All posts by Keira Grant

Review: The Return of Ulysses (Opera Atelier)

First performed in 1639, The Return of Ulysses by Claudio Monteverdi is currently being produced by Opera Atelier. It is one of the earliest operas you are likely to see performed on a 21st century stage. The timelessness of this universally-known story likely has something to do with the work’s ongoing popularity. It’s based on the second half of Homer’s Odyssey, wherein Ulysses (Odysseus), the King of Ithaca, returns home to his faithful wife Penelope. In order to reclaim his kingdom and his wife, he must fight off three evil suitors with a little help and hindrance from the gods. The Opera Atelier production is beautifully rendered and, as usual, a feast for the eyes as well as the ears. Continue reading Review: The Return of Ulysses (Opera Atelier)

Review: The Nightingale and Other Fables (Canadian Opera Company)

Opera blends with puppetry in a breathtaking performance captivating Toronto audiences

The Nightingale and Other Fables (Canadian Opera Company) is a hauntingly beautiful production that innovatively weaves several short works by Igor Stravinsky into an integrated dramatic presentation. It is comprised of song cycles, short stories and instrumental pieces that are dramatized through puppetry, culminating in Stravinsky’s charming opera The Nightingale. Crafted by celebrated Canadian stage director Robert Lepage, The Nightingale and Other Short Fables is rapidly becoming part of the 21st Century operatic canon internationally. Continue reading Review: The Nightingale and Other Fables (Canadian Opera Company)

Review: Addicted (ADEDO Collective with The Watah Theatre)

Raven Dauda performs her new one-woman show Addicted in Toronto

Addicted, a new one-woman show produced by ADEDO Collective with The Watah Theatre is a confessional and spiritual exploration of intergenerational substance abuse stemming from colonial trauma that straddles the line between realism and surrealism. The use of mime, physical comedy, wry humour, storytelling and puppetry created a united whole that cuts a little too close to the bone emotionally. Continue reading Review: Addicted (ADEDO Collective with The Watah Theatre)

Review: The Overcoat: A Musical Tailoring (Tapestry Opera/Vancouver Opera/Canadian Stage)

Tapestry Opera with Canadian Stage brings The Overcoat to Toronto in movement and opera

Tapestry Opera and Canadian Stage ’s world premiere co-production of The Overcoat: A Musical Tailoring by playwright Morris Panych and composer James Rolfe is an atmospheric and clever interpretation of the original 1842 short story The Overcoat by Nikolai Gogol. On the surface, the premise of the story is simple. A bean-counter caught in the nine-to-five hamster wheel needs a new coat and finally gets a beautiful one tailored, with unforeseen results. Adapting this story as an opera is ingenious because music is used to engagingly illustrate the deeper subtext of the tale. Continue reading Review: The Overcoat: A Musical Tailoring (Tapestry Opera/Vancouver Opera/Canadian Stage)

Review: Les Misérables (Theatre Smith-Gilmour)

Theatre Smith-Gilmour presents a stripped down black box take on the Victor Hugo classic in Toronto

The story of Les Misérables is well known to most as the 1980 musical by Claude-Michele Schöenberg, be it on stage or the movie starring Hugh Jackman. This theatrical adaptation by Dean Gilmour and Michele Smith, co-artistic directors of Theatre Smith-Gilmour, dives into the pathos of the story without relying on any of the big scores and big sets audiences have grown accustomed to. For me, this stripped down retelling of the well-known tale underscores some of the most timeless elements of the story. We do not need as much stuff as we think we need, and adhering to the status quo is not always the right choice. Continue reading Review: Les Misérables (Theatre Smith-Gilmour)

Review: 4.48 Psychosis (NSK Theatre)

Polarizing play takes to the Toronto stage

4.48 Psychosis  by Sarah Kane (Native Earth Performing Arts, 2018) is a 75 minute ode to suicidality. The protagonist, her lover, and her psychiatrist rarely engage in dialogue, with most of the narrative unfolding in the form of voluminous poetic monologues. There is no plot per se, but rather a deep exploration of the inner life of someone on the brink of death. Continue reading Review: 4.48 Psychosis (NSK Theatre)

Review: The Abduction from the Seraglio (Canadian Opera Company)

The COC brings one of Mozart’s masterpieces to the Toronto stage

The Canadian Opera Company’s original production of The Abduction from the Seraglio (Die Entfürung aus dem Serail, W.A. Mozart, 1782), under the direction of Wajdi Mouawad, has made some bold and progressive choices with difficult and racially charged subject matter. There is some deviation from the original 18th century text, which is aided by the fact that this is a Singspiel opera, wherein the dialog is spoken, rather than sung as recitative.

Continue reading Review: The Abduction from the Seraglio (Canadian Opera Company)

Review: hang (Obsidian Theatre)

hang is “ingenious” and “shrewdly written”, on stage in Toronto

“What could ‘justice’ look like for the victims of a heinous, life-altering crime?” is an intense question to explore. hang, by debbie tucker green wades right into that intensity and does not back away for a second. The current Obsidian Theatre production teases out every painstakingly uncomfortable beat with unrelenting commitment. Continue reading Review: hang (Obsidian Theatre)