Review: Blithe Spirit (Mirvish)

Blithe Spirit

Mirvish presents a new production of Noel Coward’s play Blithe Spirit starring Angela Lansbury in Toronto

Noel Coward’s Blithe Spirit is a utter cream puff of a comedy, completely devoid of nutritive value, but perfectly scrumptious. In the sitting-room of novelist Charles Condomine, a dinner party culminates with the local medium summoning forth a visitor from beyond the veil: Condomine’s deceased first wife, who proceeds to ruin a vase, the party, and his marriage. Now cohabitating with both spouses, Charles tries desperately to send her back — but how do you dispatch someone who isn’t there?

What’s best about this production is that director Michael Blakemore isn’t afraid of hurting this creaky old play: most stagings (including recent outings at Stratford and Soulpepper) almost handle it as a museum artifact, to be exhibited but not played with, lest something get broken. Blakemore’s willingness to alter language and staging gives this version a modern edge and finds new jokes and insights in unexpected places. Moments which are meant to shock or scandalize the audience have a new resonance, while the marriages (Charles is turned into a “spectral bigamist”) acquire a tenderness which has been absent from these previous attempts.

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Review: Abyss (Tarragon Theatre)

Abyss, Tarragon Theatre

Tarragon Theatre presents the English-language premiere of Maria Milisavljevic’s play Abyss in Toronto

Abyss, playing at Tarragon Extraspace, is a dark thriller about a young woman who goes missing and her three friends who try to find her. I was immediately drawn to the mystery of the play, the vanishing woman theme has preoccupied me for several years. I was also compelled by the setting and the backstories of the three main characters, who are immigrants or children of immigrants from Serbia and Croatia to Germany.

Abyss begins the night Karla Richter goes missing and it is told from the perspective of the narrator, Karla’s boyfriend’s roommate. The police are unhelpful during the first week of Karla’s disappearance and the three friends, the narrator, the narrator’s sister and Karla’s roommate, Sophia, and Karla’s boyfriend, Vlado, take it upon themselves to find her. Tensions rise, mysteries reveal themselves and the bonds of relationships are tested throughout the course of a very cold and bleak month. Continue reading Review: Abyss (Tarragon Theatre)

Feature: Rhubarb Festival (Buddies In Bad Times)

Rhubarb Festival at Toronto’s Buddies in Bad Times builds community through the arts

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The Department of Canadian Heritage has recently asserted – foolishly, I believe – that the Rhubarb Festival at Buddies in Bad Times does not build community through the arts. Balderdash, I say, and also fiddlesticks and hornswoggle and a lot of other ejaculations of incredulity that I started using only once I had a small child. Rhubarb Festival is, if nothing else, a tremendous feat of community engagement in experimental performance work and with the artistic process. It is a delightful example of what happens when you let a variety of artists across and between disciplines just… do their thing. Continue reading Feature: Rhubarb Festival (Buddies In Bad Times)

Review: Les Liaisons Dangereuses (Red One Theatre Collective / Storefront Theatre)

Les Liaison Dangereuses on stage in Toronto feels more thought-provoking than libido-provoking

Photo of Caroline Toal and Daniel Briere in Dangerous Liaisons

When I heard that Red One Theatre Collective / Storefront Theatre was producing Christopher Hampton’s Les Liaison Dangereuses I knew I had to see it.

First, who can resist sexy plays? And Les Liaison Dangereuses? Such a sexy, sexy play. Second, the film Dangerous Liaisons, which is also an adaptation by Christopher Hampton, is actually one of my favourite films ever, and again, so very sexy.

There was a lot to really like about this production, and overall I enjoyed it, but for different reasons than I expected to.

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2015 Progress Festival Review: Cine Monstro (Why Not Theatre)

Cine Monstro - photo credit Nathalie Melot

Cine Monstro, produced by Why Not Theatre as part of the 2015 Progress Festival, is a Brazilian adaptation of Canadian playwright Daniel MacIvor’s 1998 show Monster. It’s a challenging piece for a performer – one actor, several characters, ninety minutes – and Enrique Diaz, bearing an impressive resume from his home country, tackles it with skill. As with MacIvor’s original productions (and indeed any of his one-man shows), the shifting perspectives in Cine Monstro are facilitated by excellent tech design; lighting and sound cues are perfectly choreographed to changes in time, place and persona.  Continue reading 2015 Progress Festival Review: Cine Monstro (Why Not Theatre)