Tackling a script by the famous German playwright Bertolt Brecht and captivating score by Kurt Weill is not an easy feat. However, the UC Follies‘s current presentation of The Threepenny Operaat the University of Toronto’s Hart House Theatre, proves to be daring and ambitious.
Adapted from an 18th century English ballad opera, John Gray’s The Beggar’s Opera, Brecht’s Threepenny Opera, is a commentary on the 20th century capitalist world in Victorian London. This bawdy and dark musical comedy takes a look at London’s sleazy underworld and the plight of the oppressed poor.
Poetically written both in language and musical composition, showcasing entertaining musical numbers, this political satire will leave you humming many of the tunes long after the show. Continue reading Review: The Threepenny Opera (UC Follies)→
Michel Tremblay’s play, Saint Carmen of the Main, a co-production of Canadian Stage and National Arts Centre, opened last night at the Bluma Appel Theatre in Toronto.
Michel Tremblay is a Canadian icon, one of those names that we recognize even if we don’t know his work. The only other Tremblay play I’ve seen is For The Pleasure Of Seeing Her Again – a loving tribute to his mother that had me almost sobbing at times. I’ve also read The Fat Woman Next Door is Pregnant, the fat woman being his mother.
I had read a couple of promo blurbs about Saint Carmen of the Main but other than that knew nothing about it. I was expecting a play with a feeling similar to For The Pleasure Of Seeing Her Again. Other than both being set in Montreal the plays are not at all similar.
The most unexpected thing about Saint Carmen of the Main for me? It’s a classical tragedy, complete with chorus. A Greek tragedy set in Montreal and written in French.
Although I cursed volunteering to trek all the way over to Theatre Passe Muraille on night where I’d have to rely on the Queen Streetcar to avoid the icy wind from numbing my flesh, it was worth it to see Ondaatje’s Divisadero transformed for stage.
As a writer that had not only read Divisadero, but reviewed actor/alt country singer Justin Rutledge’s new album inspired by the book (featuring a song co-written by Ondaatje), I have to admit I was curious as to how they were going to transform the story to stage.
I’m ashamed to admit that I have never seen a full production of Wolfgang Amadeus Mozart’s last opera, The Magic Flute. Pretty sad considering its popularity and my love of the music.
So, I was thrilled to have the opportunity to catch The Canadian Opera Company’s newest production of the beloved opera now playing at The Four Seasons Centre for the Performing Arts until February 25th. Admittedly, I had very high expectations for the production and for the most part, I was not disappointed.
The Magic Flute follows the adventures of Prince Tamino as he undergoes various ordeals and trials in order to win the hand of the beautiful Pamina. This is a two act Singspiel opera, meaning the musical numbers are strung together by spoken dialogue, and is performed entirely in German.
Mirvish has been the dominant presenter of commercial theatre in Toronto for decades. Indeed, before the arrival of Aubrey Dan’s upstart Dancap onto the scene a few years ago Mirvish was the only major presenter of big broadway-style shows in Toronto.
The healthy competition from Dancap has forced Mirvish to up their game; their past couple seasons have arguably been their strongest in years.
