Drag Ballet Troupe Treat Toronto With “Particular Pleasures”
Few things are as delightful as accomplished, stylish drag performance, and in an uncertain world, it’s a considerable relief that we can still count on Les Ballets Trockadero de Monte Carlo to deliver a flawless, high tone, high-test performance every time. With a well-established repertoire of ballet classics, the venerable all-male comic ballet troupe remains in excellent form.
Continue reading Review: Les Ballets Trockadero de Monte Carlo (ShowONE)
New performance leaves our reviewer “full of questions in the best and most interesting way.”
I find it quite impossible to “review” (in a traditional sense), the performance/workshop/offering of How I Learned To Serve Tea by Shaista Latif, which I experienced as part of the Progress Festival of Performance and Ideas.
This should not be taken as an indictment of the work, which I found thoroughly nourishing and quite delicious to participate in. Rather, because How I Learned To Serve Tea seems to me far more an Idea than a Performance.
It feels underserved by a traditional review, and so I will instead offer what seems potentially useful: my experience and reflections.
Continue reading Review: How I Learned To Serve Tea (Progress Festival / Why Not Theatre)
A Julius Caesar That Feels Crisp and Alert
After being thrilled to bits by Chris Abraham’s Tartuffe at Canadian Stage, I will tell you truly that I had high expectations for his Julius Caesar at Streetcar Crowsnest. So high, in fact, that to balance my natural enthusiasm I brought a friend who suffers attenuated residual high-school Shakespeare exhaustion and who greeted all my protestations that it would be exciting with a grim “we’ll see.” Let the record show: I was right. This Julius Caesar is fantastic.
Continue reading Review: Julius Caesar (Groundling Theatre Company and Crow’s Theatre)
Described as “salty as it is sweet,” Tease has a burlesque heart beating under the “traditional theatre” trappings of the 2020 Next Stage Theatre Festival, and when the show stays true to its internal rhythm, it’s a textured and interestingly nuanced pleasure.
Continue reading Tease (Theatre Lab and Big City Kitties) 2020 Next Stage Festival Review
Kitne Saare Laloo Yahan Pey Hain, having garnered great interest in a shorter form during Soulpepper’s collection Welcome To My Underworld last spring, is a wild journey into a difficult and gripping story that emerges, slowly, under pressure. While still shaking out a few last hiccups, the show has an undeniable theatrical power.
Continue reading Kitne Saare Laloo Yahan Pey Hain (The KSLYPH Collective) 2020 Next Stage Festival Review