The Canadian Opera Company opens its 2018-19 season with Tchaikovsky’s Eugene Onegin
There are some excellent things about Eugene Onegin at the Canadian Opera Company to open the season: Joseph Kaiser, the French horn, and the direction of Peter McClintock. While I did not find myself carried away (as I would always prefer to be at the opera) I did feel nicely eased into the season, and felt as though it would be an equally nice way to ease a theatre-lover into opera appreciation.
Continue reading Review: Eugene Onegin (Canadian Opera Company)
The version of Winners and Losers showing at the 2018 SummerWorks Festival is adapted from the original play of the same name, written and performed by Marcus Youssef and James Long. Youssef and Long, like Valerie Planche and Makambe S. Simamba, are friends, artists making work in Canada, and of markedly different backgrounds (by which I actually mean backgrounds and not “background as a euphemism for race” – though also that). In the show, Planche and Simamba play a game where they throw out nouns from “TTC” to “Space Soldiers” and discuss whether they’re winners or losers.
Continue reading Winners and Losers (Chromatic Theatre) 2018 SummerWorks Review
Thaya Whitten, the subject of The Red Horse Is Leaving in the 2018 SummerWorks Performance Festival, was clearly a woman ahead of her time. The performance of her character, drawn heavily from her own writing and speaking engagements, is full of chewy, delicious ideas about art, commerce, relationships, colour, light, music, and fear. Whitten, who convened panel discussion and drew them live, who engaged people about their deep feelings and expectations around artwork, is utterly fascinating.
Continue reading The Red Horse Is Leaving (Moleman Productions) 2018 SummerWorks Review
There’s nothing like a Morro & Jasp show: not in other time slots at Tarragon Theatre, not in the whole of the 2018 Toronto Fringe Festival, not ever. Toronto’s favorite clown sisters have a new two-hander in the Fringe this year and it’s everything you ever wanted from them – bickering, antics, deep emotional engagement with the foundations of human connection, belly laughs and snacks.
Continue reading Morro and Jasp: Save The Date (U.N.I.T Productions) 2018 Toronto Fringe Review
Having loved (and cried during) The Nance on Broadway, I felt somewhat prepared to love (and cry over) The Pansy Craze: A New Musical, showing at the Randolph Theatre as part of the 2018 Toronto Fringe Festival. The shows both throw the Gay Wayback Machine back to a liminal time in queerness, exploring a shimmering moment in history when gender-independence was briefly allowable in public before law-enforcement clamped its unforgiving jaws back down. I did love The Pansy Craze: A New Musical, and I did cry, and I am keen indeed to see how this show progresses.
Continue reading The Pansy Craze: A New Musical (Next Stop Productions) 2018 Toronto Fringe Review
What you see is what you get with Adam Schwartz, who references his lack of a filter and propensity for truth-telling repeatedly in his stand-up fringe show, Aspergers: More Tales of a Social Misfit. Playing the Annex Theatre as part of this years Toronto Fringe Festival, Schwartz’s short set is a set-up-and-knock-down series of jokes about how his Aspergers affects his life, what he’s learned and, of course, his mother.
Continue reading Aspergers: More Tales of a Social Misfit (Autistic Productions) 2018 Toronto Fringe Review
When I chose this show to review, it was called Meg Makes Mistakes, and I wish this charming short solo about love and relationships and, well, errors in judgement had retained its original title. Instead it’s in the Toronto Fringe Festival program as Meg MacKay: Freelance Witch and is playing at the in Tarragon Theatre’s small but mighty Solo Room. It’s maybe about three-quarters of the way to being a finished piece, but somehow that’s part of the pleasure in it.
Continue reading Meg MacKay: Freelance Witch (Meg MacKay) 2018 Toronto Fringe Review
I arrived to AWKWARD HUG at Theatre Passe Muraille, looking forward to my first Fringe show of the 2018 Toronto Fringe Festival season, and curious, curious, curious. I have seen a long list of “my weird relative, let me tell you about them!” shows, and generally I find them aggravating and one dimensional. Every once in a while, though, someone comes to the work with a thoughtfulness that redeems the concept for a minute. AWKWARD HUG was (mostly) one of those shows.
Continue reading AWKWARD HUG (Cory Thibert) 2018 Toronto Fringe Review
Harry Potter parody show arrives to make magic on the Toronto stage
First things first: my eight-year-old loved this show SO MUCH and giggled like a fiend the entire time. If your child under the age of about 14 is a big fan of Harry Potter, just accept with good cheer that you ought to be going to see Potted Potter at the CAA Theatre, and the show will be good-natured silly fun. The concept–all 7 books in 7 minutes–goes past a Cole’s Notes and squarely into a sort of theatrical shorthand, so if you’ve never read the books you’re mostly just watching two dudes do some skilled slapstick and improv. Then again, no one ever suffered for that.
Continue reading Kid +1 Review: Potted Potter (Starvox)
Toronto’s Young People’s Theatre presents Raven Spirit Dance’s play Salmon Girl
You think you understand kids, and then they surprise you – or at least they surprised me at Salmon Girl, presented at Young People’s Theatre and created by the folks at Raven Spirit Dance. While there were some mis-steps in the production, it has solid bones and there were parts of the show where my young companions, two enthusiastic second-graders, were literally motionless with interest and attention.
Continue reading Kid + 1 Review: Salmon Girl (Young People’s Theatre/Raven Spirit Dance)