UNSEX’d is raunchy, campy, vulgar queer theatre playing at Buddies in Bad Times in Toronto
UNSEX’d (playing at Buddies in Bad Times) is real, live psychobiddy. It’s impossible to watch this show and not think of Bette Davis in All About Eve, or Bette Davis in What Ever Happened To Baby Jane?, or Bette Dav–well, you get the point. If you know what I’m talking about when I name-check these films, you already know what to expect: a vulgar, frank, and deeply satisfying melodrama on aging, sanity, identity and gender.
But even if this world is new to you–if you don’t know All About Eve from Adam–if you have the stomach for moderately-raunchy queer theatre, UNSEX’d is a do-not-miss experience.
The introduction of the atomic bomb is explored in Shelter, a modern opera playing in Toronto
Tapestry’s production of the 2014 opera Shelter, by librettist Julie Salverson and composer Juliet Palmer, made thoughtful and striking use of modern, interdisciplinary approaches to set design. Video was used as backdrop in a way that brought the themes of the piece to life with beauty and humour. The set consisted of a miniature white picket fence community and minimal other props used to change the location. Continue reading Review: Shelter (Tapestry)→
Bloody Quests for Power in Julius Caesar Playing at Toronto’s Red Sandcastle Theatre
After voting in our provincial election, I went back to Roman Empire politics and saw different techniques of rising to power. Julius Caesar opened at the Red Sandcastle Theatre for a delighted, entertained audience. This powerful Shakespearean production was about democracy-minded politicians seeking to kill off their overly-ambitious leader.
On stage in Toronto, the absurdist tragicomedy A Clown’s Life cracks many a joke but not all hit home
A Clown’s Life in 2 acts, playing at the Helen Gardiner Phelan Playhouse, sets a hard goal for itself. A tragicomedy following the lives of a clown (Christian Glas), an agent (Rocky Keller), and a starlet (Lauren Goodman) in the world of show business where a small mix up changes the course of their lives. The production is inspired by the absurdist plays of Samuel Beckett, Eugene Ionesco, and the comedy troupe Stella—tough acts to follow.
The humorous styles of Commedia Dell’arte are brought to life in The Glorious Ones at the Zion Cultural Centre in Toronto
There’s something exciting about seeing a play about one of your passions. When I was in university my very first research paper was on an Italian theatrical style called Commedia Dell’arte: an improvisational, sketch based style that catered to the common people with bawdy humour, slapstick and acrobatics that was at that time completely unheard of. The influence of Commedia Dell’arte is still felt in todays comedies with the most notable being the character of Harlequin, a witty servant character who often outsmarted boisterous villains with his athletics and humour, whose personality can still be seen in characters like Bugs Bunny or pretty much every Disney sidekick ever.
When I learned that The Civic Light-Opera Company was putting on a production of Stephen Flaherty and Lynn Ahrens’ The Glorious Ones I was very excited. Not only is it a play all about the origins of Commedia Dell’arte, but it was also written by the duo responsible for such Broadway hits as Ragtime and Seussical. Such an exciting choice was perfect for The Civic Light-Opera Company’s 100th production, so I had high hopes going into the show.
