All posts by Ilana Lucas

Ilana Lucas has been a big theatre nerd since witnessing a fateful Gilbert and Sullivan production at the age of seven. She has studied theatre for most of her life, holds a BA in English and Theatre from Princeton and an MFA in Dramaturgy and Script Development from Columbia, and is currently a professor of English and Theatre at Centennial College. She believes that theatre has a unique ability to foster connection, empathy and joy, and has a deep love of the playfulness of the written word. Her favourite theatrical experience was the nine-hour, all-day Broadway performance of The Norman Conquests, which made fast friends of an audience of strangers.

I Love You, Judy Merril (House of James) 2015 Toronto Fringe Review

Photo of Jim SmithJudy Merril, pioneering female science fiction writer of the 1950s, anthologist, and dissident, seems like a fascinating thinker who is unfairly being forgotten after her death in 1997. Unfortunately, I felt I learned more about her from the attractively-designed program than I did from  I Love You, Judy Merril (House of James) Jim Smith’s one-man Toronto Fringe Festival show, which is well-intentioned, but only orbits its subject. Continue reading I Love You, Judy Merril (House of James) 2015 Toronto Fringe Review

Morro and Jasp do Puberty (Up Your Nose and In Your Toes Productions) 2015 Toronto Fringe Review

Photo of Morro and Jasp

In Morro and Jasp do Puberty, presented as part of the 2015 Toronto Fringe Festival, clown sisters Morro (Heather Marie Annis) and Jasp (Amy Lee) are going through puberty, a time when everything is awkward and nothing is certain. Puberty might be unsure of itself, but this duo is anything but; having toured their shows at Fringe for almost a decade, they are masters of the craft. They have exquisite timing, hilarious dialogue, and a stubborn streak of empathy and melancholy that makes this show more than just a good time. Continue reading Morro and Jasp do Puberty (Up Your Nose and In Your Toes Productions) 2015 Toronto Fringe Review