Like a much, much nicer version of hanging around schoolyards offering kids their first hit for free, our Canadian Opera Company has begun to expand its programs aimed at introducing young people to the wonders of opera early, so that their appreciation for the art form can grow and mature as they do. The Magic Victrola, this year’s specialty offering from the COC, is a magical journey assisted by an old trunk and a record player that a pair of children — Gracie and Sam — find in their grandfather’s attic. As the opera unfolds, not only do they get to hear the music on the old records, but fully-formed and dramatic operatic vignettes spring to life before their delighted eyes. Over the hour, children are introduced to a sort of Greatest Hits of operatic moments (with themes suitable for children, that is) by Bizet, Delibes, Donizetti, Mozart, Offenbach, and Puccini.
To find out what goes into making a piece like this, what to expect and what surprises there might be in store, we spoke to Ashlie Corcoran, the director, and Bruno Roy, who alternates as Papageno (the beloved everyman character from The Magic Flute):
Continue reading Preview: The Magic Victrola (Canadian Opera Company)
The classic rock n’ roll musical Grease takes over the Winter Garden Theatre in Toronto
There are, I discovered last night at the Winter Garden Theatre for the new Toronto production of Grease, a LOT of people in Toronto who are really excited about the classic musical. Like, dress-up-like-the-characters level stoked. I wasn’t able to poll all of them after the opening on Thursday, but the general mood of the people around me was…rather mixed. Though the show’s production values were high and the cast included some very talented people, the production as a whole never really gelled for me.
Continue reading Review: Grease (Irregular Entertainment)
A breathtaking look at Indigenous dance, Backbone takes the stage in Toronto
Backbone, playing until November 12, 2017 at Berkeley Street Theatre, is a dance performance for eight dancers who could just as well be a single organism, like those stands of aspen trees that look separate and discrete but are really one very brilliant and beautiful thing with many limbs. It is vigorous, aerobic, living and breathing, shifting, rising and falling and faster than you expect. Continue reading Review: Backbone (Red Sky/Canadian Stage)
Kiinalik “deserves to run forever”, now on the Toronto stage
After seeing Kiinalik: These Sharp Tools at Buddies In Bad Times Theatre, watching the interplay of languages — English and Inuktitut and the low embellishment of the cello, theatre and dance and music, folk song and throat singing, tools and weapons — I am sure that my attempts to describe this extraordinary, affecting performance in a single-dimensional medium can only fall short. If you want to experience it for yourself — and oh my stars, I believe you do — click over and get tickets this minute (the run is deservedly almost sold out already).
Continue reading Review: Kiinalik: These Sharp Tools (Buddies In Bad Times)
Like many people, I value opera as much for the spectacle as the artistry. Canadian Opera Company, obviously recognizing this fanciful desire in many of its devotees, has for the last few years thrown a gala competition in the fall to help choose the new members of its Ensemble Studio, aka Canada’s most glamorous internship. The Centre Stage Gala gives audience members a little bit of opera’s inside baseball, letting patrons choose early favorites and savor the pleasure of following them as they launch their careers.
Continue reading Preview: Centre Stage Gala (Canadian Opera Company)
Rebecca Northan unveils her new show Undercover at Toronto’s Tarragon Theatre
The opening night of Undercover at Tarragon Theatre was packed (as Rebecca Northan shows tend to be) and lively (ditto) with audience members keen to turn up and drink, mingle, and watch the proceedings as Northan – in what has become her signature play – scans the attendees for the evening’s perfect foil. In a new twist, Undercover adds a number of characters and a number of possible endings to the mix. It’s a bit of a mixed bag, as improv often is, and the result didn’t really, well, kill.
Continue reading Review: Undercover (Tarragon Theatre)
d’bi young anitafrika takes Toronto by storm with her new show Lukumi: A Dub Opera
As an admirer of d’bi young anitafrika‘s solo work for some time, I was excited to arrive at Tarragon Extraspace for Lukumi: A Dub Opera and see a simmering, kinetic scene already underway, scored live by a small ensemble and featuring young (as Lukumi) engaged in a dance conversation with Daniel Ellis, who plays as a variety of characters. It set the tone for an extraordinary evening at the theatre.
Continue reading Review: Lukumi A Dub Opera (The Watah Theatre)
Immersive seafaring adventure play takes to Toronto waters
At the lawless edge of Toronto, there’s a pirate adventure awaiting young and old in Pippi: The Strongest Girl In The World, an original musical adaptation of a Pippi Longstocking tale of finding adventure on the high seas (in this case, on Lake Ontario). Presented by an energetic young cast of actor/musicians as their boat takes a cheerful cruise of the lake, Pippi: The Strongest Girl In The World is a charming way to spend a breezy hour with the family.
Continue reading Kid +1 Review: Pippi: The Strongest Girl In The World (Pirate Life)
Before seeing Monsters By Nature at the 2017 Toronto Fringe Festival, I described a different show (Blink’s Garden) as being like a camp play, but a very good one. I somewhat wish I hadn’t, because I would now like to describe Kindling Collective’s Monsters By Nature as being like a camp play, but…one that tries to do way, way too much considering the time and space.
Continue reading Monsters By Nature (Kindling Collective) 2017 Toronto Fringe Review
Perhaps you were not aware, as I was not before going to see Pineapple Club, that “comedic dance” was a thing. After Robin Henderson Company’s 2017 Toronto Fringe show, I can tell you for sure that it is, and that it’s both delightful and hilarious, and that I have almost no idea what Pineapple Club was about, and I don’t really care.
Continue reading Pineapple Club (Robin Henderson Productions) 2017 Toronto Fringe Review