The obvious comparison for this French produced biography of the life of Baroque composer Vivaldi is the movie Amadeus. Both are visually, and musically lavish accounts of great classical composers, but they differ significantly in their dramatic structure. While Mozart's story is told in a traditional movie fashion, Vivaldi's story is composed in a series of vignettes of events in his life. It doesn't have the dramatic impact, and emotional involvement of Amadeus, but serves its purpose in detailing Vivaldi's life. It's more PBS docu-drama than Hollywood bio-pic, which I guess is why it was classified in the non-fiction category. It's also sometimes a little disorienting to be reading English subtitles for French dialog of Italian conversations.
Visually, the film is splendid. 18th century Venice is convincingly conjured up with historic locations, detailed sets, and period costumes.
Musically, the soundtrack is sumptuous. It would be impossible to include more than a small selection of his prodigious output. The brief exerpts are enough to pique my curiosity and seek out more of his music.
As a priest in the Catholic Church his musical talent was put to limited use as he was appointed as violin master of the La Prietà orphanage. His Church superiors did not seem to appreciate his musical talent outside teaching his pupils, and composing sacred music for the Church. He was discouraged from writing secular pieces, and it was scandalous to the Bishop that he would write operas. They seemed to consider non-sacred music–especially opera–a distraction to the masses from religion.
There was more than a little jealousy on his peers part as this simple priest was feted by the nobility. Despite the intrigues set against him and his own poor health, he composed and performed in all the great cities of Europe to people like Emperor Charles VI of Austria.
The depiction of Vivaldi's character is somewhat enigmatic. He is obsessed by music, and has little interest in anything else, not even romantic attachments. The life long relationship with his favorite singer Anna Giro is depicted as chaste. Perhaps his priestly vows allowed him the space to romance his muse instead.
Knowing little about Vivaldi beforehand–other than his Four Seasons–it was surprising to learn that he lapsed into obscurity in the 19th century, and was not rediscovered until 1927 when some of his manuscripts were discovered. The modern popularity of his music didn't happen until the 1950s when his music was finally recorded. This film puts the Red Priest of Venice into his place in musical history.
Saturday, September 30, 2006
VIFF Review: The Root of All Evil?
Richard Dawkins' multi-part television documentary is a provocative, and caustic criticism on religion and the religious world view. The well known biologist, and popular science writer of books such as The Selfish Gene, The Blind Watchmaker, and Climbing Mount Improbable argues that the consequences of unquestioning faith, violent emnity between religious groups, and attacks on science outweighs the good from religion. The whole enterprise should be abandoned, and the only viable alternative for human society's survival is thinking and belief based on evidence, reason, and science.
He travels the world, interviewing clergy from the Abraham descended monotheistic religions of Christianity, Judaism, and Islam. In Jerusalem he interviews a former New York Jew who is now a ultra-conservative Muslim espousing his outright disgust with Western society and values. In London he meets with a Jewish rabbi of an orthodox sect which barely interacts with the outside society. But for reasons of familiarity to the audience, the main focus is on Christianity.
In conservative Colorado Springs he interviews Pastor Ted Haggard, president of the National Association of Evangelicals and ally of George W. Bush. The irony seems lost on Haggard as he commands Dawkins not to be arrogant with his scientific beliefs. There are many hilarous moments when Dawkins skewers ignorant and unquestioning belief with Douglas Adams-like wit.
Dawkins explores the evolutionary roots of belief. A child's malleable mind is accepting of parental authority because it is the most effective way for a child to learn enough about the world to survive. But as we grow up, we switch around and learn to question the accepted wisdom, or often not.
If religion is no longer a viable path to morality and social harmony then what is the alternative? Dawkins presents the case for atheism, and a rational scientific outlook on the world. Belief must be backed up by evidence. Morality naturally evolves because a harmonious group can succeed better than a divided group. Without gods, hell, and heaven, humans must make the best of what we have in the here and now, and take personal responsibility for ourselves, the natural world, and our fragile place in it.
He travels the world, interviewing clergy from the Abraham descended monotheistic religions of Christianity, Judaism, and Islam. In Jerusalem he interviews a former New York Jew who is now a ultra-conservative Muslim espousing his outright disgust with Western society and values. In London he meets with a Jewish rabbi of an orthodox sect which barely interacts with the outside society. But for reasons of familiarity to the audience, the main focus is on Christianity.
In conservative Colorado Springs he interviews Pastor Ted Haggard, president of the National Association of Evangelicals and ally of George W. Bush. The irony seems lost on Haggard as he commands Dawkins not to be arrogant with his scientific beliefs. There are many hilarous moments when Dawkins skewers ignorant and unquestioning belief with Douglas Adams-like wit.
Dawkins explores the evolutionary roots of belief. A child's malleable mind is accepting of parental authority because it is the most effective way for a child to learn enough about the world to survive. But as we grow up, we switch around and learn to question the accepted wisdom, or often not.
If religion is no longer a viable path to morality and social harmony then what is the alternative? Dawkins presents the case for atheism, and a rational scientific outlook on the world. Belief must be backed up by evidence. Morality naturally evolves because a harmonious group can succeed better than a divided group. Without gods, hell, and heaven, humans must make the best of what we have in the here and now, and take personal responsibility for ourselves, the natural world, and our fragile place in it.
Friday, September 29, 2006
VIFF Review: Vinícius
This film details the incredible life of Vinícius De Moraes, one of the founders of Brazil's signature musical style–bossa nova. A passionate and prolific man, he wrote hundreds of poems, several musical plays, countless song lyrics, and married nine times. His day job of diplomat took him around the world to places like Los Angeles, Paris, and New Orleans which were influential to his creativity.
He befriended, collaborated and partied with the greats of Brazilian music including Antonio Jobim, João Gilberto, Baden Powell, and Pixinguinha. Some of his most famous works are the lyrics to The Girl from Ipanema, and the play which would become the Oscar winning film Black Orpheus.
Woven into the narrative of his life are readings of his poems, performances of his songs by fellow Brazilian musicians, and interviews with famous Brazilian musicians like Caetano Veloso, Maria Bethânia, Gilberto Gil, and many others.
A prominent theme is the yearning for happiness and love, not only in his creative work but also in his personal life. Like an addict, he always needed the next hit whether it was a new song, a new young wife, or another glass of scotch. Even as a well paid member of the diplomatic corps, his bacchanal lifestyle left him short on money.
In words, music, and stories the film presents Vinícius as a restless, and creative free spirit–an embodiment of Brazil.
He befriended, collaborated and partied with the greats of Brazilian music including Antonio Jobim, João Gilberto, Baden Powell, and Pixinguinha. Some of his most famous works are the lyrics to The Girl from Ipanema, and the play which would become the Oscar winning film Black Orpheus.
Woven into the narrative of his life are readings of his poems, performances of his songs by fellow Brazilian musicians, and interviews with famous Brazilian musicians like Caetano Veloso, Maria Bethânia, Gilberto Gil, and many others.
A prominent theme is the yearning for happiness and love, not only in his creative work but also in his personal life. Like an addict, he always needed the next hit whether it was a new song, a new young wife, or another glass of scotch. Even as a well paid member of the diplomatic corps, his bacchanal lifestyle left him short on money.
In words, music, and stories the film presents Vinícius as a restless, and creative free spirit–an embodiment of Brazil.
Thursday, September 28, 2006
Vancouver International Film Festival 2006
This year is the 25th anniversary of the Vancouver International Film Festival. There's over a dozen films I want to see, and I'll be posting the reviews here. Once again I'm concentrating on the music related films, but there are also films on technology, atheism, and Japanese fast food to see.
These are the films I'm planning to see:
Vinicius
The Root of All Evil?
Antonio Vivaldi: A Prince in Venice
Norman McLaren Retrospective
Opera Jawa
Tachigui: The Amazing Lives of the Fast-Food Grifters
Two Sons of Francisco
To Play and to Fight
Absolute Wilson
Murch
The Net
Mozartballs
The War Symphonies: Shostakovich Against Stalin
Tis Autumn--The Search for Jackie Paris
Bring down the house lights and roll the film!
These are the films I'm planning to see:
Vinicius
The Root of All Evil?
Antonio Vivaldi: A Prince in Venice
Norman McLaren Retrospective
Opera Jawa
Tachigui: The Amazing Lives of the Fast-Food Grifters
Two Sons of Francisco
To Play and to Fight
Absolute Wilson
Murch
The Net
Mozartballs
The War Symphonies: Shostakovich Against Stalin
Tis Autumn--The Search for Jackie Paris
Bring down the house lights and roll the film!
Thursday, September 21, 2006
Dance Review: STONE: Drift
Scotiabank Dance Centre
September 21, 2006 8:00pm
I first experienced the wonderment of the Aeriosa Dance Society at this year's Vancouver International Jazz Festival. Suspended four stories above Gastown on climbing ropes anchored to the roof, they performed their gravity defying dance using the side of the building as their stage.
With STONE: Drift they bring their aerial dancing inside to the more predictable atmosphere of a theatre. With no worries about wind, weather, and building rash they are allowed the luxury to create an entirely new show. By combining the music of François Houle, lighting, and projected imagery with their acrobatic dance choreography, they form an entirely new dance experience.
Aeriosa brings a whole new meaning to "breaking the fourth wall" as the dancers swing right over the heads of the audience. No longer limited to the floor they make full use of the entire three dimensional space of the stage. The back wall of the theatre becomes another floor as we get a bird's eye view of a dance sequence. With still and motion picture images projected onto the wall the dancers enter a new environment before our eyes.
I have to marvel at the athleticism and skill of the dancers. Suspended in mid-air in their climbing harnesses they almost effortlessly twirl, spin, pose, push, and catch each other. Only when the music fades do you hear the grunts and pants of their considerable efforts. If you thought your Pilates class was challenging try doing it suspended in mid-air, and upside down.
This energetic young dance company is breaking new ground. There's nothing like this outside a Cirque du Soleil show. Check them out at the Scotia Dance Centre until September 30.
Saturday, September 16, 2006
Fringe Review: Legoland
Arts Club Theatre
September 16, 2006 2:00pm
This is what I love about the Fringe--walking into a play with no expectations and finding something extraordinary. 16 year old Penny Lamb and her 13 year old brother Ezra are two precocious kids from Elysium Farm, a hippy commune outside of Uranium City, Saskatchewan. Sheltered from the outside world their entire lives, they must rely on their wits and each other when Penny's crush on a teen idol singer takes then on a adventure across America--winding up in more trouble than they could possibly imagine.
It's a multimedia, multidiscipline extravaganza with every element thrown in including music, singing, dance, puppetry, and slides. The script is clever, and packed with wit and pointed commentary as the siblings experience the rediculousness of modern North American society.
The acting is terrific and the actors revel in their parts with energetic glee. Penny's cherubic face is fixed with a beatific smile and manic glint in her eyes, like some demented angel. Ezra seems quiet and nerdy until one of his penetrating outbursts hits you in the funnybone.
This is easily the best show of this year's Fringe, and I'm not the only one who thinks so. Legoland is one of Georgia Straight's Pick of the Fringe. Encore performances are on from September 21 to 24. Congratulations to the wonderful performers of Atomic Vaudeville!
September 16, 2006 2:00pm
This is what I love about the Fringe--walking into a play with no expectations and finding something extraordinary. 16 year old Penny Lamb and her 13 year old brother Ezra are two precocious kids from Elysium Farm, a hippy commune outside of Uranium City, Saskatchewan. Sheltered from the outside world their entire lives, they must rely on their wits and each other when Penny's crush on a teen idol singer takes then on a adventure across America--winding up in more trouble than they could possibly imagine.
It's a multimedia, multidiscipline extravaganza with every element thrown in including music, singing, dance, puppetry, and slides. The script is clever, and packed with wit and pointed commentary as the siblings experience the rediculousness of modern North American society.
The acting is terrific and the actors revel in their parts with energetic glee. Penny's cherubic face is fixed with a beatific smile and manic glint in her eyes, like some demented angel. Ezra seems quiet and nerdy until one of his penetrating outbursts hits you in the funnybone.
This is easily the best show of this year's Fringe, and I'm not the only one who thinks so. Legoland is one of Georgia Straight's Pick of the Fringe. Encore performances are on from September 21 to 24. Congratulations to the wonderful performers of Atomic Vaudeville!
Fringe Review: The Big Kiss Off
Performance Works
September 15, 2006 10:45pm
The Big Kiss Off is a film noir musical as hard-boiled as a greasy spoon egg. It's the story of a singer whose life is almost destroyed by mobsters and how she gets her revenge. All the story conventions of a Raymond Chandler novel are brought to life on stage with plot twists, shady characters, violence, steely dialog, and shifting time line. The atmosphere and look of those noir films is captured in the monochromatic costumes, and shadowy lighting. All that was missing was a cigarette holder in the singer's hand with the smoke twirling into the air. In smoke-free Vancouver an ever present glass of "booze" substituted for that iconic vice.
Stefanie Wiens plays the singer to femme fatale perfection. She starts out as a starry eyed young innocent who is harshly changed into a cynical, and world-weary woman. Her voice is archetypally dark and sultry as you would expect. She also sings well, delivering rediculous lyrics like "Your cigarette smoke reminds me of Christmas when the house burned down," with a dead-pan seriousness.
Alternately funny, and tragic but always totally engrossing. Recommended with a bullet.
September 15, 2006 10:45pm
The Big Kiss Off is a film noir musical as hard-boiled as a greasy spoon egg. It's the story of a singer whose life is almost destroyed by mobsters and how she gets her revenge. All the story conventions of a Raymond Chandler novel are brought to life on stage with plot twists, shady characters, violence, steely dialog, and shifting time line. The atmosphere and look of those noir films is captured in the monochromatic costumes, and shadowy lighting. All that was missing was a cigarette holder in the singer's hand with the smoke twirling into the air. In smoke-free Vancouver an ever present glass of "booze" substituted for that iconic vice.
Stefanie Wiens plays the singer to femme fatale perfection. She starts out as a starry eyed young innocent who is harshly changed into a cynical, and world-weary woman. Her voice is archetypally dark and sultry as you would expect. She also sings well, delivering rediculous lyrics like "Your cigarette smoke reminds me of Christmas when the house burned down," with a dead-pan seriousness.
Alternately funny, and tragic but always totally engrossing. Recommended with a bullet.
Fringe Review: 40 Needles
Playwrights Theatre Centre at Festival House
September 15, 2006 9:15pm
Kristian Reimer plays a young comedian who is trying to make it in standup comedy in Toronto. Finding his comedy career not taking off, and his tedious part-time jobs failing to pay the bills, he answers an ad for pharmaceutical test volunteers--becoming a human guinea pig. One wonders if this plot line is autobiographical.
This one man play is mildly amusing and follows a typical sit-com storyline. Reimer is the straight man to an oddball cast of characters he meets in the drug trials. There's Don the slacker who does this for a living. Cliff is the generically ethnic taxi driver who calls everyone "my friend". Reimer makes fun of quintessentially Toronto fixtures like the Globe and Mail, Quizno's and Swiss Chalet.
At the end of the one week drug trial, Reimer gets his $4000 cheque but is left dissatisfied by the experience. At the end of the play, I got a few laughs but was left dissatisfied by the experience.
September 15, 2006 9:15pm
Kristian Reimer plays a young comedian who is trying to make it in standup comedy in Toronto. Finding his comedy career not taking off, and his tedious part-time jobs failing to pay the bills, he answers an ad for pharmaceutical test volunteers--becoming a human guinea pig. One wonders if this plot line is autobiographical.
This one man play is mildly amusing and follows a typical sit-com storyline. Reimer is the straight man to an oddball cast of characters he meets in the drug trials. There's Don the slacker who does this for a living. Cliff is the generically ethnic taxi driver who calls everyone "my friend". Reimer makes fun of quintessentially Toronto fixtures like the Globe and Mail, Quizno's and Swiss Chalet.
At the end of the one week drug trial, Reimer gets his $4000 cheque but is left dissatisfied by the experience. At the end of the play, I got a few laughs but was left dissatisfied by the experience.
Sunday, September 10, 2006
Fringe Review: The Excursionists
Playwrights Theatre Centre
September 9, 2006 3:30pm
The Excursionists is a hilarious send up of a Jules Verne style adventure movie. Equal parts 20,000 Leagues Under The Sea, and Black Adder on a severely limited budget.
Our protagonists are Professor Goggins, and his sponsor and friend Lord Necksycracksy—two absurdly foppish British gentlemen who unexpectedly find that England has sunk into the ocean. Fortunately for them, they are aboard Goggins' fantastic invention, the underwater train christened the Neptunia Express.
They circumnavigate the globe in search of a new England. Along the way they encounter the usual mix of hostile natives, hostile cephalopods, and their own dark secrets. What's a Victorian era undersea adventure without a giant killer squid? That battle sequence is hilarious as Goggins and Necksycracksy make calamari out of the tentacled foe.
The show is torridly paced, and never lulls. Much of the humour is based on the stereotypical British eccentricities of our heroes. The no-budget special effects are cleverly done and—along with the score—recall the 1950's and 1960's British science fiction films.
Like all modern adventure series scripts they leave an opening for a sequel. Which I'd gladly see for Fringe Festival 2007. Highly recommended.
September 9, 2006 3:30pm
The Excursionists is a hilarious send up of a Jules Verne style adventure movie. Equal parts 20,000 Leagues Under The Sea, and Black Adder on a severely limited budget.
Our protagonists are Professor Goggins, and his sponsor and friend Lord Necksycracksy—two absurdly foppish British gentlemen who unexpectedly find that England has sunk into the ocean. Fortunately for them, they are aboard Goggins' fantastic invention, the underwater train christened the Neptunia Express.
They circumnavigate the globe in search of a new England. Along the way they encounter the usual mix of hostile natives, hostile cephalopods, and their own dark secrets. What's a Victorian era undersea adventure without a giant killer squid? That battle sequence is hilarious as Goggins and Necksycracksy make calamari out of the tentacled foe.
The show is torridly paced, and never lulls. Much of the humour is based on the stereotypical British eccentricities of our heroes. The no-budget special effects are cleverly done and—along with the score—recall the 1950's and 1960's British science fiction films.
Like all modern adventure series scripts they leave an opening for a sequel. Which I'd gladly see for Fringe Festival 2007. Highly recommended.
Saturday, September 09, 2006
Fringe Review: This May Feel a Little Funny
Playwrights Theatre Centre
September 9, 2006 1:15pm
Randy Rutherford's One Frigid Shiny Knight was a highlight of the 2005 Fringe. With his gift for storytelling and acting, he wove a vivid and engaging tale of his character's formative experience of love and loss in Alaska. It was such a personal performance that I wondered if it was autobiographical.
So it was with much anticipation that I went to his new show. While Rutherford was entertaining and gave a good performance it didn't live up to the brilliance of Knight.
Randy is a 40 year-old recently divorced guitar player. His friend Brian invites him to play at a camp where he hopes Randy might meet someone. Randy is dismayed by his friend's questionable judgement as he feels a fish out of water among the new-agey California hippy participants. His discomfort turns into acceptance through his musical skills. He meets a beguiling woman whom he dubs the Hummingbird woman for her beauty and flighty manner. He is entranced by her, but she's already married and so they go their separate ways.
10 years later they unexpectedly meet again, and this time the sparks fly. His introduction to Samantha's new age alternative California lifestyle is hilarious as he deals with the vegan diet, organic wine, and omnipresent driftwood decor. While jokes about bodily functions are usually crude, Randy's experience with colonic cleansing is cleverly staged, and very funny.
I guess the problems with they story are structural. The opening scene introducing his character as a young teenager during a traumatic incident with his mother leads into but doesn't seem to connect with the rest of the story. The character's story arc seems incomplete and the ending feels abrupt.
Despite the story's shortcomings, it's still worthwhile to see Rutherford's performance. He really makes you feel what his character feels, and evokes the scenery and other characters onto the empty stage.
September 9, 2006 1:15pm
Randy Rutherford's One Frigid Shiny Knight was a highlight of the 2005 Fringe. With his gift for storytelling and acting, he wove a vivid and engaging tale of his character's formative experience of love and loss in Alaska. It was such a personal performance that I wondered if it was autobiographical.
So it was with much anticipation that I went to his new show. While Rutherford was entertaining and gave a good performance it didn't live up to the brilliance of Knight.
Randy is a 40 year-old recently divorced guitar player. His friend Brian invites him to play at a camp where he hopes Randy might meet someone. Randy is dismayed by his friend's questionable judgement as he feels a fish out of water among the new-agey California hippy participants. His discomfort turns into acceptance through his musical skills. He meets a beguiling woman whom he dubs the Hummingbird woman for her beauty and flighty manner. He is entranced by her, but she's already married and so they go their separate ways.
10 years later they unexpectedly meet again, and this time the sparks fly. His introduction to Samantha's new age alternative California lifestyle is hilarious as he deals with the vegan diet, organic wine, and omnipresent driftwood decor. While jokes about bodily functions are usually crude, Randy's experience with colonic cleansing is cleverly staged, and very funny.
I guess the problems with they story are structural. The opening scene introducing his character as a young teenager during a traumatic incident with his mother leads into but doesn't seem to connect with the rest of the story. The character's story arc seems incomplete and the ending feels abrupt.
Despite the story's shortcomings, it's still worthwhile to see Rutherford's performance. He really makes you feel what his character feels, and evokes the scenery and other characters onto the empty stage.
Thursday, September 07, 2006
Fringe Review: Sex, Violence, and Nursery Rhymes
Arts Club Theatre
September 7, 2006 8:45pm
With a rhyming script, tear-away costumes, and pasties, Burlesque prances onto stage at this year's Fringe. The nursery rhymes of your childhood take on a decidedly adult twist as Mother Goose, her sister Grimm, and the rest of the sexy cast of Screaming Chicken Theatrical Society re-enact them in Freudian ways.
Our narrator and host is Mother Goose who is a cross between Mae West and Marilyn Monroe. She's the best actress, with a voluptuous delivery, and naughty but nice charm. Sister Grimm is also good as the dark and kinky counterpoint to Goose with a Goth attitude. Each of them try to outdo the other in telling the audience their nursery rhymes.
Humpty Dumpty was the least erotic nursery rhyme of the evening. Which isn't surprising given that it really is a gruesome tale of death and dismemberment. And the budget probably didn't allow for all the king's horses and all the king's men to appear on stage.
The homoerotic portion of the evening was featured in the nursery rhyme of Jack Sprat. Jack's rotund wife was played by a man, and Jack is eventually stripped down to his fig leaf.
Little Miss Muffet is seductively stripped and wrapped in the Black Widow Spider's sheer silk before she meets a gruesome end as her brunch. Anne Rice would approve.
The Empress' New Clothes drags during the dance sequences expressing the Empress' appreciation of the nebulous garments. Maybe a little more practice in spinning her tassles would liven up this fairy tale.
Three Maids in a Tub is more comic than erotic with the imbibing butcher, baker, and candlestick maker really feeling the intoxicating effects of their hot tub.
Little Bo Peep has lost her sheep to a leather clad cowgirl. As the two lustily dance off to win the sheep's affections, Cowgirl has a wardrobe malfunction when she pops out of her leather bra. Good thing for pasties and body paint. Or bad depending on your point of view.
Overall, it's entertaining if a bit uneven with some opening night jitters. Recommended, especially if you feel nostalgic for Benny Hill.
Rating: Two garters and a pasty.
September 7, 2006 8:45pm
With a rhyming script, tear-away costumes, and pasties, Burlesque prances onto stage at this year's Fringe. The nursery rhymes of your childhood take on a decidedly adult twist as Mother Goose, her sister Grimm, and the rest of the sexy cast of Screaming Chicken Theatrical Society re-enact them in Freudian ways.
Our narrator and host is Mother Goose who is a cross between Mae West and Marilyn Monroe. She's the best actress, with a voluptuous delivery, and naughty but nice charm. Sister Grimm is also good as the dark and kinky counterpoint to Goose with a Goth attitude. Each of them try to outdo the other in telling the audience their nursery rhymes.
Humpty Dumpty was the least erotic nursery rhyme of the evening. Which isn't surprising given that it really is a gruesome tale of death and dismemberment. And the budget probably didn't allow for all the king's horses and all the king's men to appear on stage.
The homoerotic portion of the evening was featured in the nursery rhyme of Jack Sprat. Jack's rotund wife was played by a man, and Jack is eventually stripped down to his fig leaf.
Little Miss Muffet is seductively stripped and wrapped in the Black Widow Spider's sheer silk before she meets a gruesome end as her brunch. Anne Rice would approve.
The Empress' New Clothes drags during the dance sequences expressing the Empress' appreciation of the nebulous garments. Maybe a little more practice in spinning her tassles would liven up this fairy tale.
Three Maids in a Tub is more comic than erotic with the imbibing butcher, baker, and candlestick maker really feeling the intoxicating effects of their hot tub.
Little Bo Peep has lost her sheep to a leather clad cowgirl. As the two lustily dance off to win the sheep's affections, Cowgirl has a wardrobe malfunction when she pops out of her leather bra. Good thing for pasties and body paint. Or bad depending on your point of view.
Overall, it's entertaining if a bit uneven with some opening night jitters. Recommended, especially if you feel nostalgic for Benny Hill.
Rating: Two garters and a pasty.
Vancouver Fringe Festival 2006
Got Fringe? The sexy blonde wrapped in tinsel on the cover of the festival guide beckons you to experience the most uninhibited theatre to be found in the city. I'll be posting reviews of the shows I've seen. Dim the lights and raise the curtain, it's time again for Fringe!
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