Courtney Gilmour’s one-person show (Congratulations! playing at the 2019 Toronto Fringe Festival) is an endearing look into the life of a stand-up comedian living with a disability. Courtney, specifically: was born without hands and I gotta say, it was amazing to get an “inside look” into what it’s like for a woman with a visible disability to navigate the comedy scene. What a unique topic for a one-person show…
Continue reading Congratulations! (Phat Artist) 2019 Toronto Fringe Review
Ok…it’s only the first day of Fringe and I think I’ve already found my favorite show. What is happening!? Is it a full moon? Am I on my period? Am I being blinded by love chemicals? No…Emotional Labour is just that good.
Continue reading Emotional Labour (Crimson Wave Productions) 2019 Toronto Fringe Review
Becoming Banksy, a new play about the enigmatic graffiti artist, makes its debut in Toronto
The joint is jumping at Toronto’s east-end studio meets arts space, Redwood Theatre, current home base of off-Broadway bound Becoming Banksy, a cheeky comedy written by NY-based writing duo, Cory Terry and Elan Wolf Farbiarz. Becoming Banksy chronicles the downward spiral of artist Will Banks (Anurag Choudhury) as he deals with accusations of being the mystery man himself while on vacation in Toronto.
Continue reading Becoming Banksy (The Redwood)
This original musical explores toxic masculinity, played at the Red Sandcastle Theatre in Toronto
I gotta say, I was a little apprehensive waiting for Boys Don’t Cry, playing at the Red Sandcastle Theatre, to begin. Sitting under fluorescent lights in a tiny black box theatre to the tune of the Falsettos cast recording made my mind go to some strange places. “What kind of show is this?”.
Continue reading Review: Boys Don’t Cry (Basement Productions)
Soulpepper’s adaptation of classic novel, now on the Toronto stage, is “appealing all around”
The stage of the Michael Young Theatre is set as you walk in for Soulpepper‘s Orlando. It feels like we’re in the foyer of a Parisian castle. Then cast member John Jarvis sets down a white chair and announces the beginning of the Elizabethan age.
What follows is a playful romp through the pages of Virginia Woolf’s classic book, Orlando. A fantastical tale about a starry-eyed boy-poet who wakes up one day as a woman, Soulpepper’s stage rendition of Virginia Woolf’s classic novel is wildly charming, full of passion, play and wit.
Continue reading Review: Orlando (Soulpepper)