Toronto Fringe Festival 2025: A complete guide with reviews and our critics’ top picks

The Star will have comprehensive coverage of the 2025 Fringe, including reviews of roughly three dozen productions from Joshua Chong, Glenn Sumi and Alexa MacKie. In the spirit of the Fringe, the Star will not be awarding star ratings. Instead, recommended productions will be denoted with a “Critic’s Pick” designation. Details for all shows can be found at fringetoronto.com.

Plan V: The Rise of Reverence

By Eleanor O’Brien, directed by O’Brien and Nate Jensen. Until July 13 at Alumnae Theatre Mainspace, 70 Berkeley St.

It’s 2035 and the world has gone to … take a number two. Government censorship is rampant. Bodily autonomy is non-existent. And any form is self-pleasure is seen as shameful. But in Eleanor O’Brien’s satirical comedy “Plan V: The Rise of Reverence,” there’s an underground resistance movement led by a peppy southern woman reminiscent of Tammy Faye Messner. Her weapon of choice? Love. Self-love. O’Brien’s solo play, in which she plays a variety of roles, presents a frightening portrait of a possible future dystopia. But it all goes down surprisingly easy with a healthy dose of sex jokes. Still, this hour-long work could use more work. While O’Brien does a good job of plotting the events that take place between 2025 and 2035, she could paint a better picture of the world in the year when the play is set. (It would make the show’s final twist feel more inevitable.) As well, some of the pre-recorded video elements are excessive and blunt the plays’s rapier wit. — Joshua Chong

Grown-Ass*d Broads Talkin’ Dirty

By Valerie Boyle, directed by Christel Bartelse. Until July 13 at the Performing Arts Lodge Crest Theatre Green Room, 110 The Esplanade

When the five women of “Grown-Ass*d Broads Talkin’ Dirty” let loose (with the help of some booze), they really do let it rip. That much can also be said of Valerie Boyle’s new play, a funny yet frank exploration of aging, told from the perspective of a quintet of longtime friends, all living in the third act of their lives. Taking place over a series of monthly gatherings, the story follows these women as they navigate everything from health scares and their relationships with their spouses, to their evolving sex lives and discussions about death. Boyle does a fine job of seamlessly weaving together the comedy and the more serious aspects of her play. Some of her characters, however, are less well drawn than others. Christel Bartelse’s sluggish production is also frustratingly static, and occasionally bogs down some of the humour in this zippy comedy. If you go: sit as close to the stage as possible as the sight lines at this venue are exceedingly poor. — Joshua Chong

A Play We Just Wrote Just Now

By Hillary Yaas and Selena Vyle. Until July 12 at Tarragon Theatre’s Solo Room, 30 Bridgman Ave.

Popular local drag queens Hillary Yaas and Selena Vyle attempt to put on a fully improvised play based on audience suggestions, random musical selections, and a couple of racks of clothes and some props. On the night I attended, they put on a dystopian play called “Wet Air,” which began at an airport tavern and ended underwater — all things offered up by viewers. While Vyle made several bold choices about character back stories, Yaas rarely listened and seemed more concerned with gags and one-liners — death for an improv show. To be fair, however, Yaas did deliver a decent impression of Margaret Atwood, which she milked for a while, eventually prompting Vyle’s funniest line about saving libraries. Every show, of course, will be different, so I hope they’re inspired to do more “Yes, and …” going forward. — Glenn Sumi 

Honey Never Spoils

By Olivia Quinn-Smith, directed by Stephanie Williams. Until July 12 at Tarragon Theatre’s Extraspace, 30 Bridgman Ave.

Brooke (Chantel Winters), Sarah (Jada Rifkin) and Victoria (Emery Nguyen) work on a popular true crime podcast that they developed as a response to the unsolved murder of their friend Honey, who died when they were teens. When Spotify offers to buy their company, but only if they devote their next season to Honey’s murder, it opens up lots of unhealed wounds — and secrets, all witnessed by tech assistant Evan (Jacob Klick). I’ve always thought there should be more genre plays at the Fringe and this mystery thriller fits the bill. Writer Olivia Quinn-Smith and director Stephanie Williams build the tension gradually, and while some dialogue, especially early on, feels stiff and expository, by the end we get a good sense of these characters and what’s at stake for them all. A solid Fringe play. — Glenn Sumi 

Galen’s Grocer

Critic’s Pick

By Ian Yamamoto, directed by Dave Barclay. Until July 12 at Soulpepper Theatre’s RBC Finance Studio, 50 Tank House Lane

Cleaning up your public image is a lot more difficult when there’s a CEO serial killer on the loose. That’s the reality for Galen Easton in “Galen’s Grocer,” a mockery of grocer billionaire Galen Weston Jr. He hires a racially diverse cast — “the closest to Koren he could find on short notice” — to put on a sitcom about the challenges of running a grocery store. Think the simplistic hilarity of “Kim’s Convenience” (which premiered at the Fringe in 2011) meets the witty take of class divide in “Schitt’s Creek.” Between the exceedingly well-acted and charming performances and the Canadian content shout-outs, is a sharp social satire about billionaire, workers and the cost of living. The actors’ physical comedy plays out in delightfully farcical fake fencing matches and lighting tricks that heighten intensity. “Galen’s Grocer” doesn’t pull its punches and its dark jokes won’t be for everyone. But there’s humour and heart for those more open to the raunchy social commentary. — Alexa MacKie 

Broken Teléfono

By Brian Quintero, directed by Dianne Aguilar. Until July 7 at the Alumnae Theatre Mainspace, 70 Berkeley St.

Brian Quintero’s “Broken Teléfono” was born out of the King Black Box Theatre’s 24-hour play festival, in which writers had just one day to write a completely new script. The show certainly has some winning moments and all the juicy melodrama you’d expect from a work billed as a “Spanglish comedy meets stage-adapted telenovela,” but it still needs significantly more development. At its centre are two friends, Sabrina (Adriana Vasquez) and Chloe (Daniela Donayre), both trying to get over men who’ve recently dumped them. The pair, however, soon discover that their romantic entanglements are far more complicated than they initially thought. Quintero’s script, while packed with comedy, is far too predictable. His characters are also more like archetypes than fully rounded individuals. (I doubt this show is even close to passing the Bechtel test.) There’s the potential for a strong show here, but the product currently onstage still feels like a hastily written first draft. — Joshua Chong 

Killy Willy

By Eliza Smith and Mona Fyfe, directed by Zoe Marín. Until July 13 at Theatre Passe Muraille’s Mainspace, 16 Ryerson Ave.

Whether you have a whale of a time at “Killy Willy” or want the musical to reach its fin-ale long before it ends depends on your tolerance for silly puns, earnest ecological messages and jaunty music. Things go awry during the filming of a Disney Nature ripoff program about Willy (Maya Fleming), the star killer whale at a tourist spot called Aqua Park run by a sadistic trainer named Jenny (Jenna Brown). Under director Zoe Marín, lots of attention has gone into the look and presentation of this aquatic-themed world — Gabe Woo’s black-and-white costumes are particularly inspired. The catchy songs feature clever lyrics. I wish more care had gone into the book, however, which needs anchoring. (Does Willy really need to be obsessed with Shakespeare?) But despite a few mic issues, the performances from the large cast are solid, with several young actors on land or sea making a splash. — Glenn Sumi 

Two Left Feet

By Nick Duarte and Shreya Jha, directed by Jameson Mosher. Until July 12 at Soulpepper Theatre’s Michael Young Theatre, 50 Tank House Lane

There’s nothing more embarrassing than the version of you in high school. In “Two Left Feet,” the reckless and idealistic versions of everyday high schoolers take the reins in a cutesy but frivolous musical. Joanie Langley will do everything in her power to put on a memorable senior prom — and get her name added to the school’s plaques dedicated to student leaders. There’s fun and undeniable high school charm. Eric Martin’s school newspaper editor is hilariously meddling, flaunting salacious headlines with glee and manipulating with almost as much determination as Mia Aubuchon’s steadfast, sometimes pitchy Joanie. But with an unimaginative score and repetitive choreography that hardly reveals anything beyond the surface levels of the characters’ lives, there’s little reason for us to care about their prom or Joanie’s deep-rooted motivation. The lyrics are silly and good fun, but pack little value. — Alexa MacKie 

The Zucchini Club

Critic’s Pick

Written and directed by Alexander Mantia. Until July 13 at Tarragon Theatre’s Extraspace, 30 Bridgman Ave.

This delightful puppet show, created and performed by Alexander Mantia, makes for a perfect, all-ages escape: filled with quirky characters, a charming story, and some beautifully crafted sets and puppets. It follows the larger-than-life Pasquale Provolone, an Italian farmer who’ll stop at nothing to protect a giant zucchini in his garden from a host of pesky (yet totally adorable) animals, including a sleazy skunk, a cheeky opossum and Pasquale’s useless guard dog, who’s turned into a self-professed “avant-garde” dog. Mantia, hidden behind a curtain throughout the show, is a dexterous puppeteer, with an arsenal of hilarious character voices to boot. He draws laughs with ease with his physical comedy and welcome use of audience participation. — Joshua Chong 

Whistling Pine (A Dark Comedy)

By Chris Mejaki, directed by Ed Roy. Until July 11 at Native Earth’s Aki Studio, 585 Dundas St. E.

There’s a lot of heart to Chris Mejaki’s portrayal of CJ, an Anishinaabe drug dealer in rural Ontario. Mejaki transitions from CJ’s touching traits, talking of his little brother with a hint of a smile between his jokes, to anxious pacing and wringing his hands when CJ faces incarceration, and finally bewilderment when he’s in contact with his ancestral spiritual guides. When playing other characters, Mejaki shifts to the raspy, hollow voices of fellow inmates, then shakes with concern and vulnerability for his mom’s emotional visit. Most of CJ’s quips find their footing and the story is genuinely interesting, while touching on themes of Indigeneity and colonialism. But because the one-man show is so front-loaded with action we learn very little about CJ himself until near the end of the play when it’s too late to feel an empathetic connection. — Alexa MacKie 

Regarding Antigone

By Banafsheh Hassani, directed by Art Babayants. Until July 13 at Tarragon Theatre’s Solo Room, 30 Bridgman Ave.

This very loose, modern adaptation of Sophocles’ Ancient Greek tragedy “Antigone” is a crackling examination of violence, oppression and the act of bearing witness. In a series of short scenes, the Iranian playwright and performer Banafsheh Hassani draws us into the various worlds of her characters, whose lives are all punctuated by violence under a vicious political regime. Throughout, Hassani continually breaks the fourth wall, implicating the audience in these characters’ suffering. The play’s language is poetic and filled with vivid, piercing details. Meanwhile, director Art Babayants’ abstract production appropriately overwhelms the senses. But Hassani’s short work could be further developed, expanding upon some of the ideas in her brief scenes and allowing the audience to spend more time with her characters. — Joshua Chong 

Childhood by Cheap Wine

Written by Jack Creaghan, directed by Jack Creaghan, Jesse McQueen and Charlotte Creaghan. Until July 13 at VideoCabaret’s Deanne Taylor Theatre, 10 Busy St. 

Sketch comedy troupe Cheap Wine is a family business and it bleeds into the trio’s performance. In “Childhood,” a blend of sketch and semiautobiography, siblings Jack and Charlotte Creaghan and Jack’s wife, Jesse McQueen, perform barely related comedy skits involving a boner machine, scientific experiments and the party game Cranium. Fittingly, there’s much chemistry between the performers, who each excel in different capacities. Charlotte packs sweet naïveté, Jack plays aloof — if at times a touch too gooney — and McQueen brings a refreshing dose of gravitational seriousness. Some jokes get old and some simply don’t land. It certainly doesn’t help that VideoCabaret’s in-the-round setup leaves some audience members seeing the backs of the performers, creating a disconnect that already exists with minimal threads tying the story together. There are occasional genuinely funny moments, mostly propelled by the actors smoothly playing off one another. But the majority of the show packs cheap laughs and one-off knee slappers. — Alexa MacKie 

Mutual Aim

By Louis Laberge-Côté and Zest Creative. Until July 13 at the Helen Gardiner Phelan Playhouse, 79 St. George St.

The two pieces that make up this contemporary dance double bill dissect the process of collective creation. The first work, choreographed by Louis Laberge-Côté, satirizes a dysfunctional troupe trying to rehearse a dance set to Queen’s “Bohemian Rhapsody,” only for it all to devolve into bickering, screaming matches and sheer pandemonium. Laberge-Côté’s choreography, with stretched limbs that crumble to the ground, and elegant lifts and twirls, is engaging, but his play-within-a-play setup feels too contrived and superficial. The second work, “It Moves Through Time,” is somewhat more successful. A wistful meditation on memory, it follows a group of artist who draw from their collective pasts to create something new. But the choreography, featuring slow lifts and weighty footwork, often comes across as ponderous. — Joshua Chong 

James & Eddie

By M.J. Kang, directed by Kang, Elsha Kim and Katherine Ko. Until July 12 at the Helen Gardiner Phelan Playhouse, 79 St. George St.

What’s left unsaid is almost more significant than what is said in “James & Eddie,” M.J. Kang’s delicate drama about two Korean families in 1980s Toronto, each haunted by postwar trauma and the realities of immigrant life. Told from the perspective of Eun-Kyung (played by Kang), the youngest daughter in a family of three girls, this memory play unfolds through a series of vignettes, with an older Eun-Kyung reflecting on her friendship with two brothers named James and Eddie. Kang’s story is subtle, building gradually toward a devastating climax. In this efficiently staged production, Elsha Kim and Katherine Ko fill out the rest of the characters, including Eun-Kyung’s siblings, James and Eddie, and both sets of parents. However, Kang’s play almost feels too slight. And having the story told from Eun-Kyung’s perspective somewhat hinders the development of key characters and relationships. — Joshua Chong 

People Suck! A Musical Airing of Grievances

By Peter Cavell and Megan Phillips, directed by Jessica Sherman. Until July 12 at Theatre Passe Muraille Mainspace, 16 Ryerson Ave. 

Expanded and reworked since its successful 2015 Fringe Toronto iteration, Peter Cavell and Megan Phillips’ song cycle about why people suck — on the TTC, in relationships, in the workplace and elsewhere — is brutally funny and, in the current political moment, more relevant than ever. Highlights include a clever takedown of anti-science types — with a hilarious tableaux by director Jessica Sherman — and a rant about people who mangle grammar, written like a Gilbert and Sullivan patter song. Besides laughs, there’s a gut-wrenching ballad about the effects of bullying. But at 90 minutes, the show is overly long, repetitive (two or three numbers could be cut) and features an uneven cast. Plus, it’s strange that sucky theatre audience behaviour isn’t a part of the show. That seems like a no-brainer. — Glenn Sumi 

All That She Wrote

By Annika Tupper, directed by Ally Chozik. Until July 12 at Theatre Passe Muraille Mainspace, 16 Ryerson Ave.

True crime. Twitch-streaming. Working in a café. Does it get any more 21st century than “All That She Wrote”? But there’s also a sense of timelessness in Annika Tupper’s musical that questions the meaning of justice. We observe a trial where the defendant is a young woman wearing a tutu, bright pink platform boots and hair extensions. The events leading up to the courtroom are performed under Aydin Dezell’s brilliant lighting design that casts warm glows upon the vocally talented cast amid ascending piano chords. The contrasting elements are off-putting; an appropriate sentiment for the unsettling manipulation. The show isn’t perfect: some scenes drag and some songs could be shortened or cut. But Blue Free Cooper is a captivating lead as the victim to Amariah Faulkner’s terrifying controller. If some acts against characters seem unfair, the zestful score reminds us that these events are, horrifically, many people’s realities. — Alexa MacKie 

Zeitgeist

Critic’s Pick

Written and directed by Ben Yoganathan. Until July 13 at CineCycle, 129 Spadina Ave.

In a world that’s seemingly in shambles at every turn, there’s nothing worse than being Gen-Z. But somewhere between the blaring house parties and late-night, carpeted-floor talks exists beauty and friendship. Such is “Zeitgeist,” an edgy “Breakfast Club”-vibe play following five friends and one new acquaintance at a party, each on their own precarious life path. Ben Yoganathan’s existentialist and mildly nihilistic writing individualizes the characters in their quirks — from movie nerds to poets — but unites them in their similar despair for the future: both the world’s and their own. CineCycle’s non-air conditioned space, with walls hidden behind mounted bikes and posters, makes for an intimate performance where audiences are stuck and privy to the group’s hopelessness. There isn’t much beyond chit-chatting and one flashy dance sequence — think nightclub scene in “Aftersun” — but that, in and of itself, is “Zeitgeist”’s beauty. The play revels in the simplicity and terror of early adulthood. — Alexa MacKie 

Hoody

Critic’s Pick

By Dawna Wightman, directed by Arthur French III. Until July 13 at Tarragon Theatre’s Solo Room, 30 Bridgman Ave.

Those Brothers Grimm fairy tales sure have been through a lot over the past two centuries. They’ve been chopped up, repurposed, even mutilated. You’d be forgiven for wanting to place a moratorium on these modern fairy-tale adaptations. But here’s one you simply cannot miss: Dawna Wightman’s “Hoody.” This astonishingly clever two-hander imagines what would happen if Little Red Riding Hood and the Big Bad Wolf fell out of their fairy tale and ended up stuck together in a sordid Toronto apartment. They also find themselves trapped in new bodies: Little Red Riding Hood is now a burly, middle-aged man (played by Graham Knox), while the villainous wolf is now a petite older woman (Wightman), yet still hungry as ever. Wightman could do a better job of establishing the world of her play, but “Hoody” is filled with such heart and witty repartee that it’s easy to forgive any of its faults. — Joshua Chong 

My Loneliness Is Killing You

Critic’s Pick

By Sylvia Adeniyi and Jane Adi, directed by Adi. Until July 13 at Tarragon Theatre’s Solo Room, 30 Bridgman Ave.

Where the hell is this going next? I continually asked myself that throughout Jane Adi and Sylvia Adeniyi’s “My Loneliness Is Killing You,” without a doubt the most unhinged play of this year’s Fringe. Its central, Shakespeare-esque anti-hero is Beth (played by Adi in the present and by Adeniyi in various flashback scenes), an elderly woman who brutally murders her husband of 57 years (Shaquille James-Hosten), gets herself addicted to sleeping pills and then sets out to win back the heart of her former lover, Ann (Isabelle Meissner). This psychological drama isn’t going to win any awards for its writing. The dialogue is often stilted and the humour is largely misplaced. But heck, this show is so darn entertaining — with a gasp-worthy ending — that none of that matters. “My Loneliness Is Killing You” is the epitome of an edge-of-your-seat Fringe thriller. — Joshua Chong 

In His Time

By Divyanshu Mani Hans. Until July 13 at Soulpepper Theatre’s RBC Finance Studio, 50 Tank House Lane

In “In His Time,” first-time playwright Divyanshu Mani Hans puts a Punjabi spin on “Waiting for Godot,” with mixed results. A young man in a hoodie and sporting a clown nose befriends a defeated stranger who spends his time at the foot of a tree. He brings the stranger food, hoping the man shares his story. Eventually the man does, and he flashes back to a horrific incident involving gambling debts and violence. Then, in the present day, the actors from the flashback reappear in a different form, possibly allowing the stranger to appease his guilt and find some redemption. There’s a spare elegance to the show, with moments of silence used particularly well. But the performers suffer from diction issues, and the script and staging need further development. — Glenn Sumi 

The Rhinoceros Collective

By Seamus Tokol and Spencer Pearson, directed by Tokol. Until July 12 at the Helen Gardiner Phelan Playhouse, 79 St. George St.

Half of good comedy lies in the delivery. And the six-person ensemble of “The Rhinoceros Collective” (Frank Behar, Chelsey Bowler, James Goldman, Spencer Pearson, Becca Robitaille and Le Truong) certainly sell their jokes with the ruthless energy of a real estate agent looking to ignite a bidding war. The sextet bound across the stage in quick sketches poking fun at everything from chess players and dating culture to the illuminati and our dim-witted ancestors. But the material itself, penned by Tokol and Pearson, lands with more of a faint fizzle than a hearty pop. Throughout, the humour feels distant and too safe — both in content and in structure — to elicit the rib-tickling laughs that you might expect from a sketch comedy routine. — Joshua Chong 

Oh! I Miss The War

Critic’s Pick

By Matthew Baldwin and David John Phillips, directed by Anthony Misiano. Until July 13 at Native Earth’s Aki Studio, 585 Dundas St. E.

“Oh! I Miss The War” is perfect post-Pride Fringe fare. David John Phillips delivers not one but two compelling monologues about older queer lives, set 50-plus years apart in different cities. The twist? He interweaves their telling, so the narratives reflect and comment on each other. In 1967 London, Jack, a former soldier and rent boy, works as a tailor in a West End shop and looks back, not unfondly, at a period when homosexuality was criminalized. Meanwhile, in 2022 Toronto, Matt, an academic, recalls his own life, including his later-in-life discovery and exploration of BDSM. Under Anthony Misiano’s direction, Phillips shifts effortlessly — and clearly — between tales, creating two distinct characters and eras. The result throbs with vitality. It feels like a treasure trove of queer history, which, during this political moment, feels more essential than ever. — Glenn Sumi 

String of Pearls

By Fuschia Boston, directed by Max Ackerman. Until July 12 at the Helen Gardiner Phelan Playhouse, 79 St. George St.

Fuschia Boston’s behind-the-scenes drama feels incredibly timely as several major theatres across Canada face questions of renewal and succession. In “String of Pearls,” a new artistic director steps into a failing theatre with declining audience attendance. However, his ideas “to help bring bums back into seats” don’t go over particularly well with his diverse company of actors, some of whom feel sidelined by his proposals. Boston’s play touches on important issues of power and inequity in our arts scene, examining how one individual can upend an institution in well fell swoop. But her script is written too broadly, losing focus both thematically and narratively, and is presented more like a farce than a drama. Altogether, “String of Pearls” feels like it’s more intent on parodying these important issues than properly interrogating them. — Joshua Chong 

The Adding Machine

Critic’s Pick

By Elmer Rice, directed by Alice Fox Lundy. Until July 13 at Puppy Sphere, the Burroughes Building, 639 Queen St. W.

After grinding away at his job for 25 years, lowly accountant Mr. Zero (Tim Walker) is anticipating a raise. Instead he gets fired because his job is going to be replaced by an adding machine. He does not take it well and his subsequent actions land him in some surprising new living conditions. Elmer Rice’s prophetic 1923 play critiques not just capitalism but conventional morality. Director Alice Fox Lundy gives it a suitably expressionistic treatment: ghoulish makeup, sinister shadows (Chin Palipane is the lighting designer), playful set elements (by Juliano Cueva-Fox) in a space that feels like it contains the ghosts of workers past. The gifted actors, most speaking in stylized New Yawk accents, each have at least one scene to shine, but Walker delivers an astonishing turn as an Everyman stretched to his limits by “efficiency experts.” It all adds up to a Fringe must-see. — Glenn Sumi 

Silence

By Fawad Khan, directed by Zain Ahmed. Until July 12 at the Helen Gardiner Phelan Playhouse, 79 St. George St.

Fawad Khan’s “Silence” offers a harrowing portrait of a family torn apart by an act of political violence. Three years after a Pakistani political dissident suddenly disappears, his parents, wife and brother are at odds over how they should pick up the pieces of their lives. Salman (Matt Scerri), the man’s eldest brother, is concerned about his daughter’s safety and wants the family to flee the country. Their mother (Andrea Larrañaga), however, insists that her younger son is still alive and that they must remain in place for when he returns. Meanwhile, the man’s father and wife are stuck in a state of limbo, closing themselves off from the world with every passing day. Khan’s story is powerful and Scerri, in particular, delivers a barn-burning performance, one of bitter rage and fear. But Khan’s heavy-handed script and circular, meandering dialogue blunt some of its emotional impact. — Joshua Chong 

Iris (Says Goodbye)

By Margot Greve and Ben Kopp, directed by Greve. Until July 12 at Soulpepper Theatre’s Michael Young Theatre, 50 Tank House Lane

This high-concept winner of the Adams Prize for musicals doesn’t land, although it is sleek and attractive and travels to some fascinating destinations. The idea is that the 30-something Iris has died and is waiting at a limbo-like airport, possibly to return to Earth to live another life. The gimmick? The audience chooses eight items from the lip of the stage, which determines which of her possible new lives we’ll see played out (we only see the deaths). The show is being compared to Haley McGee’s Age Is a Feeling, but that work gave us glimpses into one woman’s life. This one shows us eight different lives, but because we never know the “real” Iris, we feel little about any of it. Still, Margot Greve and Ben Kopp’s Sondheim-like score shimmers with mystery, and the cast — standouts at my performance included Ben Yoganathan and Madelaine Hodges — is solid. — Glenn Sumi

David Lynch’s Seinfeld 

Critic’s pick 

Written and directed by Paul Aihoshi, Guy Bradford and Colin Sharpe. Until July 13 at the Helen Gardiner Phelan Playhouse, 79 St. George St. 

Here’s a show that could easily become a long-running, late night sensation anywhere in North America. Writers/directors Paul Aihoshi, Guy Bradford and Colin Sharpe have concocted a parody episode of the sitcom “Seinfeld” but infused it with the surreal vibe of a David Lynch project. While the “Seinfeld” beats are perfect, from the signature electric bass riffs to the cleverly interwoven plots and casting (Edward Choi, Matthew Nadeau, Chelsea Larkin and Andy Assaf are superb as Jerry, George, Elaine and Kramer, with Nicole Passmore a standout as a Russian novelist), the Lynch touches could use finessing. But the appearance of another famous TV property late in the show raises the stakes in a truly eerie fashion. — Glenn Sumi

Ctrl Alt Delete: An Alphabetical Musical

Critic’s Pick

By Douglas Price, directed by Stephen Cota. Until July 12 at Theatre Passe Muraille’s Mainspace, 16 Ryerson Ave.

Everything is replaceable in an evolving world, including the letters of our beloved alphabet. The English language can no longer afford to employ all 26 letters, so F, K, Q, S, W, X and Z face possible termination. Their fate is in the hands of four jury members selected from the audience. If it’s a little in-your-face about job replaceability — ChatGPT and AI are name-dropped — “Ctrl Alt Delete” still packs plenty of humour and originality. Douglas Price’s bright and belt-loving score, with quippy, wordplay-rife dialogue, blends workplace drama and self-reflection. With Vanessa Campbell’s Letter X as a spunky standout, tears rolling down her face at pinnacle moments, Price and the cast manage to humanize the letters we take for granted, each handed an individual purpose and meaty, well-choreographed song. If the actors’ colourful performances brimming with style are any indication, the show is a bright homage to workers, community and depending on one another. — Alexa MacKie 

Apothecary

Critic’s Pick

By Laura Piccinin and Allison Wither, directed by Cass Van Wyck. Until July 13 at Theatre Passe Muraille’s Mainspace, 16 Ryerson Ave.

Remember the names Laura Piccinin and Allison Wither. They’re the creators of “Every Silver Lining,” which first graced Fringe in 2019. Now, six years later, they’re the talented brains behind “Apothecary,” one of the most moving musicals I’ve seen at this year’s festival. Blessed with the knowledge of modern medicine but cursed with an inability to treat women with remedies from their future, Lady (played with poise by Piccinin) and her apprentice Tilly (Sydney Marion) run a mysterious, time-transcending apothecary. It may seem overwhelming at first, with overstimulating flowery wallpaper, but Tilly, with Marion’s honey-like voice and deeply raw performance, is empathetic and eager to help. The flawed characters are as lovable as the writing is thought-provoking, exploring women’s experiences throughout history by paralleling modern social injustices. This is an unforgettable work of theatre that advocates for change but is cognizant of the barriers people face in doing so. — Alexa MacKie

Siranoush 

By Lara Arabian, directed by Carla Melo. Until July 13 at Soulpepper Theatre’s Tank House Theatre, 50 Tank House Ln.

In this one-woman show, Lara Arabian juxtaposes her own life story as an Armenian Canadian theatre-maker with that of Siranoush, the barrier-breaking Armenian actor from the 19th century who became the first woman in the non-Western world to take on the role of Hamlet. Arabian is a lightning rod of a performer and tells this ambitious, sprawling story with steely conviction. But the dual narratives that make up this play, while each compelling, are tenuously linked and make for a disjointed whole. So much so that themes Arabian tries to explore — of identity, migration and the idea of “home” — are ultimately lost as the play jumps wildly between Siranoush’s story and hers. Meanwhile, Carla Melo’s production, filled with audience participation and complex projection designs (by Avideh Saadatpajouh) feels far too busy and overblown for the story it’s trying to tell. — Joshua Chong

Edgar in the Red Room

Written and directed by Matt Chiorini and Greg Giovanini. Until July 13 at Helen Gardiner Phelan Playhouse, 79 St. George St. 

It wouldn’t be a theatre festival without at least one mention of Edgar Allan Poe. Matt Chiorini and Greg Giovanini do one better, bringing an entire reimagining of Poe’s most memorable works. With shadow puppetry and intricate projections of mansions and ravens paired with the actors’ screwball comedy-esque, frantic performances, “Edgar in the Red Room” is a frenzied adventure into the writer’s mind. Kilian Crowley as the snivelling Roderick Usher is a standout, hunched over onstage and unsettlingly mesmerizing, leading the writers through the House of Usher with perfect intonation. Poe fanatics are sure to derive more out of the nutty plot than the less familiar. The commercialization of Poe’s work is, ironically, one of the show’s principal themes, adeptly portrayed with fourth wall breaks as Fringe audiences become an accessory to Poe’s demise. But with horrific twists and turns, there’s plenty of haunting for the rest of us — Poe fans and otherwise. — Alexa MacKie

This Show Will Change Your Life 

By Brennan Asbridge, Antony Hall, Shaun Hunter and Chase Jeffels, directed by Alfred Chow. Until July 13 at Native Earth’s Aki Studio, 585 Dundas St. E.

Can improv comedy change your life? The talented quartet $20 Sandwich thinks so. Guided by director Alfred Chow, they begin each show by interviewing an audience member about their life, focusing on career, romance, family and passions. Then, using that information, they “change it” (get the title?) to create improvised scenes. At the show I attended, graphic designer Evan opened up about his freelance gigs, his wife, his actor uncle in New York and his passion for basketball. These inspired a series of scenes that twisted or extrapolated facts for laughs. The performers even riffed on Evan’s theatre seatmates. Of the four, Brennan Asbridge and Shaun Hunter got into the spirit of the show the best, raising the stakes, suggesting intriguing possibilities and just going for the silly. While some later scenes wandered, the performers, along with music director Jake Schindler, stuck their landing — which is what you want at an improv show. — Glenn Sumi

The Iron Mask

Created and directed by Adam Martino. Until July 13 at Theatre Passe Muraille’s Mainspace, 16 Ryerson Ave. 

Bobby Darin, Céline Dion, Michael Bublé and more have their songs reimagined as speakeasy-esque tunes in “The Iron Mask.” There are glamorous, sequined costumes with elaborate dances of leg kicks and twirls: think the shimmering “Great Gatsby” meets “Cabaret”’s seedy underbelly. But as entertaining a feast for the eyes as the spectacle may be, the glitz and glamour aren’t enough to mask the convoluted story. There’s a set of twins (one a crime lord and one a prisoner), a set of narrators and a host of accompanying characters. Our narrators (a commanding Anibal Ortega and Tiffanie Samuels, whose confidence grows throughout) perform ballads to the group’s unrelenting star-of-the-show choreography blending classical, tap and jazz elements. Characters omit spoken lines for looks of anguish or contempt upon their faces. But the lack of dialogue contributes to a confusing story that lacks emotional depth, getting lost in the glitzy trouble. — Alexa MacKie 

Emilio’s A Million Chameleons

Critic’s Pick

By Adam Francis Proulx, directed by Byron Laviolette. Until July 12 at Soulpepper’s Michael Young Theatre, 50 Tank House Lane.

The Dora-nominated actor and puppeteer Adam Francis Proulx plays the eponymous Emilio, who’s been trying to follow in the footsteps of his legendary father and put on the acclaimed circus act involving a million chameleons. But things don’t go as planned, especially after one of his chameleons, named Juan, refuses to take part in the show’s grande finale. Besides catchy songs (by Chris Tsujiuchi), an impressive production design and playful bits of audience participation, the show, brilliantly directed by Byron Laviolette, features a poignant theme about showing one’s true colours that is important for kids of all ages. — Glenn Sumi

Jack Goes to Therapy: A (Somewhat) Romantic Comedy

By Zac Williams. Until July 11 at the Alumnae Theatre Mainspace, 70 Berkeley St.

After his boyfriend leaves him for the third in a threesome, amiable kindergarten teacher Jack (writer/performer Zac Williams) finds himself depressed, about to turn 30 and in therapy, trying to get at the root of his deeper issues. Gradually, through his therapist and the stories of those around him — including his bro-ey sublet roommate and a seemingly nosy co-worker — he begins to open up. Williams is a likeable, energetic storyteller, and he’s especially animated in the scenes with his young students, who speak without filters. There’s something pat and unearned about the ending, however. And Williams could take the familiar material into more surprising directions. — Glenn Sumi

Very Shady Arab Ladies

By Roula Said, Maryem Tollar and HRH Anand Rajaram, directed by Rajaram. Until July 13 at Videocabaret’s Deanne Taylor Theatre, 10 Busy St.

When their long-awaited deal to take over a shawarma restaurant falls through, besties Roula (Roula Said) and Maryem (Maryem Tollar) find themselves branded shady ladies and the possible leaders of a terrorist revolution. On their tail are policemen disguised as jazz musicians; meanwhile, the real revolutionaries are all dressed up like Jesus. And then there’s the dastardly Narendra (HRH Anand Rajaram), who stole the business and is taking it over himself. While there’s obvious political satire here, much of its power is lost in the frenzied pace and the mile-a-minute-jokes, directed by Rajaram as if it’s a Cheech and Chong movie. But the performers, especially delightful clowns Said and Toller, are committed to the bit. And there’s no arguing with the power — and symbolic import — of the final song and its life-affirming image. — Glenn Sumi

Sex Goddess

Critic’s Pick

By Riel Reddick-Stevens. Until July 12 at Tarragon Theatre’s Solo Room, 30 Bridgman Ave.

Remember the name Riel Reddick-Stevens. You’ll be hearing a lot more from this multi-talented writer, singer and actor, whose “Sex Goddess” threatens to blast the roof off the Tarragon Solo Room space. Reddick-Stevens plays Rayna, a young singer/songwriter who’s invited the audience to the listening party of her new album. Between tracks, she fills us in on the wild night that led to its creation, which is centred around an important music club, a hotshot talent co-ordinator and, most importantly, Rayna’s gradual discovery of an artistic voice that’s not influenced by the powerful men around her who objectify her. All of this would be entertaining enough, but the play uses video game and superhero motifs to heighten its effects. Reddick-Stevens has an electric presence and soulful voice, and while her songs (everything from hip-hop to R&B) occasionally feature lyrics that are too on-the-nose, she convinces you with every note. — Glenn Sumi

Playground

Critic’s Pick

By Amanda Freedman, directed by Olivia Daniels. Until July 13 at Soulpepper Theatre’s Kevin & Roger Garland Cabaret 

There’s a lot more to life than a rickety old playground … if you know where to look. Luckily, Misha Sharivker’s Eliot knows the way, thanks to his trusty, crayon-drawn map to Kalamazoo. From Juno Award-winning Jack Grunsky’s music and a book by Amanda Freedman, “Playground” is a family musical following children on a wild adventure across rivers and mountains in their very own schoolyard. With the wonderfully eccentric actors pointing toward invisible puddles and objects in the distance, the show demands an open imagination. But with Sharivker’s face-splitting smile beckoning friends throughout the journey with delightful songs and dances, equipped with glowing flashlights and vibrant paper windmills, little effort is needed to enjoy the ride. Audiences of all ages are sure to find themselves smiling along as Grunsky and a small band make rain sounds and pluck tender melodies. — Alexa MacKie

Stealing Home

By Annie Massey, directed by Pat McCarthy. Until July 13 at Alumnae Theatre Mainspace, 70 Berkeley St.

If parking lots could talk, they might have something to say about potholes or people selling weed upon their pavement. But they wouldn’t be bothered by the people experiencing homelessness setting up tents and keeping them company. That’s the argument in “Stealing Home,” which follows affluent neighbourhood habitants more opposed to their parking lot being occupied with prefab, affordable homes than the personified surface itself. Annie Massey’s writing is wickedly funny, relentlessly taunting NIMBY rhetoric. Each cast member expertly portrays a character critical to the neighbourhood: a dog-loving, prefab-hating elderly woman, a woman selling faux-luxury skin care products and an unhoused person with good intentions. With a lot of moving parts, sometimes the story is all laughs before suddenly shifting to underlying profound meaning. But grounded with statistics and lived realities of homelessness, “Stealing Home” is a well-meaning work portraying the beauty of communities overlooked in our own backyard. — Alexa MacKie

Quiltro

By Yasmine Agocs, directed by Asenia Lyall. Until July 12 at Soulpepper Theatre’s TD Finance Studio, 50 Tank House Lane

Amid her parents’ divorce, 13-year-old Nina flees home to join a pack of stray dogs. She experiences her ancestors’ memories, is stalked by a fear-manifested creature and makes an unlikely friend. Dramatic, powerful read-throughs (accompanied by poorly lit English subtitles) of the farewell speech from Chile’s former socialist president Salvador Allende break up scenes. If that sounds like a lot to take in, that’s because it is. “Quiltro” packs a lot of adventure into a tight 60 minutes. There’s bewilderment, hope and eventually overcoming. But with a divided focus, there’s little for actors Cheyla McNally Rondon and Alejandra Angobaldo to work with as versions of Nina. The character often experiences opposite-end-of-the-spectrum emotions (full naïveté or pure adrenalin) and too little in between. Funny moments — including an out-of-tune rendition of Abba’s “Chiquitita” — are dribbled throughout. But it’s difficult to connect with one character whose experiences are enough to embody 20. — Alexa MacKie

Lulu

By Sashoya Simpson, directed by d’bi.young anitafrika. Until July 13 at Soulpepper Theatre’s Tank House Theatre, 50 Tank House Lane 

If ever there was a moment to dance at Fringe, “Lulu” feels like the time to do it. An African stilts dancer in colourful garments welcomes the audience as cast members slowly join in with driving afrobeats. It feels like you’re welcomed to a large, festive party — until we meet Lulu and her grandmother. Behind the smiles and electric dancing is a quaint story about Lulu on a journey to find the key to saving her ailing loved one while encountering figures of Caribbean mythology and folklore along the way. Amelia Mielke-O’Grady’s cubic and streamers set design and Candice Dixon’s varied costumes are just as vibrant and enchanting as our lead, a young, curious and sassy Leilani Ragobeer with her judging stares and unshaken will power. It’s easy to get lost in the myths and lose track of the plot, but joy oozes from every lesson lovingly bestowed upon Lulu and every dance number along the way. — Alexa MacKie 

Have Fun Kids

By Laura Anne Harris and Jordan Mechano, directed by Jessie Fraser. Until July 12 at Soulpepper Theatre’s Tank House Theatre, 50 Tank House Lane

How much do our loved ones allow us to know about themselves? It’s a complicated question for writer and performer Laura Anne Harris. In Next Stage Series’ “Have Fun Kids,” she searches for an answer. Harris’s heartbreaking monologues are broken up with voice-overs of writing samples from her late friend and fellow performer Jordan Mechano. Harris’s delivery, despite the occasional first performance line flubs, is deeply emotional as her eyes mist over while recalling warm memories with her friend. She is equally eloquent as her voice changes timbre and rhythm while impersonating Mechano’s friends: the unnamed “Comedy Friend,” “College Friend,” “Charming Co-Worker” and more. The unnamed other characters centralize the show’s conceit that there’s very little we may know about the people we love. While occasionally dragging, the show carefully humanizes the complex shades of grief and its generational impact on friends and family. — Alexa MacKie

Echoes of My Silence

Critic’s Pick

Written and directed by Azadeh Kangarani. Until July 13 at Soulpepper Theatre’s Tank House Theatre, 50 Tank House Lane

Azadeh Kangarani’s “Echoes of My Silence” is not just the best play I’ve seen so far this Fringe. It’s also one of the top shows of the year thus far — anywhere in Toronto. This experimental, autobiographical drama is an intense and bone-chilling interrogation of power, violence, gender roles and collective complicity. Through a series of vignettes, Kangarani recounts growing up in Iran and how her experiences with gender-based violence and harassment shaped who she’s become today. Kangarani is a force onstage, at times completely vulnerable with her audience and in other moments wielding mighty power with her sharp gaze. In this cohesive production, which Kangarani also directs, Mara Ingea’s set is a house of mirrors that immerses the audience deep in Kangarani’s psyche. This is a must-see production for anyone who loves theatre that provokes and challenges. — Joshua Chong

Adam Bailey: My Three Deaths

Critic’s Pick

By Adam Bailey. Until July 12 at Native Earth’s Aki Studio, 585 Dundas St. E. 

Long live Adam Bailey, Fringe veteran and master storyteller. With just a single chair and minimal lighting cues, he holds our attention with a tale about the three times he supposedly “died.” These mock deaths cover a long period of his life, from a childhood car trip with his mother and her then boyfriend during a winter storm to the time decades later when he was on his way to teach a special needs drama class and collapsed on the subway. Trying to describe his stories is impossible, because Bailey finds the right tone and the most telling details to sustain our interest and make us see how the past informs the present. His most affecting insights come near the end, when he examines how he was affected by the deaths, in the same year, of his cat and his mother. Funny, profound and three-hankie moving: this Fringe show has it all. — Glenn Sumi

Alpha

Critic’s Pick

By Jeanelle L. Archer-Chan, Syre Hutton, Pranav Persad-Maharaj, Gabriel Rahman, Devaj Ramoutar and the Naparima College Drama Club, directed by Jeanelle L. Archer-Chan. Until July 13 at Soulpepper Theatre’s Michael Young Theatre, 50 Tank House Lane

“Alpha male” is sometimes a sought-after title bestowed upon a group’s most successful leader. But in Naparima College Drama Club’s production, a reimagining of Zeno Constance’s “The Ritual,” no one at the prestigious Hilltop College in Trinidad and Tobago wants to be Alpha: a student charged with rape. Through highly amusing song and dance breaks backed by a dynamic live band performing familiar tunes, five students grapple with what could have compelled Alpha to do what he did. The cast swaps characters and perspectives, but the relentless pace is easy enough to follow thanks to colour-coded closed captions and dramatic lighting changes for tonal shifts. The performance is propelled by humour and breakneck dialogue as the boys try to understand the complicated pressures to be at the top of the academic and societal food chain. What emerges is a skilfully acted and enthralling performance exploring the nuances of growing up amid authority-incentivized pressure. — Alexa MacKie

Puzzles

By Joanne John, directed by Lisa Meuser. Until July 12 at the Alumnae Theatre Mainspace, 70 Berkeley St.

When Gwen (Andrea Holstein) is unexpectedly haunted by images of her sister, who was abducted years ago as a child and never seen again, she pays a visit to her estranged mother (Anna Tharyan) in the hopes that, together, they can parse these memories. Gwen has always blamed herself for her younger sister’s disappearance. Her mother has always pointed the finger at her, too. But they soon discover that Gwen’s memories may hold the key to solving the mystery of the disappearance. Such is the premise of Joanne John’s family drama. It certainly is compelling, but the story often drags in its initial scenes before unravelling its mystery far too quickly in its back end. The decision to pre-record some roles also hampers some of the pacing. While there are some fine performances in this cast of three (Holstein is especially great in her meaty role), the puzzle that is “Puzzles” still feels incomplete. — Joshua Chong

The Singing Psychic Game Show

By Marysia Trembecka. Until July 12 at Soulpepper’s Tank House Theatre, 50 Tank House Lane

A hit at Fringes around the world, including Adelaide and Edinburgh, Marysia Trembecka’s amusing and highly interactive show is exactly what it says on the package. There’s lots of singing (Trembecka has a decent, slightly shrill soprano voice). The show is set up like a game show, with sections of the audience split up into teams competing against each other. And during these games, Trembecka uses her psychic skills. For instance, she’ll ask you to whisper your exact date of birth to her to look up what songs might have been playing when you were in your mother’s womb — and use that info to tell you things about your life. As a bonus, the amiable Trembecka, decked out in ’70s game show duds, has included lots of Canadian content. But if you’re allergic to audience participation, including a ton of dancing, you might want to sit this one out. — Glenn Sumi

Justice For Maurice Henry Carter

By Donald Molnar and Alicia Payne, directed by Donald Molnar. Until July 13 at Soulpepper Theatre’s Michael Young Theatre, 50 Tank House Lane

Twenty unwarranted years in prison are enough to anger anybody. But other than his unwavering, headstrong determination, Maurice Carter is eerily calm. Next Stage Series’ 90-minute play is based on its namesake’s true story of a wrongful conviction for a non-fatal shooting — and the brotherly bond between Carter and former radio personality Doug Tjapkes in their decades-long fight for Carter’s freedom. The supporting cast’s forceful, gospel-like hymns backdrop an otherwise barren stage. Walter Borden’s Carter and R.H. Thomson’s Tjapkes are compellingly written with clear-cut dialogue allowing for convincing, courtroom drama-esque deliveries. Borden in particular is careful to never venture into anger, but instead remains in quiet resistance with defiant monologues. Other than the multiple forgotten lines (moments before curtain, the audience was told the performance was changed to a dress rehearsal), the play falls short due to its meaty length, which does well at simplifying legal jargon but sags with pacing issues. — Alexa MacKie

Confessions of a Redheaded Coffeeshop Girl

Critic’s Pick

By Rebecca Perry, directed by Matt Bernard (originally directed by Michael Rubinstein). Until July 13 at Alumnae Theatre Mainspace, 70 Berkeley St.

Rebecca Perry’s solo show, returning to the Fringe for the first time since its sold-out run in 2014, is filled with so much heart and quirky humour that it’s impossible not to fall in love with it immediately. At its centre is Joanie Little (Perry), a perky anthropology graduate and devoted follower of Jane Goodall who happens to work in a Toronto coffee shop. We see the world through her eyes, curiously examining the people around her and categorizing them like animals in the wild. Perry is a magnetic presence onstage, and much of the fun is watching her switch in and out of various characters with her impressive physicality. She has a sweet voice to boot, though this play with music could really be turned into a full musical comedy. Spend 60 minutes with Perry’s Joanie and she’s bound to become your new favourite barista. — Joshua Chong

Don’t Fall In: A New Musical

Critic’s Pick

Written and directed by Holland Ziemann. Until July 13 at Alumnae Theatre Mainspace, 70 Berkeley St.

The most dangerous weapon in the fantasy musical “Don’t Fall In” isn’t the insufferable prince’s sword; it’s the notebook and ink vial wielded by the unassuming Kara. On a deadline to brew a final story in the class cauldron, Kara falls (literally, with a comical scream) into a cliché world of royalty and magic. Kara soon realizes that their narrative and characters are far feistier and unco-operative than expected. Creative control is a privilege afforded to few, and Reo Reilly’s Kara shoulders the responsibility with quippy remarks and a lovable demeanour. Catherine Fergusson’s Eva — Kara’s real-life crush and the wicked witch within their story — is as fierce and precious as the whimsical and simple piano-based score. Beyond self-empowerment, “Don’t Fall In” doesn’t pack too big of a punch in meaning, but Holland Ziemann’s humorous writing and the actors’ fun physical comedy and taunts make for a charming musical story. — Alexa MacKie 

Screamin’ in the Rain

Critic’s Pick 

By Eli Pasic. Until July 13 at the Canadian Music Centre, 20 St. Joseph St.

How can a show so filthy also be so smart? That is what you’ll likely ask yourself after watching — no, experiencing — Eli Pasic’s ruthlessly hilarious one-man show, performed with nothing more than a microphone and concert piano. There’s not much of a narrative to “Screamin’ in the Rain.” Instead, what Pasic offers is an evening of song and storytelling. But this isn’t a show for those easily offended. Pasic goes to places you don’t expect — then drags you along five miles further. His opening song plunges you right into the deep end with a ditty about suicide. Another song about people who love their pets too much turns out to be laced with double entendres about bestiality. Pasic’s mostly original songs are always tuneful, with ragtime rhythms and jazzy melodies. Cheeky and unabashedly dirty, this not-to-be-missed show will leave you grinning from ear to ear. — Joshua Chong 

Jimmy Hogg: The Potato King

Critic’s Pick 

By Jimmy Hogg, directed by Peter Stevens. Until July 13 at VideoCabaret, Deanne Taylor Theatre, 10 Busy St. 

Comedian and writer Jimmy Hogg is the only person onstage in “The Potato King.” But his rapid-fire delivery and constant fourth wall breaks make his performance feel less like a one-man show and more like a family celebration rife with laughter and inside jokes. Hogg details his life full of love, starting with how his parents met and his journey of cycling through different girlfriends. Flailing about with wild gestures and leaps toward the audience sitting along all four walls, Hogg is careful to ensure that none are left out. His jabs at VideoCabaret’s unconventional seating and how the first show started five minutes late make the play’s humour realistic and relatable, balancing his deeply personal, unusual stories of sex club endeavours and perfected potato recipes. The 12-time Best of Fringe show is sharp and expertly written and performed, thanks to Hogg’s rambunctious and heartfelt delivery. — Alexa MacKie 

Songs by a Wannabe

Critic’s Pick 

By Barbara “Babz” Johnston, directed by Mitchell Cushman. Until July 13 at Soulpepper Theatre’s Michael Young Theatre, 50 Tank House Lane

Spice up your Fringe by taking in Barbara “Babz” Johnston’s entertaining and heartfelt solo show loosely inspired by her side gig as a member of a Spice Girls tribute act. After graduating from theatre school and being continually passed over at auditions, she joins some musician friends to begin performing as the British quintet. Small venues turn into bigger ones and a North American tour seems like a breakthrough until she hits a personal and professional roadblock, which contributes to the structure of the show. While the piece — part of the curated Next Stage Theatre Festival — could be finessed, Johnston is a likeable, grounded performer, belting out a half-dozen catchy original songs (written by her and Anika Johnson) with commitment, even when telling her story with Spice Girls dolls or traversing the stage in six-inch platform shoes. — Glenn Sumi

A Part of the Story

By Livvy Hayward and Alma Maltaric. Until July 12 at Soulpepper Theatre’s RBC Finance Studio, 50 Tank House Lane 

This play has more integrity than the vast majority of the teenage dramas on our stages and airwaves these days. Why? Maybe because it’s actually written and performed by teenagers. Set entirely in a grungy high school washroom, Livvy Hayward and Alma Maltaric’s story centres on a group of teenage girls, all navigating their complicated relationships with each other. The story may be somewhat reminiscent of “Mean Girls,” but these characters feel far more rounded than Tina Fey’s stock figures, while the dialogue feels far more true to what you might overhear in a high school these days. Some of the play’s tonal shifts, especially when it veers into the supernatural, could be smoother. There are also moments when “A Part of the Story” drags. (The static staging and long scene transitions don’t help.) But it’s more than made up for by the talent of this young company and the refreshing honesty of their storytelling. — Joshua Chong 

Almost Ever After — A New Musical 

Written and directed by Andrew Seok. Until July 13 at Artists’ Play, 388 Carlaw Ave.

Strings of light bulbs overhead cast a golden glow upon the stage. It’s clean, simple and undeniably bright — much like Andrew Seok’s new musical, “Almost Ever After.” Seok is no stranger to Fringe, having penned “Unravelled,” “The Man with the Golden Heart” and “Rosamund.” His latest 90-minute musical effort blends pop and acoustic melodies following vignettes of six couples at various relationship milestones: the meet-cute, a pregnancy scare and an endangered marriage. The 12-person main cast brilliantly plays their characters’ ups and downs, tackling the score with powerful belts and feather-light harmonies. The show falters with slightly repetitive lyrics and songs that — though catchy and sweet — fail to advance the jam-packed plot of interconnected storylines (some of which are far more emotionally interesting than others). Ultimately, the songs of love and all the baggage that comes with it are rife with powerhouse vocals and optimism. It’s a warm and feel-good watch, despite its occasional lulls. — Alexa MacKie 

Something to Look Forward To

By Joanne O’Sullivan, directed by Allana Harkin. Until July 12 at VideoCabaret, Deanne Taylor Theatre, 10 Busy St. 

Solo performer Joanne O’Sullivan brings a refreshing openness and knowing sense of humour to her candid look at how, in the past several years, she grieved three enormous losses in her personal life. While the hour-long show suffers from a couple of false starts, including one about dealing with menopause, once she gets into her story proper she’s frequently mesmerizing. Director Allana Harkin helps heighten several moments — including the show’s central image of a childhood snowmobiling accident — with care. There’s especially good use of a trunk full of props to suggest people O’Sullivan has lost. And while some sound and lighting effects could be subtler, the writer’s sense of detail and her questing spirit are moving and respectful. Above all, she has a great rapport with the audience. Since she performs in the round, there’s nowhere to hide — a fitting metaphor for the show’s honesty. — Glenn Sumi 

#1 Clown Comedy With Victor & Priscilla 

By Aaliya Alibhai, Natalie Kaye and Nina Kaye, directed by Kyra Keith. Until July 13 at VideoCabaret, Deanne Taylor Theatre, 10 Busy St.

This frisky, purposefully ahistorical new comedy, staged in-the-round at VideoCabaret, feels like “Oh, Mary!” but in reverse. Whereas the hit Broadway show follows a boozed up Mary Todd Lincoln looking to escape the clutches of her first ladyship and become a cabaret star, ”#1 Clown Comedy With Victor & Priscilla” follows a pair of poor, Victorian-era vaudeville performers who want to quit the stage and learn how to live as “upper-crust toffs” for the rest of their lives. The humour, much of it physical comedy, comes fast and furious in director Kyra Keith’s production. Julie Vanderlip and Eric Amaral, both performing in drag, are particularly hilarious as the show’s titular siblings, often breaking the fourth wall and interacting with the audience. But the play itself can’t quite maintain its fervid pacing through to its conclusion, which ends on somewhat of a whimper compared to the rest of the show. — Joshua Chong 

Quiz Icarus

By Nam Nguyen and Aaron Brown. Until July 13 at the Helen Gardiner Phelan Playhouse, 79 St. George St. 

Torontonians Nam Nguyen and Aaron Brown recount their love of trivia and all the steps that led to them appearing, separately, on the U.S. game show “Jeopardy!” in this underdeveloped storytelling show that cries out for dramaturgy (no director is listed) and even a basic sense of design. Brown, who runs the trivia site TorontoTrivia.com, can be excused for his discomfort onstage (at the performance I saw he consulted a script). Nguyen, however, has several hit Fringe shows under his belt and has studied theatre, so his uninspired, rapid-fire delivery of his lines is more disappointing. Despite some intriguing facts and a few insights about self-confidence, the show ultimately scores low marks in all categories. However, the opportunity to compete against one of the actors at the end of the show should appeal to trivia buffs. — Glenn Sumi