When I read the synopsis of Always on Alert (playing at the Alumnae Theatre), which tells us that the protagonist is in an isolated cabin in the Arctic attending to “the button” that could put an end to humanity, I was both intrigued and wary. It was sure to be philosophical—always up my alley, but the set-up sounded, to put it mildly, a little too obvious.
A perusal of the company’s website informed me that the “Iconoclasm Theatre Company intends to provoke audiences to examine social norms and collective understandings that may impede social justice” and that their goal is to “not only entertain but challenge audiences to examine culture, religion, and their symbols.” These intentions are certainly evident in David Lichty’s script and direction for Always on Alert. Continue reading Review: Always on Alert (Iconoclasm Theatre Company)→
After an exciting Toronto Fringe Festival, which proved yet again that creating some of the city’s best theatre only needs a shoestring budget and talent, my standards have again been raised.
The Trial of Ken Gass is a fictional tale based on the non-fictional occurrence of Canadian theatre legend Ken Gass’ controversial dismissal. The play, written and directed by Bobby Del Rio, is done in an absurdist style. Del Rio drew inspiration from classic absurdists like Franz Kafka (hence the title) and Samuel Beckett. The mish-mash of Kafka’s bureaucratic frustration, Beckett’s oddness, and Del Rio’s sense of humour puts an entertaining spin on the Canadian theatre controversy.
“Devious and Frightening and Sexy”: Soulpepper’s Sloane Delivers
Entertaining Mr. Sloane, as directed by Brendan Healy for Soulpepper, is a wicked romp through violence, desperation and sexual exploitation. The characters approach each other with ulterior motives, each armed with their respective wiles and a marked lack of anything approaching ethics. Joe Orton’s controversial play from 1964 still seems relevant today, as it isn’t based so much on the mores of the time as on the malevolent and self-serving aspects of human nature.
I was surprised when I walked in and saw that it was set in the round. I’m familiar with the script and it was definitely written for a proscenium, with some business dependent on that staging. As we discovered at the talk back session (which Soulpepper always offers after their Tuesday night performances) the round was a concession to a different production playing in the same theatre. Continue reading Review: Entertaining Mr. Sloane (Soulpepper)→
Toronto’s Soulpepper Presents a Slightly Modernized “Great Expectations”
I’m embarrassed to admit that while I read Great Expectations in my grade eleven English class, I retained very little in terms of story. I was also curiously under a rock when the screen adaptation came out in the late nineties when I was romantic, impressionable and adolescent. As an adult, I was excited to see Soulpepper‘s adaptation of the Dickens classic last Thursday at the Young Centre for the Performing Arts.
For those like me who need a crash course, the story, in a nutshell, is as follows. A young orphan named Pip helps a convict, attracts the attention of the reclusive Miss Havisham and is invited to play with her adopted daughter, Estella. Pip falls in love and spends years improving himself. He finds himself the recipient of a mysterious benefactor’s generosity and moves to London to begin his education as a gentleman. Continue reading Review: Great Expectations (Soulpepper)→
“Devious and Frightening and Sexy”: Soulpepper’s Sloane Delivers
Toronto’s Soulpepper Presents a Slightly Modernized “Great Expectations”