This one-man show is “haunting” and “resonating”, at the Theatre Passe Muraille in Toronto
Krapp’s Last Tape is a short play by Samuel Beckett about an old man looking back on a life lived alone and less-than-well. It isn’t the sort of thing you want to watch by yourself after being cancelled on twice, but that was my situation this past weekend. My friends missed out though, because Theatre Passe Muraille’s production makes for a spectacular and deeply intimate show.
Without a doubt, this is the best use of the Passe-Muraille’s Backspace that I’ve seen. Normally, the shows I see there come from small production companies that would want for a larger performance space if it were available to them. Here, Krapp’s Last Tape makes great use of the backspace’s intimacy. Continue reading Review: Krapp’s Last Tape (Theatre Passe Muraille)
Environmentally conscious theatre lights up the Tarragon stage in Toronto
Marine Life is an original romantic dramedy written and directed by Rosa Labordé, about a dysfunctional activist who falls for a selfish lawyer and persuades him to change his ways. It’s a cute, funny play with a great message to take home, encouraging the audience to be empathetic and caring activists. Marine Life is playing at Tarragon Theatre and I highly recommend giving it a watch.
Continue reading Review: Marine Life (Tarragon)
If you’re into rock musicals, then you’ll be excited to hear one of the big ones, Hedwig and the Angry Inch, is being put on by Hart House Theatre (7 Hart House Circle) until October 7. It’s an energetic, emotional romp that I recommend checking out.
This production was actually my introduction to Hedwig and the Angry Inch. It’s one of those shows that I’ve always known of but never had the chance to see. I’m thrilled that I finally got that chance. It’s a rock musical that flits between high-energy, passionate songs, and sombre, soulful storytelling. Continue reading Review: Hedwig and the Angry Inch (Hart House)
The Last Five Years hit Toronto stages, but not all the right notes
The Last 5 Years was onstage this past weekend as the debut for new Toronto theatre company, Theatre Here and Now.
With a cast of just two characters, Cathy (Nicole Marie McCafferty) and Jamie (Armand Antony), The Last 5 Years is one of those shows that often appeals to small theatre troupes. In my opinion, it also has a lot going for it as an all-around fantastic musical: brilliant writing, incredible music, and a clever conceit where one character is moving backwards in time and the other forwards. Continue reading Review: The Last 5 Years (Theatre Here and Now)
Soulpepper’s season opens with Picture This, now playing on the Toronto stage
Along with Waiting for Godot, Soulpepper is kicking off its fall season with Picture This, which you can catch at the Young Centre for the Performing Arts until Oct. 7th.
To me, Picture This seemed pretty promising at the outset. It’s a slapstick comedy originally written in 1937 by Hungarian playwright Melchior Lengyel and adapted by celebrated artists Brenda Robins and Morris Panych. I was looking forward to this show, and took my roommate along with 100% confidence that what we were going to see would at least be watchable.
Continue reading Review: Picture This (Soulpepper)
Second City’s newest sketch show delivers the laughs on the Toronto stage
If you’re looking for a great evening out, look no further than The Second City‘s Party Today (Panic Tomorrow), a new sketch revue that’s on until December 30th at their location on 51 Mercer St. That’s plenty of time to check this show out, and I recommend you do.
I love reviewing comedies, but I’ve never actually been to a Second City Mainstage show (only the children’s Christmas show). I left this production thinking I’d been missing out all these years. Continue reading Party Today, Panic Tomorrow (The Second City Mainstage)
Christopher Ross-Ewart’s show Explosions for the 21st Century isn’t just something to go see, it’s something to hear. It’s being put on at The Theatre Centre Incubator as part of SummerWorks 2017 And I really recommend you give it a watch and a listen.
Ross-Ewart is a sound designer, and among many other things this show is an ode to his passion for the craft. He gives off the air of a dorky tech-guy that’s been put up in front of an audience. He opens by cracking nervous jokes and then starts monologuing while using his soundboard as an aid. Almost immediately, you’ll realize that not only is Ross-Ewart very funny, he has a lot to say Continue reading Explosions for the 21st Century (Pressgang Theatre) SummerWorks Review 2017
Verisimilitude is a grim, dystopian drama written and directed by Kat Schmael. It’s being put on at SummerWorks 2017 by Cawthra Secondary School atthe Pia Bouman – Scotiabank Studio Theatre (6 Noble Street) with just one more performance on August 13th.
Until the morning of, I didn’t realize that this was a high school production. Not that I wouldn’t see student theatre on my own time, but I’ve always felt uncomfortable at the prospect of reviewing it. However, I’m really glad to say that this production totally surpassed my expectations.
Continue reading Verisimilitude (Cawthra Park Secondary School) SummerWorks Review 2017
Storytelling and dance in a double-bill make for a lovely show with Mother Sea / Manman La Mer and What Do You See?, which are playing at The Theatre Centre BMO Incubator (1115 Queen Street W, Toronto, ON) as part of SummerWorks 2017.
I enjoyed both of these shows, and though they were very different, I found that seeing them back-to-back made for a single cohesive experience. They both feature women of colour telling their stories, just one is in a more literal fashion.
Continue reading Mother Sea / Manman La Mer & What Do You See? (Crick Crack Collective / Jasmyn Fyffe Dance) SummerWorks Review 2017
In Moonlight After Midnight, a mysterious romance by Concrete Drops playing at the Toronto Fringe Festival, a man and woman meet in a hotel room, and we’re not sure why they’re there.
The two unnamed characters act out scenes that may or may not be real, and the rest of this show unfolds like a long series of riddles. The entire time I was struggling to figure out what was going on, but the audience is given just enough clues to stay hooked. The resolution is both poignant and satisfying.
Continue reading Moonlight After Midnight (Concrete Drops) 2017 Toronto Fringe Review