All posts by S. Bear Bergman

S. Bear Bergman has great faith in the power of theatre to make change, and has been putting his money where his mouth is on that one for some time. A writer, performer, and lecturer, Bear works full time as an artist and cultural worker and loves to see as much live performance as possible – making this a fantastic gig for him.

Pirates Don’t Babysit (Black Sea Theatre) 2016 Toronto Fringe Review

Picture of a pirate and a baby

Waiting to see Pirates Don’t Babysit at George Ignatieff Theatre for Toronto Fringe 2016, I enjoyed the wash of that familiar Fringe feeling for the first time this year — a line, a line speech, being dunned for a button and so on. Then we entered the darkened theatre, me and my kid companions, and set sail on an imaginative (and fairly charming) pirate adventure.

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Review: Monumental (Luminato)

img_8023_0Monumental was a cacophonous movement and sound theatre piece as part of Luminato Toronto

The Hearn is imposing even from a distance, and Monumental even more so within the space. Even when you are not sure how to get there, you can see the giant smoke stack stabbing into the sky. It is the perfect place to be washed in the music of post-rockers Godspeed You! Black Emperor, entranced and horrified by the movements of Holy Body Tattoo, and lost in consideration of the text that appears on three large screens that frame the stage. This is an immersive experience. You are small, and the industrial world is in decay. It is a terrible, and beautiful, and profoundly bodily experience.

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Review: Body Politic (Buddies In Bad Times Theatre and lemonTree Creations)

Body Politic by Nick Green at Buddies in Bad Times TheatreThe Body Politic looks further into Toronto’s queer history on stage at Buddies in Bad Times

One might worry, if one were less nerdy than I am, that two gay historical productions in a single season could be considered an excess of history all together at Buddies In Bad Times Theatre. But for those of us who relish the stories of what happened before we arrived and our connection to the people who helped create the current political moment (for good or ill), The Body Politic satisfies a particular kind of itch.

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Review: Ultrasound (Cahoots Theatre/Theatre Passe Muraille)

A Cahoots Theatre & Theatre Passe Muraille Co-Production Written by Adam Pottle Directed by Marjorie Chan Dramaturgy by Yvette Nolan Additional Dramaturgy by Andy McKim Starring Chris Dodd in the role of Alphonse, and Elizabeth Morris in the role of Miranda Set, Lighting & Surtitles Design by Trevor Schwellnus Projection & Video Design by Cameron Davis Costume Design by Nina Okens Sound Design by Richard Lee Stage Management by Sandi Becker Production Management by Kaitlin Hickey Associate Production Manager & Surtitles Operator – Sally Roberts Assistant Stage Manager – Deborah Lim Design Assistant – Erin Frances Gerofsky Apprentice Lighting Designer – Sharmylae Taffe-Fletcher Vocal Coach – Cathy MacKinnon Deaf Community Consultant & ASL Coach, DATT* – Catherine MacKinnon External Deaf Consultant & ASL Coach, DATT* – Joanne Cripps Project Manager, DATT* – Anita Small ASL Interpretation for the Production by Tara Everett, Kate Lewis, and Nancie Anderson Deaf Interpreted Performances by Cathe

Cahoots Theatre’s Ultrasound is Rich and Interesting

A day later, I am still digesting Adam Pottle’s play Ultrasound, which opens tonight at Theatre Passe Muraille. When I arrived home after the production and some vigorous post-show discussion with my companions for the evening, our daughter asked: “Was it good? Did you like it?” Without hesitation, I replied: “It was very, very good. But it’s not really a play you can ‘like’.”

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Review: One Man Star Wars Trilogy (Starvox)

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Starvox presents the original Star Wars trilogy in a one-man show on stage in Toronto

I took Starvox at their word about One Man Star Wars Trilogy being suitable for “ages six to Yoda” on opening night at Bluma Appel Theatre and brought my favorite six-year-old Star Wars fan, Stanley, along to see Charles Ross’ solo rendition of all three movies, by himself, in 75 minutes. With nothing but a mic and a remarkable array of mouth noises, Ross recaps the entire trilogy. Though obviously a heroic endeavor, and clearly very appealing to the three guys sitting behind me, my small companion and I concurred – not really our cup of tea.

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