performance that I saw; there is a critical mass that is required for people to laugh out loud. I can report that this was accomplished successfully.

Tracy is engaging, charming, and thoughtful, looking back on the details of her life. Bisexuality does not define her. But it certainly gives her lots of material to riff off of and create some wonderful comedy. Go see this play Hamilton! You will not regret it.
- Brian Morton

Impatient Inpatient
Staircase Theatre - Elaine Mae

Rikki Wright is a long-time staple of local theatre and Hamilton Fringe, and if you are wondering why he has been absent from the theatre-scene lately, “Impatient Inpatient” will answer that question.

Almost a year ago, Wright was in a bicycle accident, and was in the hospital for months, at times wondering if he would make it out of the hospital. The one-person play is a detailed description of his accident and his time in hospital.

“Impatient Inpatient” transcends being a mere woo-in-me tale. Rikki, in his usual manner, finds a way to inject humour into the piece, and his algebra is particularly thoughtful and funny. Be warned, some of the humour is of a toilet variety, but it gives you an appreciation for what most of use take for granted, like walking and standing up.

I found Rikki Wright’s use of the stage to be particularly compelling. He manages to use props and the video screen very effectively to tell his story in a way that may otherwise be difficult to hear. This piece is Fringe at its best: intimate, honest, thoughtfully staged, and full of a stories that can change people’s view of the world.

I think this piece also marks a significant departure and expansion of Rikki’s previous acting. Wright has always been compelling and funny, but in this piece he explores emotions of anger and loneliness that are raw; he has always been one to watch, but this play in particular deserves (and demands) viewing, particularly for those looking for more meaningful material.
- Bryan Boodhoo

Liz, A Traumatic Comedy
Staircase Theatre - Elaine Mae

“Liz, a Traumatic Comedy”, is a hilarious jaunt through the life, career, passion, and success of creator and performer Liz Buchanan. It is also a ferociously vulnerable exploration of what it means to face trauma, mental health issues, our own expectations, and the daunting uncelebrated task of healing.

We first meet Liz as a young woman, about to embark on adulthood and deliver a speech to her high school's assembled Model United Nations defending women's bodily autonomy and we follow her through the decades as she traverses the ups, downs, "everything is totally fine" moments, and the "oh maybe everything is not fine" moments until we meet the Liz of present day.

Buchanan delivers us this deeply personal story with relatable humour, candor, and endearing humility. I laughed. I cried. I laughed through my tears. I felt my own cracks become a little more mended, perhaps even with gold.
- Crystal Rose Haygarth

Liz Buchanan’s solo monologue is a sequel to her previous Hamilton Fringe production “Gnomes: a Traumatic Comedy”. That play, produced as part of the 2023 festival was my favourite of all the Fringe shows I saw that year, and featured some wonderful actors including a dear friend, Greg Cruikshank, in its cast.

Both that play and this current production, are heavily autobiographical. In that they deal with personal trauma, and how we survive the horrible things that sometimes happen to us in life. For a theatrical artist of course the solution is to write a play. And the balance between the fictional characters that you create and the real life experiences of the artist creator is essentially what makes this work so brave and compelling.

I caught the opening performance of this show, while it was still finding its balance and was sincerely moved by it. It had me in tears at least at one point. And while it is way too early to declare a winner, I highly recommend that you check out this play. This is real and honest courage on display; it is fearless, and admirable, and while there is are plethora of one person shows in the festival this year; it's my humble opinion that this one is not to be missed.
- Brian Morton

Mark I
The Gasworks

You have no doubt heard the stories. The one about the demon cast out of a man’s body; the woman who touches the hem of Jesus’ cloak; the severed head of John the Baptist. But you haven’t heard them the way Tom Bates delivers them in “Mark I” at the Gasworks.

Bates delivers a stellar, verbatim rendering of the Gospel According to Mark, the shortest and probably oldest of the gospels telling the story of the Nazarene. Bates is less a preacher and more like someone 2,000 years ago who wasn’t at the scene of the events he’s recounting, but who heard it from a friend who’d heard it from a friend, and so convincing, you might want to tell it to a friend as well.

Bates breathes new life into old phrases and parables (coincidentally telling the story of the mustard seed on the same street as G.S. Dunn, the historic Hamilton mustard company) so much so you wonder if you’d heard them right the first time. I’d encourage Bates to take this show to the U.S., where some folks who call themselves believers need to re-hear the source material.
- Raymond Beauchemin

Meat Market
The Westdale Theatre

What do you do if you’re gay and looking to hook up? In the age of dating apps, it’s easier than ever to lose your virginity; or maybe even find love. “Meat Market”, a sharp and playful new work by playwrights Alex Boese and Shaun Soutar, explores this very question with plenty of broad comedy, sexual frankness, and a satirical wink at modern LGBTQ+ hookup culture.

Directed by David Civcic, this fast-paced production features a talented cast of seven navigating a minimalist set centred around a single bed on wheels. The simplicity of the staging allows for fluid movement and quick scene changes, keeping the momentum high and the comedy tight.

While the entire ensemble delivers strong performances, Rhys Bernier and Samuel Forsyth stand out with particularly engaging and nuanced portrayals. They bring heart, humour, and a surprising emotional depth to material that could easily lean only into farce.

“Meat Market” leans unapologetically into gay stereotypes, but not without critique. There’s a self-awareness to the writing that keeps the play grounded, even in its wildest moments. It’s a celebration of queer identity, while also poking fun at the complexities and contradictions of dating, sex, and self-discovery.

What’s especially exciting is how this production fits into the larger landscape of this year’s Hamilton Fringe Festival. The number of queer-themed productions on offer reflects a growing inclusivity and recognition of diverse stories and voices. For those of us who remember when queer content was rare or relegated to the sidelines, this feels like progress worth celebrating.

Ultimately, “Meat Market” is smart, funny, and unafraid to say what it means. Whether you’re part of the LGBTQ+ community or just curious to see some bold, contemporary theatre, this is a show worth checking out. These young performers deserve a full house.
- Brian Morton

Men Love Horsies: The Musical
Staircase Theatre - Bright Room

I fully expected this play would be about some old cowpoke with a guitar on his lap singing a series of rodeo ballads and tumble weed lullabies, while lamenting all the good things he was missing while riding the range. But this was so much more, though there is a cowboy and there are songs about horsies.

Hamilton’s own Devin Bateson describes himself as ‘just a man singing songs about horsies’. And what a tale he weaves. Bateson’s one man show is just that, him and a sound machine. But he exudes energy galore pulling out creatively crafted stories and diverse song performances, including some quality rap, about the fantastical evolution of horsies and man’s relationship to them. And the icing on cake for a performance like this is audience participation which he cultures ever so skillfully. It is a high energy flawless performance that occupied almost an entire hour.

Bateman uses a microphone throughout his performance and and I did find myself wishing his technician would crank down the volume a notch. Besides his vocals were so powerful I wondered if he even needed a mic. It’s a tough job for a one-man act to win the hearts of everyone in an almost fully packed theatre - but he did. Oh, and the audience needs to be warned that the show is definitely pee-your-pants hilarious, almost from the get-go. This is a must see at this year’s Fringe.
- Ray Z Rivers

Mind Reader
Mills Hardware

“Mind Reader”, is a show of magic and mind reading that will have you trying to figure out how you could have possibly seen what you did for hours, if not days afterwards.

Steven Nicholas preforms feats of memory, magic, and mind reading with the help of members of the audience.

Familiar objects such as a deck of cards, a well known book, or a simple message in an envelope become the source of astonishment as the audience discovers that seemingly impossible things can happen with Nicholas as your guide. Fun and entertaining. You won't believe your eyes.
- Crystal Rose Haygarth

Hailing from Cleveland, Ohio, mentalist Steven Nicholas brings his polished, mind-bending show “Mind Reader” to the Hamilton Fringe Festival, adding a dose of mystery and illusion to this year’s eclectic lineup. A seasoned touring artist, Nicholas has performed across North America and now introduces Hamilton audiences to his unique blend of mentalism, illusion, and audience participation.

Fans of “Penn & Teller: Fool Us” will feel right at home here. That same sense of suspense and wonder permeates Nicholas’s performance, which took place at Mills Hardware to an impressively packed house; even for an early festival run. From the moment the show begins, he draws audience members onstage to assist with feats that appear to defy logic, testing memory, intuition, and perception.

While the structure is grounded in the classics—card tricks, predictions, and apparent mind-reading; Nicholas brings his own sleek style and modern flair. His stage presence is confident, charming, and engaging, making even familiar illusions feel fresh. He connects easily with volunteers and the crowd, turning every trick into a shared experience.

What truly sets the show apart are the “prestige” moments—those jaw-dropping reveals that leave audiences stunned. Gasps, laughter, and whispered “how did he do that?” reactions ripple through the crowd. Nicholas’s technical precision and calm showmanship keep the mystery intact, even as the stakes rise.

For fans of magic and illusion, Nicholas’s performance feels right at home among Hamilton Fringe favourites like Nick Wallace, while still offering something new. His arrival is a welcome addition to the city’s growing roster of world-class Fringe talent.

“Mind Reader” is fun, fast-paced, and interactive—perfect for anyone seeking a light-hearted but impressive evening of entertainment. If early buzz is any indication, tickets may be hard to come by as the run continues. For a night of mind games and unforgettable moments, this is one to catch before it disappears.

Mind the Gaps
Mills Hardware

“Mind the Gaps” is a bold, unscripted solo show by Nathan Lise that explores identity, memory, and the search for belonging. Part storytelling, part improvisation, the performance is a deeply personal journey filled with honesty, humour, and heart.

Fringe audiences have come to expect one-person shows, but Lise’s stands out for its spontaneity. Building on his 2024 production, this new piece is even more improvisational in spirit. Each night, Lise enters the stage carrying boxes filled with artifacts from his past—books, toys, photos, and other personal items. What he pulls out becomes the prompt for that evening’s unique narrative. No two shows are alike.

Through these artifacts, Lise invites the audience into stories from his upbringing in a small religious town, his years in Christian schools, and his time at Redeemer University in Ancaster. These memories form the emotional backbone of the show, as he reflects on his evolving sense of self—particularly through the lens of faith, disability, and artistic expression.

A turning point in Lise’s life comes with his discovery of improv, which gave him a platform for creativity and personal growth. The Hamilton Fringe’s inclusive stage provides him a similar space; one where difference is embraced, and where his voice as a disabled performer can resonate.

There’s also a subtle thread of nostalgia woven throughout. A reference to Debbie Allen’s iconic Fame speech draws a line between ambition and acceptance, while a passing mention of a Doctor Who segment in a previous show adds a charming note for fellow fans.

Now a member of the Quaker community, Lise shares his journey with generosity and care. Mind the Gaps is more than a performance—it’s a meditation on faith, identity, and the power of telling your own story. Thoughtful, raw, and refreshingly unrehearsed, it’s a Fringe experience worth catching.

Minimum
Player’s Guild

Political satire and farce at its best. Brandon James Sim plays a newly elected Ontario premier who has made a political promise that he comes to regret. When someone asked if he’d be willing to give up his premier’s salary and live on minimum wage the new premier-to-be inadvertently said yes - and once elected has to live with the consequences.

Victoria Sullivan, who plays his wife, is also the playwright in this hilarious comedy that hits all the right notes. Gavin Sibley, who plays his left wing radical assistant provides a nice foil from the more mainstream premier and it works in this comedy.

This is the 2025 Hamilton Fringe show you don’t want to miss. It’ll brighten your day.
- Ray Z Rivers

“Minimum” is a play about the new Premier of Ontario having to live on minimum wage because of a campaign promise. Written by Victoria Sullivan, produced by Sullivan and Brandon James Sim, and performed by Sullivan, Sim, and Gavin Sibley, it is a joyous showcase of the vast talent within the Canadian theatre world.

Essentially the play follows the consequences of an ill-considered off the cuff promise made on the election trail, as the Premier’s life explodes along with the life of Ontario residents. The set of two desks and a lectern gives the actors space while also giving them obstacles to work around and interact with. The tech is well done, including some difficult sound cues.

The performances of all three actors are strong, with plenty of humour, and just the right level of creepy menace from Sibley to make you unsure what his motives are as the Premiers assistant. Sim as the Premier is an absolute bundle of manic energy on stage as everything spirals out of control, and Sullivan as the acerbic wife determined to re-establish control over her own life gives what could be an unsympathetic character strength and humour even while verbally destroying her husband.

This is a play with a strong script, clever direction, and brilliant acting. It should be a must see for every Fringe goer this year.
- Julian Nicolson.

The Fruits that Rot in our Bellies
Theatre Aquarius studio

The opening scene of "The Fruit That Rots in the Belly" is reminiscent of Leonardo's "The Last Supper," except it's populated by women and the "good news" is that one is pregnant. The bad news might be the bad blood between two of the women, sisters.

To divulge more of the plot would be unfair to a play that, in one hour, handles some fairly heavy material but never in a heavy-handed way, including miscarriage, childhood sexual abuse and incest. Ghosts walk freely in "Fruit," the physical manifestations of people who have absconded or died, as well as memory, because memory itself, particularly when related to trauma, is a ghost, a chimera: Did I just see that versus What did I just see.

About two-thirds of the way through "Fruit" one of the two sisters calls the pregnancy "dark, but also joyful." Not an encapsulation of the play, but perhaps of life. (Full disclosure: this reviewer has a play in the festival featuring one of the actors in "Fruit.")
- Raymond Beauchemin

The Heterosexuals
Mills Hardware

Veteran Fringe performer Johnnie McNamara Walker brings “The Heterosexuals” to the Hamilton Fringe following a three-year tour across North America, with stops at major festivals like Edmonton and Orlando. Fast-paced, fearless, and sharply funny, McNamara Walker delivers an hour of politically charged theatre that’s both laugh-out-loud hilarious and deeply resonant.

The show imagines a world flipped upside down; where the audience becomes part of a secret queer society and everyone can finally stop pretending to be straight. It’s a joyful satire that invites everyone to celebrate LGBTQ+ and Two-Spirit identity without shame or filter.

McNamara Walker’s stage presence is electric, evoking the high-energy style of Tim Minchin (minus the piano). Instead of songs, the show serves up razor-sharp jokes, wild physical comedy, and personal storytelling at breakneck speed. It’s a bold, dynamic solo performance that commands the room from the first line.

Beneath the humour lies a thoughtful exploration of identity, conformity, and resistance. Drawing from personal experience and cultural critique, “The Heterosexuals” contrasts the vibrant, liberating force of Pride with the pressures of living under heteronormative expectations. McNamara Walker takes aim at the so-called “default setting” that erases difference — and does so with both biting wit and emotional honesty.

The show’s message feels especially urgent in today’s political climate. In places where LGBTQ+ rights are still under threat, “The Heterosexuals” becomes more than a comedy; it’s an act of resistance. One line, “Please try not to kill us,” hits like a joke and a gut-punch in equal measure.

Smart, subversive, and packed with heart, “The Heterosexuals” is an essential Fringe experience. Whether you’re part of the queer community or an ally, this is theatre that entertains while challenging the status quo—with plenty of laughs along the way.
- HM

The Pole Shebang
Theatre Aquarius Studio

Andrea James Lui has the pole world in her hands.

The one-woman, one-pole show “The Pole Shebang” (Theatre Aquarius Studio) is a funny, serious, thought-provoking and playful piece of theatre. Full of body rolls, fan kicks, hook-and-spins and flagstaffs (you’ve got to see these to believe them), some audience participation and volunteer work, the play should appeal to men who can distinguish an athletic woman from a sex object and women who want to turn real-life experiences and real-world traumas into something positive.

Oh, and Asian moms. They might recognize themselves in Lui’s depictions of her own mother. The show begins and ends with lyrical pole dances, including one dream sequence where Lui seems to float in midair, along with several others in between to tell the story of a young Asian woman trying to define herself to herself and the outside world, finding that pole dancing is where women can come to restore their mental and physical health and “pole” themselves together and turn pain into power.
- Raymond Beauchemin

Andrea James Lui is amazing! Hanging suspended on a pole fourteen feet in the air, you immediately think about those aerial silks acrobats, who can seemingly defy gravity. This production comes to us from Australia, and has had runs at the Adelaide and Sydney Fringe Festivals.

Like most one person shows in the festival, essentially this is a dramatized version of someone's life, the narrative being filtered through their individual experiences. “The Pole Shebang” is very well put together, with a superb sound design, had a lot of clever use of lighting and props and to support the on stage physical action.

Growing up in an Asian household, with a mother that would circle things in the newspaper for the kids to read; Andrea found a flare for the dramatic, performing in school plays and ultimately becoming an actor after training in the acting program at York University.

The monologue skirts between the relationship between dancing on a pole, and burlesque or stripping. There is still a lot of stigma attached around nudity in an adult entertainment bar. For me, the most affecting part of the show was actually her talking about dancing at the House of Lancaster, not quite understanding what was required in terms of taking your clothes off.

I can report that Andrea James Lui is painfully honest, and takes us on a really powerful journey. And yet it is bittersweet and funny, and about challenging stereotypes particularly around Asian culture. You will never see a Pikachu quite the same way again after seeing her show.

There was some marvellous interaction with the audience, always consensual, in which two friends, Greg and Liz of Gnomish fame, were taught some basic pole dancing moves. Of course the people who went up were also artists in the festival, and it was quite delightful seeing them attempt to clumsily copy, what Andrea Andrea James Lui, has clearly mastered over the years. I think she's a pretty good and patient teacher too!

This show is thoughtful and delightful, I anticipate that the word will soon be out about this marvellous show. Grab a ticket while you still can, because I suspect this might be a sellout by next weekend.
- Brian Morton

Ugly Privilege
Mill’s Hardware

Ugly Privilege, written by and starring Jessica Pigeau is a one hour stand-up routine detailing the life experience of the performer. Stand-up comedy is undoubtedly on of the hardest performing arts. One person in front of an audience with instant feedback on your work-you’re either getting the laughs, or you’re not. It’s even harder when there is not enough audience members to reach the critical mass that causes the laughter to almost self-generate. With only ten people in the audience for the opening show, this is the challenge Jessica faced Thursday evening. It was a challenge they met head on and very successfully.

Jessica makes no secret of their being a Trans-gendered autistic person with a speech impediment. Indeed the entire show is built around the challenges they face in daily life. The laughs are plentiful, and the jokes are well crafted.

Inevitably in a one hour show, a few jokes are going to miss their target, but this is a show that will keep you laughing for the whole hour. I’m not giving any spoilers, but there are some very clever lines, including one about their speech issues that was absolutely perfect. When you see the show, you’ll know which line I’m talking about.
This is a show from a very clever Canadian comedian that is well worth seeing.
- Julian Nicolson

“Ugly Privilege” is a tightly packed, one-hour stand-up comedy show from Jessica Pigeau; an autistic, genderqueer performer with a self-deprecating wit and a truly original perspective on life. Pigeau’s identity and life experience inform the material, but the comedy is accessible, sharp, and universal in its appeal.

Whether or not you share Pigeau’s politics or personal background, the humour lands. The set is filled with unexpected punchlines, clever turns of phrase, and quirky observations about sex (or the lack thereof), social expectations, and the awkwardness of simply being human. One particularly memorable line involves Jessica laughing at her own jokes; only to realize the pause afterward is awkward because it sometimes takes her a minute to get the punchline herself. It’s both hilarious and endearing, and while I may be paraphrasing, Pigeau’s delivery is spot-on.

Jessica Pigeau’s sense of timing is impeccable. The show starts and ends exactly on time, with not a single lull in between. Every moment is filled with purpose, crafted and refined through repetition and touring. The material feels lived-in and polished, while still allowing space for moments of spontaneity. There’s a rhythm to Pigeau’s performance that keeps the audience leaning in, unsure of what strange and delightful observation will come next.

The charm of “Ugly Privilege” lies in how naturally it blends deeply personal stories with universally funny reflections. Pigeau’s awkwardness, intelligence, and vulnerability are never contrived—they’re the foundation of the show’s appeal. And while some jokes veer into adult territory, the tone remains thoughtful and inclusive.

This is Fringe at its funniest and most honest. Pigeau offers a perspective rarely seen on stage, delivering it with skill, heart, and plenty of laughs. “Ugly Privilege” is a joy to watch; an offbeat gem that shouldn’t be missed.
- HM

Unsolicited: Good Advice Gone Dad
Staircase - Bright Room

Kristi Boulton makes a triumphant return to the Fringe with her latest one-woman show, “Unsolicited: Good Advice Gone Dad”. A wonderfully comedic and captivating storyteller, Boulton effortlessly weaves sharp wit and heartfelt honesty into an engaging 60-minute performance. Through a series of personal anecdotes, she shares the often hilarious and occasionally touching nuggets of unsolicited wisdom passed down from her father at key moments in her life.

The show is elevated by clever use of visual media—beautifully crafted by her talented husband, Mark; which enhances each story, making the audience feel as though they are experiencing these moments in real time.

Boulton’s magnetic stage presence is undeniable. She transitions seamlessly between laugh-out-loud moments and deeper, reflective beats, allowing the audience to absorb the emotion before whisking them off to the next adventure. From childhood playground antics to a uniquely funny take on the sinking of the Titanic, Boulton keeps us thoroughly entertained while gently delivering life’s bigger message.

By the end, “Unsolicited: Good Advice Gone Dad” leaves you not only laughing, but also reflecting on your own life lessons. It’s a joyous reminder that life is messy, unpredictable, and most importantly — meant to be lived.
- Carlos Jimenez-Rauda

Can your most traumatic childhood memories make an entire theatre roar with laughter? If you are comedian and storyteller Kristi Boulton then they definitely can.

This one woman show, “Unsolicited: Good Advice Gone Dad”, takes us to the cinema, a cruise ship, and an awkward car ride, the chasm of loss, and a bookstore confession all with only the frenetic creative colour spray of Boulton's storytelling. She is alone on stage without props, without set, without filter.

Be prepared for an emotional rollercoaster ride, but even in the hard moments Boulton finds the joy that lets us bypass the queue. I laughed so hard that my belly hurt. Don't miss this show!
- Crystal Rose Haygarth

Waiting for* Godot. *Waiting for Waiting for
Staircase Studio Theatre

It was a journey back to the very first drama class I ever attended as I watched this team of talented actors with the Breadbox theatre company give the audience something completely different to ruminate. This cleverly written play certainly lives up to its title.

There was empathy and passion and conflict as this collective of young actors from York University’s theatrical school showcased their knowledge and skills, toying with the audience in a play that is really about nothing at all but that. And it is very funny and I found myself fighting back tears of laughter at one point - waiting for something to actually happen.

Befitting a play of this dimension, which borders on the absurd, the audience is rewarded by what can only be described as a surprise ending.
- Ray Z Rivers

This play is basically one big theatrical “in joke”: If you know then you know. Otherwise you might find it hard to figure out. But make the effort, as it is worth it.

At the top of the play a stage manager walks onto a bare stage and sets up a rehearsal space. She struggles with a handmade prop which is basically a tree, metaphorically speaking. She sets up her laptop, she sets up a table and some chairs and then waits. For a director to arrive that she has never met.

Eventually some members of the cast show up, a very vain actor with physical theatre training, a very attractive young woman who seems rather vapid, and then “a dude”, who seems to have an in with the director. The director however still doesn't show up. And those of us familiar with Samuel Beckett's play “En Attendant Godot”, figure that we have it all sussed out and that he will; spoiler alert, never arrive. However all is not what we think it is. This is an amazing piece of meta theatre, again if you are familiar with the source material you will find a lot of cool stuff to absorb.

The Samuel Beckett estate, is particularly litigious. They have this thing called the Beckett Rider, which basically insists that you perform the play as it is written with no changes whatsoever. If you do make changes to Beckett's text you have already admitted liability when they sue you by signing the rider. However in this particular production, other than of course the title, there is actually no Samuel Beckett material in the play. And one cannot copyright a title.

I particularly liked the fact that the show was basically done with no tech, as though we were in a rehearsal hall under the fluorescent lights. There was a particularly funny moment at the very end which I won't spoil. A clever and thoughtful piece of theatre, which rewards those of us familiar with the world in which it is set. I know that I laughed; loud and heartily.
- Brian Morton

Once Upon A Pizzeria
Player’s Guild

This is the Hamilton Fringe play for children from two to ninety two. Charly Chiarelli delivers classic Charly in this quaint story about his pizza perfect Nonna Maria and her experience in making a round, rather than her traditional square pizzas. After all, pizza come in square boxes, right?

Charly is ably supported by Jay Shand who narrates while Charly plays background music and animates the family figures in his best mock Italian-English. There is ample audience participation in this play, including some singing, as the actors welcome everyone into the story. The only thing missing is a piece of that famous square pizza to taste before the audience leaves the theatre.
- Ray Z Rivers

“Once Upon a Pizzeria” is a family show based on the children’s book by Charly Chiarelli. The show, which features singing and virtuoso harmonica playing from Chiarelli and narration from Jay Shand, follows the adventures of an escaped round pizza from Nonna Maria’s oven. The shape is important as Nonna Marie has a family tradition of making square pizzas, but her grandson Little Luigi has begged her to make a round one to stop the teasing he endures at school.

The play is good fun, with beautiful back projections from the book art by Alma Roussy as a backdrop, plenty of audience participation and enough quirky events to keep young audiences interested. If I have one criticism, it’s that Shand’s narration is uncharacteristically muted. Given the intended audience, it would have been nice to see more movement and vocal variation through the show to hold everyone’s interest.

Nevertheless this is a fun show for all ages, and will serve as a good introduction to The Fringe for younger audience members while entertaining their accompanying adults. A great production!
- Julian Nicolson

Raccacloon
The Westdale Theatre

“Raccacloon” had the largest acting ensemble of any production I've seen in the festival so far this year. They are a group of York University students, some of them recent graduates, who have remounted and expanded a class project from last January.

Written by Bethany Robert, and directed by Jesse Lewis, this production has much to offer. It definitely riffs on several different vibes, exploring non-conformity, identity, and the need to find your own path in life.

A family of raccoons, seems content to spend their days digging food out of garbage cans and living their best life as a family in downtown Toronto. But the lead character of Raccacloon, played by Grey Baker, is unhappy, and wants to join the circus, and perform their acrobatic and juggling skills to an audience. An encounter with a human, Fettuccine, played by AJ White, who is on a quest to discover the identity of his father, changes both of these characters for the better.

The play is a clever mashup of influences, clown and movement, Comedia Del Arte, and even musical theatre with its elaborate production numbers, here choreographed by Lia Germansen; are part of the wellspring of creativity that has inspired this show.

“Raccacloon” certainly deserves an audience. Indeed it was well attended the night that I saw it. The large ensemble of actors was strong, and this show certainly delivers a punch of delightful comedy. Highly recommended.
- Brian Morton

Sex Goddess
Mills Hardware

Join our heroine Rayna at the listening party for her first album "Sex Goddess" as she recounts the night she got her big break and found her voice.

This vibrant story interspersed with live vocal performance will have you clapping your hands and moving in your seats as it introduces to you a handful of characters, each bursting with personality, and takes you on an epic journey through a sometimes real, sometimes fantastical world. All of which is accomplished adeptly on stage by creator and preformer Riel Reddick-Stevens with only a mic, lights, and immense energy.

This epic journey sees our heroine dealing with not only the challenges of the gritty glittery world of the story but also the very real challenges of self discovery, bodily autonomy, sexual expression, and patriarchy. Language and content pull no punches so pls be aware of the 18+ recommended audience.

The stripped down presentation, free of props and set, allows Reddick-Stevens' storytelling strength to take central focus. She transports us so completely into Rayna's world both with her storytelling and her music that you will find yourself wanting to sing along, which is just fine because audience participation is encouraged.

A title like "Sex Goddess" sets a high expectation and this show delivers. It's fun, funny, and full of female empowerment. Add this one two your lists fringe-goers, you won't be disappointed.
- Crystal Rose Haygarth

“Sex Goddess” is a one woman high energy show that takes the main character through an increasingly chaotic series of events over one night that change her life and perception of the world forever. Written by and starring Riel Reddick-Stevens, and directed by Christopher Manousos, the play is sometimes funny, often bawdy, but never dull.
The set is just a mike on a stand and a stool, which is all that is needed by Riel, who in conjunction with an excellent tech set up - kudos to the stage manager for being absolutely bang on with some very challenging sound cues - takes us to a house, a couple of clubs, a street, an alleyway, even a helicopter.

The challenge for an actor in a one person show with multiple characters is to clearly differentiate one character from another. Riel achieves this with ease, changing vocal tone and body posture to let us know who’s talking.

The strong performance emphasizes the strong message coming through the whole show. Riel has crafted a clever script that deals with the objectification of women in the music industry, the larger discrimination against women in general, and the necessity for women to empower themselves in all aspects of life; professional, personal, sexual.

If you are not put off by strong language, you should see this show for the high energy entertainment, and bravura performance it provides. If words describing various parts of female anatomy offend you, you should see this show and be offended, it’s that good.
- Julian Nicolson

Sister Sophia Kicks The Habit
Player’s Guild

"Sister Sophia Kicks the Habit”; Lisa Randall's one-woman/one-nun show at the Player's Guild, is a pun-filled, have-you-heard-the-one-about, cri de coeur, the story of a cloistered sister's dark night of the soul following the death of her best friend, Sister Beatrice.

Sophia is questioning her faith, wondering if the voice she heard at age 16 was indeed the voice of God, a question for the ages, one many a Catholic has asked over the years, whether having taken vows or not.

Interspersed between the jokes and Lucille Ball-like physical gags are songs -- gospel, rag, pop inspirational and Gregorian Latin (Randall has a helluva voice) -- but more importantly some demanding soul-searching: Is the call of another human being as important as a call from God? Is it that God isn't calling or are we not listening? And one many a Catholic has asked: the world is changing, why can't we.
- Raymond Beauchemin

I’ve always been drawn to the genre known as “the long dark night of the soul”; a crisis moment where someone confronts their beliefs, identity, and future. “Sister Sophia Kicks the Habit”, written and performed by Lisa Randall, fits beautifully into that tradition. It’s a one-woman show about a middle-aged nun wrestling with the cost of her lifelong commitment to faith.

Sister Sophia has taken a vow to serve Jesus Christ, and for years, that has defined her life. But now, facing doubt and spiritual fatigue, she begins to question everything she thought she believed. What results is a deeply human story—one that’s contemplative, funny, and surprisingly joyful.

Randall’s performance is both heartfelt and sharply comedic. In one particularly memorable moment, she breaks into a Charleston-inspired dance number—an image that unexpectedly reminded me of “Nunsense”, the classic 1980s musical about singing, dancing nuns. While Sister Sophia is a solo performance and deals with more existential themes, it shares a similar irreverent spirit.

One of the most delightful aspects of the show is its language. Randall peppers her script with an avalanche of puns; so many that they start to feel Shakespearean in volume. What could have been a somber meditation on doubt instead becomes a riotous, laugh-out-loud experience. As with many Fringe solo shows, connection with the audience is key — and Randall delivers. She’s engaging, charismatic, and emotionally present from beginning to end.

While shows with religious themes can be polarizing, this one takes a refreshingly feminine and personal approach to Catholicism. It’s not about dogma—it’s about self-worth, longing, and rediscovery.

Ultimately, “Sister Sophia Kicks the Habit” is a moving, funny, and surprisingly hopeful piece of theatre. It's well worth your time—and your laughter.
- Brian Morton

The Damage Done
Hamilton Theatre Inc. Studio

We can’t escape our pasts. Often the best that we can hope for is that the past fades like a car in a rear-view mirror.

In “The Damage Done,” by Governor-General Award-winning playwright George F. Walker (at Hamilton Theatre Inc.), it would seem the characters Tina and Bobby don’t have it to own a car, never mind a rear-view mirror. Their past is so present, the future’s got its blinkers on to pass. Or does it?

Under the direction of Matthew Willson, “The Damage Done” is set in a park with a four-seat swing centre stage. And like a swing, with its back-and-forth movement, Tina and Bobby go back and forth over their joined-at-the-hip history, their teenage pranks, the early pregnancies and their almost grown-up girls’ needs, betrayals, divorce, Tina’s mental health, Bobby’s inability to do, well, pretty much anything. Rebecca Durance Hine and Adam Lemieux embody these characters with compassion, grace, humour and a primal physicality.

I often look at a text and wonder where the title comes from. It’s Tina who talks about “damage done,” but you can’t leave the theatre without thinking of Neil Young.
- Raymond Beauchemin

Toronto-based playwright George F. Walker has long been a towering figure in Canadian theatre. From his early days at the Factory Theatre in the 1970s — when it was still housed in an auto garage — to becoming a Governor General’s Award-winning writer with a global reach, Walker’s voice has remained distinct, sharp, and deeply rooted in working-class realism.

“The Damage Done” is the third instalment in a trilogy featuring two recurring characters, Tina and Bobby. They meet, as they always do, on a swing set in a Toronto park. They talk, argue, provoke, and occasionally even strike each other; but their bond is undeniable. Now, years into their complicated connection, their children are teenagers, becoming reflections of themselves.

Walker has often said that his characters speak to him before he writes them. In this play, Bobby echoes that exact sentiment, blurring the lines between writer and character. The result is an authentic, layered portrait of two people grappling with their past, their responsibilities, and their failures—always circling each other with equal parts affection and frustration.

Like peeling an onion, each scene reveals another layer, exposing vulnerability and truth until all that remains is emotional rawness. The 80-minute production, one of the longer pieces at this year’s Hamilton Fringe, holds the audience tightly in its grip.

Adam Lemieux and Rebecca Durance Hine deliver exceptional performances, never leaving the stage and never dropping the intensity. Their chemistry and commitment bring Walker’s dialogue vividly to life. Directed with restraint and precision by Matthew Willson, the production allows the script’s natural rhythms to shine.

In a festival known for showcasing new voices, it's a rare and welcome treat to encounter a finished play by one of Canada's most established dramatists. At a time when Canadian cultural sovereignty feels under threat, “The Damage Done” reminds us why our stories matter.
- Brian Morton

The Fortune Teller
The Westdale Theatre

“The Fortune Teller” is a comedy, with a few dramatic overtones, produced by Hamilton's Artword Theatre. The play was written by a local psychiatrist, David Laing Dawson, and was directed by Ron Weihs, who I have worked with on many iterations of the Hamilton Fringe over the years.

The always wonderful Jen Frankel, plays Anita, the title character, who is beginning an appointment with "Mr. Smith", (Luis Arrojo), a widower bereaved over the loss of his late wife. He has some questions that he needs answered before moving on with his life; some "unfinished business".

While pleasantries are being exchanged, on to the scene bursts Jordyn, played by Amy Ryan, a teenage girl with a secret to reveal who has decided to move in with her aunt Anita, after having an argument with her mother and deciding to leave home. Before long her boyfriend Jesse, played by Graham Clarke, someone with secrets of his own, demands entry, attempting to get the girl to move in with him.

Shenanigans ensue, mostly based upon the comic device that the psychic lady is able to read everyone so perfectly and knows exactly what they are going to say before they say it. The comedy is broad, and the audience at the performance that I saw laughed quite loudly. So clearly it works.

One of the things that is great about the Hamilton Fringe, is the sheer diversity of productions being mounted each year. This one is a wonderful mix, specifically about the clash between generations, and the youngsters dependence on their phones and social media. The old adage about being careful what you wish for because it just might come true, came to mind.

I have no hesitation in recommending this production. It has a lot to offer, and there is even some meditative thought that it provokes. It seems to have already found its audience - this was the best well attended of all the shows that I saw this year. And is a strong contender for the festival award.
- Brian Morton

ABOUT THE 2025 HAMMER MONTHLY REVIEWERS:

Raymond Beauchemin is the author of several works of fiction, including, most recently, “The Emptiest Quarter" (Winnipeg: Signature Editions). "3 Hours, 10 Minutes," at the Hamilton Fringe Festival's Ringside venue, has been described as a show "worth watching to spark discussion and deep thought about humans, art, and life." His full-length play “What We Talk About When We Talk About Trump” was one of five plays selected for the 2025 Brave New Works program of Hamilton’s Theatre Aquarius in May. www.raymondbeauchemin.com

Bryan Boodhoo is a regular at the Hamilton Fringe Festival, having written and or directed a number of plays, including G-Star Live!, Life Through Fire, The Bird’s Nest, Perpetual Sunshine Machine, A Thousand Natural Shocks and Migrant Stories (Frostbites). He has reviewed 80 fringe shows for View Magazine and Raise The Hammer.

Crystal Rose Haygarth first became involved in the Hamilton Fringe Festival as and actor in its second season. Now as we celebrate the Fringe's 21st season she has had the opportunity to engage in the Fridge as an audience member, actor, director, volunteer, administrator, and reviewer. You may also have seen her on local stages as a part of their regular season. Most recently she portrayed Pip in the Dundas Little Theatre production of “Things I Know to be True” by Andrew Bovell. When Crystal isn't finding her light on stage, she finds it off stage as a stay at farm mom.

Carlos Jimenez-Rauda is a Hamilton-based actor with a passion for live performance and storytelling. He has appeared in numerous productions with well-known local companies including Hamilton Theatre Inc., Make Art Theatre, Hamilton Urban Theatre, and Flint & Steel Productions. Carlos studied theatre at York University, where he developed his craft and deepened his love for the stage. A proud supporter of the Hamilton arts community, Carlos looks forward to the Hamilton Fringe Festival every year, both as a performer and enthusiastic audience member.

Brian Morton was the recipient of the 2013 Hamilton Arts Award for Theatre. His play “The Night They Raided McMaster”, won the Best in Venue Award at the 2022 Hamilton Fringe Festival. Brian was also the producer of the 2012 Hamilton Fringe Festival. Brian is currently a drama critic and arts journalist for “The Hammer Monthly“; he has also published articles in the “Hamilton Spectator” and the “McMaster Silhouette” and ”VIEW Magazine”. www.theatre-erebus.ca

Julian Nicolson has been participating in the Fringe Festival for many years as an actor, director, and reviewer. He’s happy to be back for another year of great theatre and to see old and new friends.

Anthony Perri is a copy editor and musician living in Niagara and is always trying to see, hear and make more art.

Ray Z. Rivers has written and produced four stage plays, including two at the Fringe Festivals in Toronto and Hamilton. Ray’s acting has included stage performances of Plenty, August Osage County, Modern Times, Hamlet, A Midsummer Night's Dream, 12th Night, Dead Men Don’t Itch and An Ideal Husband, in addition to those in his own productions. In addition, he has created and performed in a number of virtualized plays during COVID. Ray completed his first book in 2014 and has recorded two CDs of original music. An economist by training, Ray is also a contributing editor with the Burlington Gazette.

2025 HAMILTON FRINGE FESTIVAL REVIEWS