Soulpepper brings the Greek myth of Orpheus and Eurydice to the Young Centre Stage in Toronto
Soulpepper’s adaptation of Sarah Ruhl’s Eurydice, now playing at the Young Centre for the Performing Arts, claims to be a retelling of the Greek myth of Orpheus and Eurydice from the perspective of the great musician’s dead wife.
Really, though, the play is so much more than a mere perspective-flip: the myth acts as a framing device for Ruhl, the playwright, to explore lofty themes such as loss, memory, and connection. When paired with Soulpepper’s understated staging, this adaptation of Eurydice is both powerful and provoking in its depiction of death as a kind of cerebral Wonderland.
Continue reading Review: Eurydice (Soulpepper)
A silly, sparkling, Canadian operetta Earnest, the Importance of Being returns to the Toronto stage
Earnest, the Importance of Being has at least one interesting historical distinction. Originally staged by the Toronto Operetta Theatre in 2008, it marks the first Canadian operetta to be produced in over 100 years. Based on Oscar Wilde’s classic play, The Importance of Being Earnest, the TOT is returning to Wilde’s rollicking comedy with a winning revival of their previous hit at the St. Lawrence Centre for the Arts.
Jack (Cameron McPhail) is ‘Jack’ in the country, but ‘Ernest’ in town. The deception is part of an elaborate ruse he’s concocted in order to carry out his bachelor lifestyle without hassle. Unfortunately, Jack’s fiancée Gwendolyn (Michelle Garlough) has always dreamed of marrying a man named Ernest, and considers any other name to be unacceptable in a husband.
Continue reading Review: Earnest, the Importance of Being (Toronto Operetta Theatre)