All posts by Ilana Lucas

Ilana Lucas has been a big theatre nerd since witnessing a fateful Gilbert and Sullivan production at the age of seven. She has studied theatre for most of her life, holds a BA in English and Theatre from Princeton and an MFA in Dramaturgy and Script Development from Columbia, and is currently a professor of English and Theatre at Centennial College. She believes that theatre has a unique ability to foster connection, empathy and joy, and has a deep love of the playfulness of the written word. Her favourite theatrical experience was the nine-hour, all-day Broadway performance of The Norman Conquests, which made fast friends of an audience of strangers.

Review: Music Music Life Death Music (One Little Goat)

One Little Goat brings absurdist theatre to the Tarragon Extraspace in Toronto

Music Music Life Death Music — a One Little Goat production written, directed and composed by Adam Seelig and playing at the Tarragon Extraspace — describes itself as an “absurdical” about family relationships. Absurdist theatre is a funny beast, and hard to do well. Though this might seem a mutually exclusive concept, I find the best absurd theatre has a very clear rationale to its tangents, bizarre moments and repetition. Often, plays in the genre feel like absurdity for its own sake, or even a warm-up writing exercise, and this show does have those moments. Like life, its a mixed but ultimately positive experience.

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Review: Amsterdam (Wilde Bunbury Theatre)


Amsterdam is an ambitious new play that gets lost in its execution, on stage in Toronto

Amsterdam, by Dan McPeake, presented by new company Wilde Bunbury Theatre and presented at the Red Sandcastle Theatre, is a 50-minute one-act play that speaks about the nature of time and its ability to shift identity, and the different personas we have at different times and for different people. It’s simultaneously linear and non-linear, asking us what it would be like if time merely ceased to exist. It’s a philosophical play by a young, developing playwright, and it shows. In the end, there’s an ambitious and interesting concept here that unfortunately doesn’t quite work in the execution.

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Review: I And You (Outlook Theatre)

I and You is “powerful”, “gut-wrenching”, “beautiful”, on stage at the Tarragon in Toronto

Lauren Gunderson’s I and You, an Outlook Theatre production now playing at the Tarragon Extraspace, falls squarely into the teen “sick-lit” genre of books like The Fault In Our Stars, where chronically, seriously ill high schoolers are humanized and given a chance to speak, explore life and death, and even find love.

Gunderson was the most-produced playwright in America (save Shakespeare) by far this past year, and it’s clear why. Her play is witty and self-aware; it’s charming, well-constructed and features nuanced, likable characters that challenge our assumptions and stereotypes about both teenagers and the chronically ill. It feels very safe and comforting, with enough theatrical flourish to bely that safety and not seem generic.

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Review: Mixie and the Halfbreeds (fu-GEN Theatre)

Sharp, insightful, “unfinished by design” play explores identity on the Toronto stage

What is it like to be mixed-race in a society that seems equally fixated on getting you to choose a singular self and asking, “no, where are you really from?” That’s the question plaguing the central characters of Mixie and the Halfbreeds, now being presented by fu-GEN Theatre at the Pia Bouman School, Scotiabank Studio Theatre. As in the quest for identity, there’s no straightforward answer.

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Review: The Drawer Boy (Theatre Passe Muraille)

Canadian play talks memory, storytelling, and voice, now on stage in Toronto

Michael Healey’s The Drawer Boy, currently running at Theatre Passe Muraille, is one of the most produced Canadian plays of all time. It features a familiar societal conflict: urban versus rural, actor versus tractor. Somehow, in all my theatre education, I had missed seeing this play thus far, and was excited to hear that Passe Muraille was bringing it back in honour of its 50th season.

What makes The Drawer Boy so enduringly popular with theatregoers, I think, is its exploration of the power of story and theatre; in particular, how story is so inextricably linked with memory and identity. When we change the stories we tell to and about ourselves, we can’t help but change who we are.

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Review: No Foreigners (fu-GEN/Hong Kong Exile)

No Foreigners Production Photo
A multimedia production of David Yee’s new play takes the stage at Toronto’s Theatre Centre

As I watched No Foreigners, a co-production between fu-GEN Theatre Company and Hong Kong Exile produced in association with Theatre Conspiracy and presented at The Theatre Centre, I was reminded of an essay by Wayson Choy, “I’m a Banana and Proud of It,” wherein he describes his long road to accepting “the paradox of being both Chinese and not Chinese.”

This is the same paradox the play explores, using the setting of Chinese shopping malls as “racialized spaces of cultural creation and clash.” Text writer David Yee asks us: what does it mean to be Chinese? What is it like to feel like a foreigner in your own country, or to your own background? Do you belong everywhere, or nowhere? The questions are universal; the way the play deals with them is unique, fascinating, and thoroughly amusing.

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Review: Dark Heart (Thought For Food)

Photo of Genevieve Adam and Michael Iliadis by John GundyDark Heart is a “brave new world of a show” playing on the Toronto stage

Dark Heart, a Thought For Food production now playing at the Assembly Theatre, is a prequel to an earlier work by playwright Genevieve Adam, Deceitful Above All Things, which is set in the same world of colonial New France. I haven’t seen it, but now I’m more than intrigued — this nuanced, captivating show inhabits a world worth visiting and revisiting.

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Review: Mustard (Tarragon)

Anand Rajaram and Sarah Dodd in Mustard, photo by Cylla von TiedemannTarragon Theatre brings the Dora Award-winning Mustard back to the Toronto stage

In Kat Sandler’s bright and offbeat Mustard, now being remounted at the Tarragon Theatre Extraspace, the titular character isn’t supposed to be there. Yet he persists. Mustard (Anand Rajaram) is Thai’s imaginary friend, confidant, and protector. That’s all well and good, but most imaginary friends aren’t supposed to hang around until you’re 16. Thai (Rebecca Liddiard), however, is both blessed and cursed with a giggly, rambunctious, fully-grown imaginary man with a penchant for scatological humour, because she needs a little extra love. Her father deserted the family, her mother drinks and takes pills to pretend to cope – and, oh, she’s pregnant by her college-age boyfriend.

Mustard has already won Doras for best production and performance (for Anand Rajaram), and it’s easy to see why. It’s got the bones of a typical family drama with an appealing atypical spin. It’s got humour, heart and fantasy — and it’s got just enough dark-edged, brutal danger to spice things up.

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Review: Million Dollar Quartet (Drayton Entertainment)

Tyler Check, Gerrad Everard and Matt Cage in Million Dollar QuartetMillion Dollar Quartet brings musical legends together, now playing on the Toronto stage

Drayton Entertainment’s production of Million Dollar Quartet at the newly-renamed CAA Theatre is a fictionalized jukebox musical about a real once-in-a-lifetime jam session. On December 4, 1956, four men gathered in a room in a meeting that would never be replicated. The recording studio at Sam Phillips’ Sun Records was largely responsible for the birth of rock and roll, and the independent shop still had the sound bigger record companies wanted to emulate (or steal) at all costs. Past, present, and future Sun Records stars Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis would play there together for the first and last time.

More of a concert with a whisper-thin plot than even a jukebox musical, Million Dollar Quartet knows and embraces what it is: an easy and assured crowd-pleaser squarely aimed at the demographic that can at least vaguely remember 1956 (or the decade thereafter). If you like the music, you will have a good time. If you don’t, why are you there in the first place?

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Review: Moll (Randolph College)

Photo of Armando Biasi and Alexandra Grant by Raph Nogal Timely and engaging Moll arrives on the Toronto stage

In this current world of #metoo, when it comes to sexual violence and predation, there are a few common themes. One, people in power tend to get away with things. Two, women who are victimized are often seen as tainted, and three, the onus appears to be on the woman to prove she is good enough, special enough, trustworthy enough not to have somehow deserved it. Cue the very timely Moll, a world-premiere musical being presented by the Randolph College for the Performing Arts at the Annex Theatre. A loosely-inspired, modern Canadian update of the 1722 novel Moll Flanders, it’s about a woman trying to become self-reliant with the deck stacked against her.

Written by Leslie Arden and the late Cathy Elliott, with Anna Theresa Cascio, Moll is a complex, catchy, and consummately professional show that I hope will have a life outside of Randolph. Even if not, like #metoo, it reminds us of the importance of listening to women’s voices in the here and now.

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