All posts by Madeleine Copp

Madeleine Copp saw her first show when she was four years old and it was love at first sight. She pursued a bachelor’s in theatre production and design and English literature, culminating in a love for flexible, innovative, and diverse theatre artists that challenge all our preconceived notions of the stage. Her thesis, Printed Voices: Women, Print, and Performance pushed for new interpretations of closet drama from the early modern to modern period in the hopes of seeing more female playwrights included in the performance canon. Since graduating, Madeleine continues to seek out unexpected, startling, and challenging works that leave her angry, speechless, and wonderfully confused.

Review: Agency (Yell Rebel Theatre)

Photo of Eva Barrie and Earl Pastko in AgencyEva Barrie play, on stage in Toronto, is a fascinating character study

Actions born out of dire situations can come back to haunt us. In Yell Rebel Theatre’s Agency, playing at the Theatre Centre Incubator Space until November 20th, the consequences of past actions becomes a living, breathing thing.

A disturbing script delves into questions of self, histories, and the point at which a person can, or can’t, let go.

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Review: King Lear (Mortar & Pestle Productions)

Poster for King LearMortar and Pestle’s King Lear stays on script, but could be gutsier

Where, exactly, does a tragedy start? Is it the moment a story is conceived? Or is it the moments when everything can be easily undone by simple communication?

Mortar and Pestle Production’s King Lear playing at the Gerrard Arts Space is a show that presents the inevitable tragedy with characters who seem to expect the events.

When everyone feels ahead of the plot, however, the story becomes less a tragedy and more a question of purpose.

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Review: Frolick in the Face of Death (Frolick Theatre)

Picture of Frolick in the Face of Certain Death

Toronto’s Frolick Studio Theatre goes easy on terror, but asks you to get your hands a bit bloody

A murder, a missing body, and a long forgotten history. Is anyone really ready for by Frolick Theatre playing at the Frolick Studio Theatre?

This is an interactive haunted house that thrives on its theatrical roots—a fun little romp with a few creative extras thrown in.

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Review: Aftermath (Waterworks Company)

Photo of Helena Levitt as Andrea DworkinAftermath, now on stage in Toronto, is intense and challenging

In 1999, feminist activist and writer Andrea Dworkin was drugged and raped in Paris. Aftermath, adapted for the stage by Adam Thorburn from from an unpublished work of Dworkin’s, produced by Waterworks Company and playing at the Aki Studio, is her story in her own words.

This is not an easy production to watch, and it’s even harder to forget.

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Review: Come What Mayhem (The Second City)

Photo of Come What Mayhem castThe Second City Toronto premieres it’s Fall mainstage comedy revue Come What Mayhem

When we look back on 2016, what exactly will we be seeing? A year of change? Or a year full of the same old same old? The Second City’s Come What Mayhem playing at the Second City Mainstage crafts a show that aims to fight apathy with hilarity.

This politically charged sketch revue tackles current, ripped from the headline events and attempts to not only challenge our perspectives, but also open dialogue. For me, it’s how these sketches directly challenge the audience to respond that makes not only the comedy that much funnier, but also makes the entire premise shine.

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