Shapeshifters, spirits and demons take to the Toronto stage in The Monkey Queen
The Monkey Queen (Red Snow Collective)—on at The Theatre Centre—is a quietly subversive play that adds childlike wonder and a female perspective to Wu Cheng’En’s fable-filled novel Journey to the West, an adventurous quest for knowledge featuring monsters, demons, and spirits galore.
Continue reading Review: The Monkey Queen (Red Snow Collective)
Acclaimed Toronto choreographer & dancer premieres thought-provoking full-length solo on decay, rebirth and celebrity.
In his first solo dance show, The art of degeneration (DanceWorks), Louis Laberge-Côté offers up meditations on decay, immorality, and self-destruction. His endearing, mischievous sense of humour transforms The Citadel: Ross Centre for Dance into a lushly-coloured romp through history, both personal and public. With moves that find the hidden grace in things falling apart, being vulnerable with your demons is the only way to survive.
Continue reading Review: The art of degeneration (DanceWorks)
The Governor General’s Literary Award finalist play opens in Toronto
Anosh Irani’s The Men in White, produced by Factory Theatre, brings renewed urgency to a quintessential topic in Canadian literature—that of the immigrant’s adaptation to the space between Canada and the homeland—by focusing less on assimilation and more on what it means to live a good life in a globalized world. Continue reading Review: The Men in White (Factory Theatre)
Enjoy Shakespeare as the sun sets at Toronto’s Shakespeare in High Park
The production of A Midsummer Night’s Dream at this year’s Shakespeare in High Park—currently running at the High Park Amphitheatre—is a straightforward adaptation of the classic play that sets itself apart with the high volume and calibre of comedy the cast is able to maintain.
Continue reading Review: A Midsummer Night’s Dream (Canadian Stage)
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