Candice’s Reviews - FringeMTL 2025
0Z
It was a Friday night, and I was tired, because apparently I’m the type of person who goes to the gym before their 9-5 now. I don’t want to talk about it. I had a nearly two hour there-and-back commute from the West Island ahead of me for Jordan Rooks’ 0z, which was slotted to only run for (checks notes) 45 minutes. The numbers were against me, but nevertheless, she persisted.
With a cold brew ready to be chugged and a 20 minute journey from Place-des-Arts metro to be walked, I headed to our venue for the evening: Chapelle de la Cité-des-Hospitalières. For perhaps the first time in my life I was actually ahead of schedule, and I was thankful for that, because of course I went to the wrong entrance at first. There was another showgoer who had made the same mistake as me, and as we rounded the building to the correct venue door–which, by the way, is up the staircase on Ave. Pins–we chatted briefly about our Fringe 2025 experience so far. Particularly briefly on my part, as it was my first show of the festival.
Guests were greeted at the door by the man of the evening, Jordan Rooks, a well-seasoned Fringe performer and Las Vegas magician. He welcomed each of us in, fondly referring to us as friends and thanking us for coming. I took my seat in one of the pews, and admired the vaulted ceilings and frescoes adorning the venue. I wondered, briefly, if hosting a magic show in a chapel was in some way blasphemous, and if our souls were now eternally damned. Either way, it served as a cozy setting for our magical evening.
Jordan’s setup had a charming and homemade quality to it. A silky green banner adorned with the show’s title, 0z, hung on one side of the stage, and a box filled with an assortment of magical props and goodies sat at the opposite end. There was a soundtrack of mystical music playing as we waited for the show to start, which helped with the ambience.
So, what’s 0z all about? Think classic tricks: the magician inexplicably guessing the card you picked from the deck, and knotted ribbons magically untangling themselves. There were moments of goofy humour strung throughout the performance, and several audience members were invited to participate, creating an interactive experience. I myself joined Jordan on stage, where he had me rip up a paper heart. Maybe it was blinding stage lights pointed directly into my retinas that prevented me from seeing how he did it, but he somehow pieced that heart back together and gave it back to me as a souvenir. What was the secret to his trick? Hell if I know!
The real magic, though, was in Jordan’s passion for his work. It was easy to see that he loves what he does, and that positive energy was contagious. I had some guesses on how a couple of the tricks were done, but that didn’t spoil the fun. The joy that Jordan exuded up on stage? That’s what I would argue is what Fringe is all about.
If you’re opposed to having a good time, maybe this one isn’t for you. 0z is a feel-good show for all ages, and really did make me feel like a kid again. If you’re looking for a family-friendly way to enjoy and celebrate Fringe, this is a great place to start.
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QUICKSHOT
As I make my way through my assigned roster of Fringe shows, I’ve been carrying this little notebook with me to jot down anything that comes to my mind that I want to remember to include in my reviews: thoughts, opinions, grand revelations, etcetera. But the page for Quickshot was left almost entirely blank–not for lack of things to say, but for the fact that I was entirely engrossed in the production from start to finish. Let me rave for a second.
I took my seat in a packed Petit Campus, definitely the largest crowd I’d seen at Fringe so far. The anticipation was palpable, and the audience was dotted with cowboy hats–you got a discounted rate at the door if you sported one, and I loved everyone’s dedication to the bit. Adam Sandler’s “At a Medium Pace” plays over the speakers as I take in the stage set-up: hay bales, wooden crates and a touch of red flannel. We ain’t in Kansas no more, we’re in the Wild West!
Quickshot follows the story of a disillusioned cowboy of the same name, haunted by grief and struggling with his own self-doubt. His name doesn’t come from nowhere; no one’s safe around Quickshot and his pistol, not even the sound guy. Kit Vieira–who co-wrote the piece alongside Sandra Soulard–stars as Quickshot, and gives an absolutely hilarious performance: a spot-on accent, impeccable comedic timing, and an exquisite pair of assless chaps that were truly a character all of their own.
Co-star Julia Pye did an absolutely fantastic job transitioning through a catalogue of outfits and characters (literally rolling from role to role, IYKYK), as well as displaying some impressive puppeteering skills (I would die for that cow). From toppling tumbleweed to Western belle, her energy on stage was utterly explosive–I was blown away.
The actors’ usage of the stage and props were incredibly creative, and the transitions between scenes were done seamlessly without disrupting the narrative flow of the story. The costumes? The lighting? The music and sound effects? Muah! From honky-tonk transitional tunes to the droning of cicadas, the details of this show were exceptional. It was clear that the entire production was a labor of love by the entire team.
Quickshot achieved something truly admirable: the ability to stab at more profound themes like toxic masculinity and finding one’s true purpose in this world, all while dildos are literally flying across the stage. It’s a twist on the Western genre that’ll have you hootin’ and hollerin’. There is so much more I could say about the experience, but I really feel like it’s best going into it without knowing what to expect next. Go see it now!
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ROBERT WILL SHOW YOU THE DOOR
I make my way up the narrow staircase off Mont-Royal Ave to O Patro Vys, and my eyes struggle to adjust from the early afternoon sunlight to the dim setting of the venue, all while 50 Cent raps about it being my birthday over the loudspeakers. Once I can finally see again, I make my way to the bar and order a cidre. It’s sweet, and the perfect companion for the next hour of comedy.
Susan Jeremy’s Robert Will Show You the Door (Tales of Being Fired) is a hilarious memoir about not being able to keep a job, accidentally discovering your calling, and finding out you’re not actually straight after all. With dazzling comedic charm and an encyclopedic collection of accents under her belt, Susan is nothing short of a riot. Not one of us in the crowd was safe from her electric energy and captivating stage presence; there were laughs throughout the entire show, ranging from chortles to roars.
The stage arrangement had a no frills design. A microphone stood on the right side of the stage, some stacked black boxes that served as both seating and steps throughout the show sat in the middle, and some chairs were propped on the left hand side. It was a minimal set-up, but didn’t feel lacking at all. O Patro Vys has a relatively small performance area, but Susan used it well, moving across the stage throughout the show, keeping the piece dynamic and engaging.
Susan’s workplace tales are more than just an oration of her resume. It’s a masterful blend of comedy and storytelling. The show is a coming of age story, a narrative about finding yourself, finding a purpose, and the importance of a pension. It follows her journey at all stages of her life, from child to teenager to present day. It’s about following your dreams, even if they lead you off-trail sometimes.
Anyways, that’s what I wanted to say. Instead, I’ll leave you with this: make sure you catch Susan Jeremy’s Robert Will Show You the Door (Tales of Being Fired) this week for a good laugh.
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THE TOTAL VERONICA EXPERIENCE
This time around, I knew exactly where the entrance to Chapelle de la Cité-des-Hospitalières was. It was a bright, if smoky Saturday evening, so I took advantage of the weather and enjoyed a long walk to the venue all the way from Lucien-L’Allier. As showgoers entered The Total Veronica Experience, we were each handed what looked like a table tennis paddle: red on one side, green on the other. We were told we would use them during the show, and that they also doubled as fans. A thoughtful touch, as the stuffy chapel can definitely get warm.
I took my seat amongst the pews, and perhaps I’m just painfully unobservant, but it took me a good five minutes before I realised Veronica was already on stage. In my defense, there were no lights pointed at her. She lay in darkness, sprawled across three plastic chairs, knee up and wrist dangling melodramatically across her forehead, throwing us into the scene before the show had even begun. The Total Veronica Experience lives up to its name: it’s a comprehensive exploration of one woman’s life, tackling themes of life, death, and what it means both to live and to die.
Veronica wakes up to discover she’s dead, is stuck in purgatory–recently rebranded as “processing”–and is left to reflect on her time on Earth with a faceless, all-knowing, off-stage God-but-not-God entity. I was a bit concerned that the subject matter and delivery would teeter on the edge of cliché, and maybe it will for some people. If you’re not into the emotional self-discovery and acceptance stuff, it might not be for you. It reads a bit like a supernatural therapy session. But Veronica goes beyond the surface, offering a deeply personal memoir that explores the dichotomous nature of being. The play discusses her complicated relationships with her parents and the growing pains of being their daughter, alongside reflections on the joys of her own motherhood. It documents the struggles of growing up as a black girl, all while reflecting on moments of black joy. It’s a raw, honest, and hopeful depiction of life–all of it: the good, the bad, and the ugly.
The venue is beautiful, though the acoustics can be challenging. The high ceilings and open space create a lot of echoes. Interestingly, this lent well to the voice of not-God, which boomed and reverberated through the space in a very thematic fashion. On the other hand, it made it difficult to fully understand Veronica at times–I did miss a couple of lines.
My favourite aspect of the show was the multidisciplinary style. Veronica gave monologues that at times felt like spoken word, she danced, she sang, she gave a stand-up routine–again, all tying back to this idea of the total experience. Like Veronica, the play itself is multifaceted and doesn’t fit a preconceived mold. This made for a 45-minute production that flew by and left me only wanting more. Titular actress Veronica Manning is a multi-talented pleasure to watch on stage; from eating up Janet Jackson choreography to giving a killer karaoke performance of “Proud Mary”, it’s clear to me that Veronica was truly meant to perform.
The show rounds itself off with an acoustic rendition of “Home” from The Wiz, a beautifully thematic conclusion to Veronica’s journey. A conclusion that is, really, only the beginning of something new.
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CHEERS!
WARNING: This review contains possible spoilers!
I specifically requested to review Cheers! for this year’s Forget The Box coverage of Fringe. It worked out well, because I ended up grabbing a lot of thought-provoking, introspective shows about life and deep stuff… sometimes a girl just wants to watch someone die on stage and wonder who the hell did the thing.
Okay, I found this fun. I actually took my mom with me–she’d never been to a Fringe show before, and given the late start time and the 30 minute drive downtown, she wanted to accompany me so I didn’t fall asleep behind the wheel (I am but an elderly woman in her late 20’s who struggles to stay awake past 10 PM). She also loves a good murder-mystery, so it was a win-win for everybody. While there were certainly elements I enjoyed about the production, Cheers! is undoubtedly still in early development, and has a few areas for improvement.
It was my first time to Mission Santa Cruz, and truthfully, it was too late in the evening for me to want to deal with any possible crowd participation and interaction, so just in case, I took the safe route and parked at the side of the stage. I presume a seat right in the centre would offer a great view of the entire show, but from the side, there were several moments where actors were turned entirely away from me, or were layered awkwardly on stage. Whether it was the physical space or the larger cast of actors, I’m not sure, but it did feel a bit cramped at times.
I do have to highlight the talent displayed by the roster of actors. The casting was phenomenal; each actor seemed to fit their role and archetype flawlessly. I was particularly impressed by the performance of Alex Khayat as Charles; he embodied the overly-charming salesman a little too well. The stage dressing was simple, but just enough to evoke that retro aesthetic the show was going for, and the costuming was funky as well.
I didn’t love the cheesy iMovie sound effect moments. They just didn’t land for me, but they did get quite the chuckle out of the audience, so I certainly can’t speak for everyone. The writing was entertaining, but I did take some issues with it. To be a truly suspenseful whodunit, I feel like you need to be at least a little suspicious of everyone; each character should have some degree of a plausible motive. Cheers! unfortunately lacked this, even though the play’s blurb promises: “In this room, everyone's a suspect.” There was virtually no reason to suspect Élise. I can’t even really think of a way to frame her based on the story in its current form. In hindsight, she doesn’t seem to bear much significance to the story at all besides being a catalyst for instilling distrust in the audience towards Simon, who we discover has been having an affair. Basically, she existed to be cheated on, and that’s about it. So Simon is a cheater, but there’s really no reasonable way to draw a connection between this and possibly being Leon’s murderer. At one point, they try to make you think Simon did it because he was jealous that his best friend Leon had a little gay romantic fling with another boy when they were kids. Come on now. Madeleine gives a dramatic monologue about wanting to get some sort of revenge on Leon–I wish this had been expanded upon, because her degree of rage seemed a bit excessive–and then 30 seconds later he’s dead. Seeing as she verbalizes her resentment towards Leon, serves the group food and tea, and fits the classic mistreated-maid-who-wants-revenge trope, her character is obviously written to be the most suspicious of the group. Which makes her not suspicious at all, because that would just be lazy writing. That left only Pauline and Charles as viable suspects to me. And having a 50/50 chance at guessing correctly just… isn’t as fun, y’know?
Despite my criticisms, I did have a fun time, and at the time of writing this, it looks like 3 out of 6 runs have sold out, so it’s certainly generating a lot of buzz in the Fringe world. This show hasn’t reached its full potential yet, but I see a bright future ahead. Cheers to that!
