Thousand Beginnings is a piece of performance art that combines intensely physical choreography, philosophical poetry, and visually dazzling prop work into happenings about the expectations of femininity a woman needs to shed to find peace. It’s a substantive debut from Under The Umbrella and a challenging addition to the Toronto Fringe that will leave plenty to ponder after the curtain falls.
Continue reading Thousand Beginnings (Under The Umbrella) 2018 Toronto Fringe Review
Echoes, by Omnika In Motion, is a multi-disciplinary dance piece that reinterprets the classic trope of Jekyll and Hyde through props, shadow play, and genres as diverse as belly dance, jazz, hip-hop, and circus. Currently playing at Factory Theatre, the show represents a refreshingly plot-free, dialogue-free option compared to the more straightforward stories one might encounter at Toronto Fringe.
Continue reading Echoes (Omnika In Motion) 2018 Toronto Fringe Review
To behold the dense universe of emotions that is Robert—a new tragicomedy from Lark & Whimsy Theatre Collective playing at St. George The Martyr—is to discover the kind of undeniable gem the Fringe exists to shed light on.
Continue reading Robert (Lark & Whimsy Theatre Collective) 2018 Toronto Fringe Review
For their production of Wounds to the Face, Howard Barker’s surreal treatise on identity, director Matjash Mrozewski and the actors from Randolph College have bitten off more than they can chew. Currently playing at the Annex Theatre, this Toronto Fringe offering relies too heavily on its amateur cast to carry a play where strong characters are the main dish.
Continue reading Wounds to the Face (Randolph College) 2018 Toronto Fringe Review
How to be FEARLESS (With Roxy Roberts) — by Binocular Theatre — is a play about a firecracker of a motivation speaker and the self-defense course she creates in response to being harassed and threatened with physical violence. Currently showing at Bell Tower Coffee, this sure-fire Toronto Fringe favourite blends consistently sharp comedy, incisive drama, and a performance from Ali Joy Richardson (in the title role) that accepts nothing less than going for the fences.
Continue reading How to be FEARLESS! (With Roxy Roberts) (Binocular Theatre) 2018 Toronto Fringe Review
Fourth Gorgon Theatre explores the Ulysses character in four unique parts, playing in Toronto
The main draw for Molly Bloom — on stage at Majlis Art Garden until June 16 — is the precision and confidence that come from Fourth Gorgon Theatre having developed the show over the last five years. Seeing as we’re dealing with an adaptation of the last chapter of James Joyce’s notoriously dense Ulysses, cohesion is exactly what you’re looking for.
Continue reading Review: Molly Bloom (Fourth Gorgon Theatre)
Sexuality and identity are key themes in this play, now on stage at Toronto’s Tarragon Theatre
Entry to The ‘94 Club—currently running at the Tarragon Theatre—grants you a gorgeously written and deeply empathetic play about a crew of fifteen-year-old girls exploring their sexualities. They devise a competition among themselves to this end, one that makes for a riveting survey of sex, gender, and consent as they grapple with these concepts for the first time.
Continue reading Review: The ‘94 Club (Crave Productions)
Two challenging, unconventional works currently playing on the Toronto stage
Tell Me What It’s Called and Mr. Truth are the latest examples of the quality independent theatre that the RISER Project has built its reputation on supporting. They are also the latest reasons why The Theatre Centre remains a leading space for risk-taking on stage.
Continue reading Review: Tell Me What It’s Called and Mr. Truth (Tell Me Theatre, Lester Trips (Theatre), Why Not Theatre)
Four new plays open the New Ideas Festival at the Alumnae in Toronto
The first week of the 30th annual New Ideas Festival—organized by the Alumnae Theatre Company on this its 100th year—offers four new plays. Each one disentangles different approaches to the concept of following what you feel is right, and how that can come back and haunt you.
Continue reading Review: F*ck L*ve, The Dancing Man of Macklin Street, Governing Ourselves, and Oracle Jane (Alumnae Theatre Company)
Homewrecker, a new play by Danny Pagett, is now playing at Toronto’s Assembly Theatre
If a play’s purpose is to offer a take on a specific subject, I’m expecting a nuanced perspective to run through its core, and that is certainly the case with Homewrecker.
Currently running at The Assembly Theatre, the story centres on a cheating, self-loathing divorcee named Craig (Blue Bigwood-Mallin) eager to figure out where he went wrong, and Veronica (Susannah Mackay), the woman he cheated with, whose steely resolve he needs to put himself back together. Craig’s basement apartment—uncanny in its execution by set designer Chris Bretecher—sets a believable backdrop for the play’s extravagant central conceit: Craig’s $5000 offer to Veronica for a night’s company to prove to himself that he’s able to avoid seducing her again and is thus not the deviant sexual animal he thinks he is.
Continue reading Review: Homewrecker (Coyote Collective/Leroy Street Theatre/Scapegoat Collective)