All posts by Mirette Shoeir

Review: RHINOCEROS (Douze Citrons)

Thought-provoking Ionesco play arrives on the Toronto stage

Douze Citrons have chosen a timely moment to mount their production of Ionesco’s Rhinoceros at the Aki Studio. A quaint french town is turned upside down as its residents start changing into Rhinoceroses. The change happens slowly at first, and the animals seem to cause little harm, but soon life in the town comes to a standstill as more and more of its inhabitants transform. As the pressure mounts, the choice to remain human becomes less and less attractive. Continue reading Review: RHINOCEROS (Douze Citrons)

Review: Loot (Bygone Theatre)

British farce plays on the Toronto stage

Bygone Theatre fires off their 2018 season with Joe Orton’s Loot at Alumnae Theatre. I found this to be a production which shines on the technical aspects: the play is set in 1960s England and the set, props and costumes are all faithful representations of that era. The cast adopt English accents, which they maintain respectably well. Unfortunately, I felt that this attention to detail seems to have come at the expense of the humor and character depth offered by the play.

Continue reading Review: Loot (Bygone Theatre)

REVIEW: A Midsummer Night’s Dream (The Chekhov Collective)

The Chekhov Collective brings a new twist to the Bard’s classic comedy to Toronto audiences

I have seen A Midsummer Night’s Dream only once before years back and that production featured a large cast, an elaborate set, and costumes which is why I was looking forward to seeing this version by The Chekhov Collective at as intimate a space as The Citadel. Continue reading REVIEW: A Midsummer Night’s Dream (The Chekhov Collective)

2018 Progress Review: Race Cards (curated by The Theatre Centre & Little Black Afro Theatre Company)

What does it mean to be Black? Is it better to have an ill-informed conversation about race or no conversation at all? How do you feel when you hear (or hear yourself saying) the word diverse? Why did Rachel Dolezal feel the need to be Black- to go one step beyond cultural appropriation into something else? What does the desire to be polite play in racism? What were you expecting from a piece called Race Cards? Selina Thompson, the creator of Race Cards, an ever-expanding installation and archive taking place at The Theatre Centre as part of the Progress Festival, invites you to answer one of the previous questions on race. Continue reading 2018 Progress Review: Race Cards (curated by The Theatre Centre & Little Black Afro Theatre Company)