Review: S h e e t s. (Veritas Theatre)

Salvatore Antonio’s play S h e e t s explore’s intimacy at Toronto’s Theatre Centre

Despite the buzz about “Naturist Appreciation Night” on Saturday, I saw  S h e e t s. with my clothes on, as did the rest of the audience at Theatre Centre. S h e e t s. (yes, that’s the title) is, according to the program, a play about many forms of intimacy in a single hotel room and there was, as advertised, a lot of nakedness and specifically erotic/sexual content.

Of the scenes, most contained at least one completely naked person (in addition to the entirely naked guy who was onstage the entire time; more on him in a moment) which sometimes worked brilliantly. Overall, that roughly summed up my experience of the play – what worked, really worked for me. What didn’t left me shrugging.

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Review: BUTCHER (Mirvish/Why Not Theatre)

Mirvish presents Nicolas Billon’s theatrical thriller play BUTCHER in Toronto

It’s now hours after I’ve left the theatre and I think I’ve finally caught my breath after seeing BUTCHER, a stunning thriller of a play by Canadian playwright Nicolas Billon, presented by Mirvish as part of their Off-Mirvish series. As I collect my thoughts and sit down to write about the show, I get a text from the co-worker I brought with me tonight: “I’m still thinking about the play … it delivers such a striking note that lingers.” Continue reading Review: BUTCHER (Mirvish/Why Not Theatre)

Review: Boys With Cars (Young People’s Theatre)

“Thoughtful and Precise” Boys with Cars arrives at the Young People’s Theatre in Toronto.

Boys With Cars, playing now at Young People’s Theatre, is an adaptation — and that’s only partly a metaphor. Written by and starring Anita Majumdar, the show is adapted from a trilogy of plays called The Fish Eyes Trilogy that focus on the experiences of young Indian women in rural British Columbia (even the play that ostensibly features a young white woman). The girls are navigating the complex, conflicting pressures of their culture and the context in which they’ve found themselves, and though the plays feature teenagers, the work was not originally intended as theatre for young audiences.  This may account for why it’s refreshingly free of the didactic heavy-handedness that often lays like a dead fish over plays that treat Serious Issues.

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