Environmentalism and Faith feature in Peace River Country, now on stage in Toronto
Tarragon Theatre’s production of Peace River Country takes to the stage with the story of a rural Albertan family whose life is progressively destroyed by incoming gas-mining companies. The family fights back, the situation escalates, and the result is a suspenseful, well-crafted drama that resonates with today’s ongoing environmental struggles.
I loved Peace River Country; I thought the performances were superb, the production design thoughtful and creative, and the dialogue believable and well-written. But Peace River Country also has a very strong theme of Christianity, and I can imagine the centrality of this theme might be off-putting to some audience members.
Kim’s Convenience is at times funny, emotional, and heartfelt, on stage in Toronto
Kim’s Convenience returns to the stage in Soulpepper‘s funny, heartfelt, and timely production. The members of the Kim family rise to meet their challenges — whether in the form of interpersonal tension or the gentrification of their neighbourhood — with an admirable combination of humour and heart. It’s surely impossible not to laugh all the way through, and perhaps shed a tear at the end.
Kim’s Convenience was extremely funny; in particular, Appa (the delightful Paul Sun-Hyung Lee) displayed a winning zest for life that was the source of many comedic moments. At the same time, much of the humour stemmed from serious social issues: Appa’s Korean accent, the racial profiling of thieves, and relationships between people of colour and the police. It is a true testament to the quality of this play that it made me laugh, feel, and think at the same time.
Shakespeare’s Measure for Measure is often considered a “problem” play for the way its central story—Isabella’s quest to free her brother Claudio from a death sentence—shifts between comedy and tragedy.
Infinity is “memorable, compelling drama” on the Tarragon stage in Toronto
Tarragon Theatre and Volcano Theatre’s co-production of Infinity is a stirring philosophical drama that stays mostly grounded in the humanity of its characters — a play about the messiness of careers, relationships, and the troublesome notion of passion. I had high expectations of playwright Hannah Moscovitch, and I’m happy to say that Infinity did not disappoint.
Infinity offers an ambitious mixture of philosophy, physics, and music. For me, a particular highlight of the production was the beautiful series of performances by violinist Andréa Tyniec, who haunts the background of this play through the semitransparent back wall of the set.
Rock Bottom Movement’s production of MANICPIXIEDREAMGIRLS was my first experience of absurdist dance, and it was a ton of fun: energetic, frequently very funny, and extremely strange. Overall, this Next Stage Theatre Festival show is an exuberant, colourful exploration of — well, I’m not entirely sure, but it’s certainly exuberant and colourful.
Comfort weaves a horrific, beautiful tale with poetry and music for Toronto audiences
Red Snow Collective’s production of Comfort (playing at Aki Studio) is a lyrical, creatively staged, and outright heartbreaking drama about love and resilience in a time of horror and atrocity. I was spellbound by the complex storytelling and moving performances; this was a play that I will never forget.
Comfort is based on the true historical story of the thousands of “comfort women” — Korean, Chinese, Filippina, and others — brutally enslaved into forced prostitution by the Japanese army during WWII. As the previous sentence suggests, this play goes to some very dark places, but I loved the way it also cherishes the power of language to keep culture and human dignity alive.
Canadian-themed Beaver has potential it “didn’t quite live up to”
I had high hopes for The Storefront Theatre’s production of Beaver, a coming-of-age story set in small-town Northern Ontario. Unfortunately, I thought this play was extremely uneven.
Beaver had great sound design that skillfully evoked a Canadian winter, but I thought many of the characters lacked depth, and I was perplexed by some of the playwright’s structural choices. At the end of the play’s two-hours-plus runtime, I felt more disappointed than anything.
Breathing Corpses, on stage at Toronto’s Coal Mine Theatre, lacks coherence
I expected to love Coal Mine Theatre’s new production, Breathing Corpses. The production company came highly recommended. Unfortunately, although the cast was talented, the play was plagued by uneven pacing and a sense of disconnect from reality. This play tried so hard to be clever that it forgot to stay coherent, and many characters made decisions and expressed emotions that did not feel real or grounded in any way.
As its title suggests, Breathing Corpses is a drama built around death. The characters are clustered into three groups whose stories never intersect onstage. I respect playwright Laura Wade’s decision to let the audience do the work of figuring out the relationship between the groups of characters. However, because the scenes were never synthesized onstage, this play felt to me like it lacked cohesion.
Mouthpiece / Quiver is an extraordinary double-bill, on stage at Toronto Buddies in Bad Times Theatre
Right now, an extraordinary double bill is playing at Buddies in Bad Times Theatre: Mouthpiece, produced by Quote Unquote Theatre and presented by Nightwood Theatre, and Quiver, produced by Nightwood Theatre. Through innovative staging and raw storytelling power, these two shows offer a creative and profoundly moving exploration of the female voice.
These are two of the most urgent and unforgettable plays that I have ever seen. The storytelling techniques and structures in these plays are as bold as the stories themselves; together, Mouthpiece and Quiver offer an extremely cutting-edge night at the theatre.
All But Gone, on stage in Toronto, is a “performance of beautifully executed despair”
Canadian Stage’s production of All But Gone intersperses four of Samuel Beckett’s short plays with pieces of contemporary vocal music sung by two opera singers. Since Beckett’s plays are very different from what most of us are used to seeing at the theatre, I recommend taking a look at his work before you decide whether to see this performance. Otherwise you might come away saying, “Well, that was different,” like a puzzled woman in the row behind me.
Personally, I enjoy absurdist theatre (in small doses), so I was delighted by All But Gone. There was something especially beautiful and desolate about the opening moments of the evening. The house lights came down and performers Shannon Mercer and Krisztina Szabó began to sing long, slow notes of opera into the silence. Spotlights flickered across the audience, everyone hushed, and a tall blue curtain drew quietly across the stage: it was the kind of small but weighty moment that Beckett might have appreciated.