The Clean House is comedy that is “polished”, “superb”, and “bitingly funny” on stage in Toronto
After seeing the opening night performance of Sarah Ruhl’s The Clean House, now playing at Alumnae Theatre, my companion put too much hot sauce on her Pad Thai. Tears streaming down her face, she assured me, “I’m crying, but I’m happy.” After a moment of careful consideration, she continued, “like the play.” It was a fitting statement, as The Clean House is a bitingly funny comedy with a wounded, glorious heart underneath; it’s a wonderfully, startlingly human play about weird love, family, devotion, class, and the funniest joke in the world.
Continue reading Review: The Clean House (Alumnae Theatre Company)
Playing in Toronto, Kiss is a surprising, powerful show that could dive a bit deeper
Guillermo Calderón’s Kiss, presented by Theatre Smash and ARC and now playing at Canadian Stage’s Berkeley Street Theatre, is a show that goes from 0-60 at lightning speed. Audience members are initially treated to a chuckle-worthy melodrama featuring an intense love quadrangle, seemingly inexplicably set in Damascus.
But not all is as it appears to be, and the twists and turns of the play rapidly change it from soap opera to something much deeper. Kiss is a powerful show that will keep you thinking about it long after the actors have left the stage, but its deceptions and pointed commentary prove to be both its greatest strengths and its greatest weaknesses.
Continue reading Review: Kiss (ARC and Theatre Smash/Canadian Stage)
Necessary Angel explores theatre through tableaus at the Artscape Sandbox in Toronto
A City, based on playwright Greg MacArthur’s experiences in Montreal with a group of young theatre artists, bills itself as a version of a “tableau vivant” (a silent arrangement of human beings that forms a still picture). If you’re worried that means a lot of dead air on stage, don’t be; the emphasis in Necessary Angel’s production at Artscape Sandbox is definitely on the “vivant,” with near-constant motion and intimate connection with the audience in 65 quick minutes.
It’s fitting that the so-called tableaux are in motion, because the show revolves around liminal states, those moments in between when you can feel an ending coming (a life, an era, a friendship), but the realization hasn’t quite arrived. It’s a comment on our desire but ultimate inability to freeze time.
Continue reading Review: A City (Necessary Angel)
Breath in Between vacillates between “artifice and symbolism”, on stage in Toronto
“I’m sick of all this artifice,” proclaims Roger, the main character of Anton Piatigorsky’s Breath In Between. Coming about two-thirds of the way through the Crow’s Theatre show playing at Streetcar Crowsnest, it’s a meta moment, as this is a show that trades heavily on artifice and symbolism.
In fact, it walks a fine line between artifice and painful earnestness, as it attempts to ponder the constantly-switching sacred and profane in human connection. It’s a complicated and dark show about deeply unpleasant people, with a philosophical bent that intrigues and irritates in equal measure. Breath In Between will stay with you, and it’s never boring, but for a show that’s all about the heart, it’s difficult to love.
Continue reading Review: Breath In Between (Crow’s Theatre)
In On It is “powerful” experimental theatre, now playing on the Toronto stage
When I saw the first Toronto production of Daniel MacIvor’s In On It in 2002, it blew my high-school-aged mind. It was a piece of meta-theatre about the messiness of endings, living with disappointment, and how our expectations of life and of theatre share some uncanny similarities: we’re hoping things will satisfyingly come full circle, that they’ll work out, that we’ll leave on something pithy or fun or daring. In theatre, we can engineer an ending; in life, it rarely works out so well.
Nearly fifteen years later, I was eager to see emerGENce Theatre’s fresh production of the show at Theatre Passe Muraille. Some things about it have aged better than others, but with age comes wisdom, experience and melancholy. In On It has all of these things, and it’s a show you want to get in on. Continue reading Review: In On It (emerGENce Theatre)
The Gut Girls, on stage in Toronto, is “funny, philosophical and savage”
It was with a heavy heart on Inauguration Day that I sat down to watch Alumnae Theatre’s production of The Gut Girls, Sarah Daniels’ feminist play about British women who live at the top of the 20th century and the bottom of society. They hang on to a precarious livelihood and some shred of autonomy by taking jobs in the “gut sheds,” where they work in pools of blood, butchering animal carcasses and removing entrails.
The Gut Girls were the original Nasty Women: coarse, rude, fierce, and above all self-sufficient, they attempted to be the masters of their own fates, only to be cut down by a society that adheres to strict social and gender roles. The play was written in 1988 to combat Britain’s trauma from Margaret Thatcher’s election, and as the 45th American President is sworn in to the sound of mass, worldwide protests, it only appears more timely. It’s a vital work that demands to be seen today, to acknowledge the past and try to change the future.
Continue reading Review: The Gut Girls (Alumnae Theatre)
LOT’s Sister Act brings the 90’s classic film to the Toronto stage in musical format
You will likely walk out of Sister Act: The Musical, now playing at the Lower Ossington Theatre, with a smile on your face. However, you might not remember anything ten minutes after you walk out that door. The show has a heartwarming message, but features some exceptionally bland book and songwriting, which energetic performances can only take so far.
The chemistry of the nuns’ sisterhood and the standout performance of the Mother Superior are worth seeing. The writing, is, well… nunsense.
Continue reading Review: Sister Act (Lower Ossington Theatre)
The Damage Done, on stage in Toronto, stretches the seams of viability
George F. Walker’s characters are people you wouldn’t normally find at the theatre, although thanks to his decades-long writing career, they are certainly people you find on Toronto stages. Concentrating on the stories of Toronto’s East End neighbourhoods, Walker specializes in the theatre of the marginalized, sometimes returning to favourite characters and stories.
The Damage Done—directed by Ken Gass for Canadian Rep Theatre at The Citadel—is the third play in the story of Bobby (Wes Berger) and Tina (Sarah Murphy-Dyson), whose tempestuous teenage relationship resulted in two daughters, hard times, and a permanent split. In this new volume, the two are older (and maybe a little wiser) but at this point their story has stretched as far as it can go.
Continue reading Review: The Damage Done (Canadian Rep Theatre)
Hazel, on stage in Toronto, has some sunny spots but could be gustier
Michael Stittle’s Hazel, presented by Port Moresby Productions at the Red Sandcastle Theatre, is set during the 1954 hurricane, the last of its kind to hit and devastate Toronto and southern Ontario. In the midst of heavy rain and wind, two gangsters struggle into a trailer with a bag of stolen cash—and wounds from a car accident—caused when their third attempted a double-cross.
While they figure out what to do with the money, knowing their boss is waiting, other weather wanderers appear, complicating the situation. It’s an intriguing set-up, but unlike great swaths of Ontario countryside after the hurricane, the plot doesn’t entirely hold water.
Continue reading Review: Hazel (Port Moresby Productions)
Chasse-Galerie is a jolly, swear-laden light-in-the-dark, on stage in Toronto
The world can sometimes feel like a dark and unforgiving place and—particularly after the events this week—it may feel like we’ve made a deal with the Devil. Chasse-Galerie, a Kabìn and Storefront Theatre co-production, now playing at Soulpepper’s Young Centre, is a bright antidote to dark times. It’s theatre that feels like a party, and it’s one hell of a ride. Continue reading Review: Chasse-Galerie (Kabin/Storefront/Soulpepper)