By far, the best part of Fringe season is the people: artists like Nam Nguyen, who captivated the city last year with his Fringe musical about soup, and administrators like Lucy Eveleigh, executive director of the Fringe and one of the most respected artistic leaders in Toronto.
We hired an AI theatre critic. Her breath is immaculate. She’s not once crammed a sandwich down her throat on the walk to the theatre, savouring the onions, the oil. She’s never been bloated, and she’s never, ever, been the monster to blame for a mid-play fart.
“We acknowledge and embrace the power of theatre and still very much feel the way it can be medicine,” says Beagan. “But also we want people who have internet access, but not access to go to live theatre, to be able to see our work. That’s really our big motivator.”
“I think travel has the potential to open up some great conversations between people with very differing life experiences,” says Alex Bulmer ahead of her new show, Perceptual Archaeology (Or How to Travel Blind).