Kinky Boots, Cyndi Lauper-penned musical, “earn[s] every spangle” on the Toronto stage
There are regular-duty opening nights at the theatre – gowns, gays, glamour – and then there’s the extra-strength version that develops at the Royal Alexandra when Cyndi Lauper‘s in town for the opening of her totally charming, irrepressible musical with Harvey Fierstein: Kinky Boots. Not a sequin was wasted on a lackluster performance, though – Kinky Boots has earned every spangle on display (which, I do not believe anyone will be startled to hear, is quite a fair few). Continue reading Review: Kinky Boots (Mirvish)
Raw Matter Project takes on new Ontario sex ed. curriculum on stage in Toronto.
This morning, I unfolded the program from the Idle Lessons workshop at lemonTree Studios last night. It’s handwritten in purple pen on looseleaf paper, contains… most of the information I need to write my review, and is folded into the sort of intricate packet that was our only reference point for “information security” back in Grade 7. The program perfectly epitomizes the workshop itself: clever, bold, frolicsome, a bit uneven, and—while not fully cooked—quite promising.
Continue reading Review: Idle Lessons (Raw Matter)
Shakespeare meets Bollywood in Tarragon Theatre’s Much Ado About Nothing in Toronto
To be fair, Much Ado About Nothing is one of my favorites of Shakespeare, and so when it comes around again — as it has at Tarragon — I pounce upon an opportunity to enjoy a new staging. It’s flexible and broadly comic and tends to show the best of an actor, in my experience. Described as “Beatrice and Benedict take on Brampton in this Bollywood-inspired adaptation of Shakespeare’s most clever comedy” and full of the promise of amusing fusion, This version of Much Ado About Nothing delivered on most of its promises in spades.
Continue reading Review: Much Ado About Nothing (Tarragon)
The Barber of Seville, on stage at the Four Seasons Centre in Toronto, is a charming blend of merriment and song
There’s a Christine Lavin song that begins with: “I am at the opera, I don’t like the opera / But he loves the opera, and I love him.”
It’s clear to me that the man Christine Lavin sang about did not take her to The Barber of Seville at the Canadian Opera Company. The Barber of Seville is a great starter opera – it’s funny, it celebrates love, there’s lots of physical comedy and it is entirely without tragedy. The opening night audience included more children than I’ve ever seen at a COC production, and with good reason. The Barber of Seville is an opera buffa: it was written to be accessible, funny and easily enjoyed by people without training and literacy in opera. This is a perfect opera (and a marvellous production) to use as a gateway drug, so people who have never been to (or have never enjoyed) opera can begin to fall in love.
Continue reading Review: The Barber of Seville (Canadian Opera Company.
Cavalia’s “spectacular” equine fantasy show runs in Toronto until May 10th, 2015.
Cavalia’s Odysseo is all spectacle. It’s a giant expansive stage, and it needs to be—72 horses and 45 humans will perform on it over the course of the show. The humans include acrobats, aerialists on both silks and rings, a carousel that descends from the sky, and stunt riders.
In case that’s not enough for you, the landscape will change and ripple, go from spring to drought to icy winter, and show scenes from across the world. Near the end, rain actually floods the stage. For what it’s worth, the kid loved this show, and I have never, ever, seen him clap so enthusiastically.
Continue reading Review (Kid+1): Odysseo (Cavalia)