All posts by Lin Young

Lin Young is a PhD candidate in the English Department at Queen’s University by day, an insatiable theatre-goer by night. She truly loves seeing innovative indie theatre, the strange sort of hole-in-the-wall shows that big companies would never take a risk on. She’s seen plays in basements, gardens, bars, and in old dilapidated houses, to name a few. She’s always on the lookout for the next theatrical experiment in the city, and loves seeing shows that have some quality of fantasy, historicity, or strangeness to them – especially if they involve puppets! She tweets about theatre, comics and the 19th century at @linkeepsitreal.

Announcement: Theatre20’s 2015/2016 Season Announced

New season features shows highlighting the work of Wilfred Owen, Leonard Cohen.

Theatre20, Toronto’s own artist-driven theatre company, announced their new season for the 2015/16 year tonight at their annual launch party. Their new season showcases their commitment to supporting ongoing Canadian talent, and features several works currently in development.

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Announcement: 2015 Dora Mavor Moore Award Nominees (With Links to MOT Reviews)


Soulpepper, Aluna and the Canadian Opera Company lead noms for the 36th Dora Awards

The Toronto Alliance for the Performing Arts (TAPA) revealed the nominations for the 36th Annual Dora Mavor Moore Awards early this morning, at a press conference at the Sony Centre for the Performing Arts. The Dora Awards seek to recognize excellence in the Toronto performing arts community, and will be hosted this year by award-winning actor and comedian Gavin Crawford.

In total, there were 236 nominations for 212 eligible productions, with 117 producing companies having registered eligible productions. 48 total awards will be given out on Monday, June 22 at Harbourfront Centre’s WestJet Stage.

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Review: Eurydice (Soulpepper)

Eurydice, Soulpepper

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.

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Review: Earnest, the Importance of Being (Toronto Operetta Theatre)

Gwendolen & Cecily at Love SeatA 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.

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