Butcher is a “fascinating” dive into unanswerable questions, now on stage in Toronto
Must revenge be a never-ending cycle? Are revenge and justice mutually exclusive, or are they one and the same? What do you do to raise your voice in a world that is bored with suffering? The Theatre Centre, in a co-production with Why Not? Theatre and Butcher’s Block Collective, presents Nicholas Billon’s explosive play Butcher, a thrilling, taut and harrowing 80 minutes of theatre that raises these uneasy, unanswerable questions.
Continue reading Review: Butcher (Why Not Theatre/Butcher’s Block)
Toronto’s Young People’s Theatre remounts their Dora Award Winning play Baobab
Sometimes, there’s nothing better than sitting back and watching a crowd of kids be enchanted by theatre. Of course, it helps when the show manages to be enchanting to the adults in the audience as well. Baobab, a remount of the Dora Award-winning 2012 production for children 4-8, comes back to the Young People’s Theatre Studio from October 13-23. Watching it, I saw an audience captivated by a combination of skillful puppetry and visuals, lovely harmonies, and a gentle myth.
Continue reading Review: Baobab (Young People’s Theatre)
This Thursday and Friday, Tapestry Opera presents a workshop presentation, or “beta-premiere of Selfie, a show that sets the social media generation to contemporary opera. We asked Artistic Director Michael Mori to give us a picture of what’s in store for the audience.
Continue reading Preview: Selfie (Tapestry Opera)
Canadian Comedy Award Winner James Gangl brings his hit one-man Edmonton Fringe show, In Search of Cruise Control, to the Second City John Candy Box Stage this weekend. With dramaturgy and direction by Fringe favourite Chris Gibbs, the show is the true story of Gangl’s attempt to give his teenaged nephew the sex talk.
We asked writer and perfomer Gangl a few questions about the upcoming production:
Continue reading Preview: In Search of Cruise Control (James Gangl)
The Play’s The Thing, presented by Soulpepper for the third time in the company’s 17-year lifespan, is a big airy cream-puff of a play; a juicy, over-ripe peach that is nonetheless a treat. Written by Ferenc Molnár (known for Liliom, the basis for the musical Carousel) and adapted in 1926 by P.G. Wodehouse of Jeeves and Wooster fame, it’s not a deep play, but it doesn’t pretend to be. Rather, it’s a play about plays, a delightfully sly send-up of the conventions and form of the well-made play, with a dollop of farce on top. Its references are irreverent, its artifice the most natural thing in the world.
Continue reading Review: The Play’s The Thing (Soulpepper)