Candice’s Reviews - FringeMTL 2026
The Paranoid King
It’s a heat wave in June, and I’m commuting downtown. It’s been approximately 13 hours since I last washed my face, and the oil on my forehead could grease an engine. It’s also soaking my bangs, which have just reached the stage where they’re too long to style properly. So I’m sitting on the REM, ugly, uncomfortably warm, and begrudgingly holding an empty Alani can because there was no bin in the station.
I’m on my way to see the opening night of The Paranoid King at The Montreal Comedy on Boul. de Maisonneuve E, my first show of the festival. I transfer to the green line via McGill station, and as I exit at Berri-UQAM, I grab a cold bottle of water from the dep, washing down an Advil to keep the humidity-induced migraine at bay. I only have to walk a few moments before I reach my destination, which is swarmed by a crowd of 30 or so people chatting and laughing, some cradling bouquets–I can only assume a previous show has just wrapped up. I skirt around them to reach the entrance; having grown up as a timid girl who was regularly interrupted and asked to speak up, theatre kids have always intimidated me. That being said, they’re definitely the primary demographic found at any given Fringe event.
The Montreal Comedy is a cosy venue dressed in red and yellow, featuring a bar that offers light snacks and drinks to cool off. I take a seat closer to the back, partly to spare the actors the discomfort of watching me scribble notes in their faces, and partly to avoid any potential crowd interactions. Look, I never said I fully grew out of my shyness.
The Paranoid King, co-written and produced by Olivia Collette, follows the story of Assyrian King Ashurhaddon, who unexpectedly–and against his will–inherits the throne after the assasination of his father. Anxious and insecure, he relies on the support of his team of royal exorcists, astrologers, and diviners to help rule his empire. What a strong Fringe debut for Olivia! The storytelling is fast-paced and hilarious, and the 5-actor cast–starring Bo Hong Fu, Nadia Verrucci, Amanda Gabriela, Dana Prather, and Nima Ghomeshi–shifts seamlessly between character roles, at times within the very same scene.
The performances of the entire cast were just incredible. I kept reflecting on the chemistry shared between each of them, how well they bounced off of each other’s energies, and perhaps above all else, how much fun they all seemed to be having together. Though all the actors truthfully did a wonderful job, Nadia Verrucci and Amanda Gabriela simply took the cake for me. I was in awe of the dynamism Nadia displayed, shifting with ease from the role of neurotic, insecure king to suave salesperson convincing me that, you know what, yeah, maybe I should give opium a try. Amanda was a firecracker, offering an explosive and hilarious performance that I couldn’t get enough of.
This show is a golden lesson in minimalism, in all senses. From the minimal set design, or lack thereof, using only a handful of chairs and the stage itself as a platform, to the minimal costume, sound, and lighting designs, The Paranoid King proves that less really can be more. The brilliant writing and acting do all the work here, highlighting what we all love about Fringe: artists doing what they love, and doing it well.
The high-energy cast and dazzling writing of The Paranoid King make it a must for your Fringe roster. If you’re looking to laugh and appreciate genuine talent on stage all at the same time, this is the show for you.
