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You are at:Home » Birds of Affirmation: an unabashed splash in A Sexy Pigeon Show, a guest Fringe review by Fawnda Mithrush
Birds of Affirmation: an unabashed splash in A Sexy Pigeon Show, a guest Fringe review by Fawnda Mithrush
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Birds of Affirmation: an unabashed splash in A Sexy Pigeon Show, a guest Fringe review by Fawnda Mithrush

16 August 20262 Mins Read

Sarah Ivanco in A Sexy Pigeon Show, The Lighter Touch Art Collective at Fringe 2026. Photo supplied

A Sexy Pigeon Show (Stage 7, Chianti Yardbird Suite)

By Fawnda Mithrush

While Edmontonians may take pride in identifying with the scrappy magpie, another oft-maligned avian visitor comes to us all the way from the nation’s capital this Fringe, and it seems they’ve already made friends with the locals. Ottawa-based The Lighter Touch Art Collective landed for their first-ever appearance in river city to a sold-out house at the Yardbird Suite.

Colum (short for Columba Livia Domestica, naturally) kicks off A Sexy Pigeon Show with the brief nesting of a newly laid egg, followed by a “pigeon burlesque,” which is as absurd and silly as it sounds.

Sarah Ivanco plays our winged protagonist with an effusive self-awareness, which lends to the bird’s endearing plight to convert the audience to a “pro-pigeon” mindset. Colum, see, has understandable confidence issues: It’s not difficult to recognize that the pigeon’s sense of self-worth has been permeated by humanity’s unfair classification of the species as an “unproductive” urban pest.

Although once appreciated as messengers or pets, pigeons are now relegated to dim alleys and garbage routes to avoid rooftop spikes and worse. Colum even hesitates to visit the city fountain, intimidated by the very thought of displaying her plume to a wider public.

It’s an hour crafted with great care and effacing humour, with Colum admitting that the premise is meant to hold the audience “emotionally hostage.” There are well-tendered invitations to audience participation (the Lighter Touch crew are extra sensitive to neurodivergence), and tee-ups for gags that tilt toward cliché then veer off to places wholly unexpected. A cigarette becomes a unique punchline, and a familiar Broadway tune takes a hilarious turn as birdsong.

At heart, Colum’s monologue emphasizes that self-esteem and resilience come from the inside, not from verification by the outside world. “You don’t need to be useful to be loved” is a sentiment that lingers long after the show.

It’s a surprise that this troupe hasn’t graced our magpie Fringe before, but we’re sure glad they made the trip.

 

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