As the Canadian population ages, the question of the sort of end we each might local becomes more pressing. Modern medical care may be able to ensure an extended lifespan, while not being able to guarantee a high quality of life in this extra time so given. Living Will, a show put on by The Living Will Company at the Factory Theatre Mainspace as part of the Toronto Fringe Festival, is a sensitive and always watchable dramatization of an issue relevant to us all.
When reading the website blurb for Thought Experiment Production‘s 4’33” in Baghdad, playing as part of the 2018 Toronto Fringe Festival, I wasn’t sure what this show actually was. Having seen it, I’m still not quite sure? Something about an “immersive and interactive academic striptease” which is certainly clickbaity enough if you ask me. Intrigued, I went. And then I left slightly baffled.
While I was in awe of the performance, I noticed the entire audience seemed equally captivated by Shadow Kingdom. The story revolves around Minerva, who is glued to her phone. She doesn’t want to sleep and impatiently checks her phone again and again for messages. This leads to her phone being taken by Hypnos, the God of Sleep. Minerva decides to get her phone back and thus ensues a zany, colourful adventure.
Three generations of a family pile into a car on their way to a funeral. From the moment the engine starts, it’s clear that none of them can stand each other, and that they have a long drive ahead of them.
