REVIEWS & AWARDS: Awards: BEST OF TORONTO FRINGE FESTIVAL 2005 BEST OF SASKATOON FRINGE FESTIVAL 2005   Reviews: Phobe Smith, eye Magazine, Toronto:  When Gillian Stevens-Guille emerges from a large trunk, the otherwise empty stage comes to life. Stevens-Guille plays Normal, a woman who's moved into a self-storage unit that she calls the "community of the rejected" to try and find herself after being dumped. Full of metaphors that nod towards a feminist undertone and jokes about self-help books, this well-written play manages to make the audience both laugh out loud and sit back in pensive silence. The ending is a little clichéd and sudden but that doesn't detract from an otherwise smart script and outstanding performance. July 2005 Shannon Boklaschuk, The StarPhoenix - Saskatoon: At times, it’s easy to forget this is a one-woman play.   Gillian Stevens-Guille has a true talent for bringing to life a multitude of personalities;  she easily switches from playing a fumbling restaurant worker named Normal to playing an attractive male co-worker, a talking raccoon and a variety of other characters. Written by Stevens-Guille and Russell Bennett, the show begins with Normal living in a storage unit – complete with “authentic shiny aluminum siding.”  But her life wasn’t always this way (“I had a dream once,” she tells the crowd.) From there, the audience goes back in time and follows Normal as she moves to Toronto and takes a job at a steakhouse.  Anyone who’s worked in the service industry will quickly identify with her humorous tales of working at a busy restaurant. Stevens-Guille’s monologue never misses a beat throughout the show, especially when she describes her romance with the dashing Lance, her “Prime Rib Prince Charming.”  The audience quickly realizes, however, that Normal isn’t normal at all; she indulges in a rich fantasy life and seems to be mentally unraveling.  While the play is funny, it’s also dramatic;  Normal has heart-wrenching obstacles to overcome, such as a failed relationship and an unplanned pregnancy.  “Why does everyone have to leave?” she wonders.  A warning for parents: this show isn’t for the little ones – it includes some mature content and strong language. While the play has a minimalist set – the only prop is a single trunk in the centre of the stage – the hour-long show is well-written, and Stevens-Guille captivates the audience throughout her performance. This is an excellent piece of solo theatre. Monday, August 8, 2005

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