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)