Toronto’s Baroque opera company Opera Atelier brings Mozart’s The Magic Flute to the Elgin Theatre

Mozart’s The Magic Flute is one of the most popular and widely performed works in the opera canon. It’s no surprise that Opera Atelier, Toronto’s resident company specializing in Baroque operas, is closing their 2012-13 season with a revival of their production of the opera; their fourth Flute in 22 years.

The opera tells the story of Prince Tamino and his mischievous, wise-cracking companion, the bird catcher Papageno. The pair are set on a quest by The Queen of the Night to rescue her daughter Pamina who has been abducted by her arch nemesis Sarastro.

Continue reading Review: The Magic Flute (Opera Atelier) →

Soulpepper Theatre Company breathes bold and engaging life into their production of La Ronde in Toronto

My experience at this evening’s opening of La Ronde by Soulpepper at the Young Centre for the Performing Arts Theatre in Toronto`s Distillery Historic District definitely challenged any preconceived notions I had of Soulpepper’s usual mainstream productions. It is raw, provocative, shocking, stimulating and maybe at times, even jaw- dropping. Although there is no lack of sexual exposure in today’s world, seeing such content live, up- close and personal, is still surprising, which is what I’m sure was intended. Continue reading Review: La Ronde (Soulpepper Theatre Company) →

One woman takes on three generations in Shelley Marshall’s auto-biographical show at Toronto’s Alumnae Theatre

Hamilton native Shelley Marshall has had one hell of a life. Having survived two generations of mental illness and then a bout of her own that resulted in a suicide attempt and hospitalization – including days kept in solitary – Shelley found her freedom and passion through creation and comedy. Inspired by the words of one of her doctors and the show Who’s Line is it Anyway?, Shelley enrolled in Second City.

Hold Mommy’s Cigarette is an autobiographical one-woman show where Shelley takes on portraying her grandmother, her mother and her younger self, reliving her tumultuous past and emerging as the talented comedic artist she is today.

The performance starts out with, what I hope, is an exaggeration of Shelley’s grandmother in the 70s – ignoring the incessant phone calls, grumbling about the state of the nation while reading the paper, chain smoking, and yelling into the void at her unseen husband. What we learn about grandma is clear: she’s not easy to live with, has a homophobic streak, values old fashioned tradition, and sends a young Shelley out to buy her cigarettes.

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From Press Release

“This year’s SummerWorks is remarkably diverse and innovative”, Says Artistic Producer Michael Rubenfeld “A year of returns and introductions, we are thrilled that the festival continues to attract international and national artists of great acclaim. It’s a fantastically ambitious year, living up to the kind of artistic quality you have come to expect from our Festival.”

Continue reading Announcement: SummerWorks Performance Festival Announces 2013 Theatre Lineup →

Shaw and LaBute face off on love, morals, guilt and passion at Toronto’s Red Sandcastle Theatre

I’m not sure what it would look like if George Bernard Shaw and Neil LaBute went for a drink together, but I imagine it might have been something akin to fledgling theatre company Neoteny Theatre‘s double-bill production of Overruled/Romance. In Red Sandcastle Theatre‘s cozy storefront space it’s hard not to describe my experience at the show as anything less than up close and personal.

Overruled is a quick-fire one-act by Shaw, following the brief encounter of two couples who are in the midst of embarking on adventures in infidelity – with each other’s partners. LaBute’s Romance is a darker exploration of the caveats of intense love and love loss. Themes of lust, morality, passion and guilt are a distinct through-line in each show, making them an interesting pair despite Shaw being light-heartedly farcical and LaBute being especially grounded and hyper-realistic.

Continue reading Review: Overruled/Romance (Neoteny Theatre) →