Right off the bat, Goodbye To All That (playing in the Passe Muraille Mainspace at the Toronto Fringe Festival) has a great name going for it. It also sports some great dialogue and fantastic acting.
The show tells the story of a wayward man who falls in with a ragtag group at the Cabaret Voltaire in the midst of WWI. Through them, he learns of Dadaism as a form of expression. The show’s timeline is non-linear, but the plot is still concise and easy to follow. This play is a perfect example of dramedy, with an even balance of both the comedic and dramatic in it.
Continue reading Goodbye To All That (Mirabilis) 2016 Toronto Fringe Review
If you’ve ever thought you might enjoy seeing someone “trip balls” onstage (or if you partake in such shenanigans yourself), then Frolick Theatre’s production of Cowboy Mouth is everything you could want. This is a rather strange production being put on in the Passe Muraille Mainspace (16 Ryerson Avenue) at the Toronto Fringe Festival. Continue reading Cowboy Mouth (Frolick) 2016 Toronto Fringe Review
I was skeptical going into Boulderz Climbing Centre (1444 Dupont St, Unit 16) to see the Sky Above Us Productions show, Crux, at the Toronto Fringe Festival. Seeing a show at a climbing centre sounded kind of gimmicky to me. But coming out of it I was ecstatic. This is the most fun I’ve had at the “theatre” in a very long time.
Continue reading Crux (Sky Above Us) 2016 Toronto Fringe Review
When I emerged from the Passe Muraille Backspace (16 Ryerson Ave) having just seen Cut Up by Poison Cathedral Productions at the Toronto Fringe Festival, the woman working the booth asked me what it was about. To be honest, I’m still not entirely sure.
Continue reading Cut Up (Poison Cathedral) 2016 Toronto Fringe Review
4.48 Psychosis Captures a State of Mind, Now Playing in Toronto
NSK Theatre is mounting a short run of Sarah Kane’s 4.48 Psychosis in Toronto’s Storefront Theatre. 4.48 is a harrowing portrayal of depression and suicidal ideation, and the last work Kane produced before taking her own life in 1999.
I’ve heard 4.48 described as a very long suicide note being performed onstage. The play is not written with characters, just lines that could be divvied up between any number of actors. For this reason, any production of 4.48 will necessarily have a healthy dose of dramaturgy. So if the subject matter isn’t enough to make this a complex piece, this is a show that often forays into abstraction. Continue reading Review: 4.48 Psychosis (NSK Theatre)