REVIEW: Tease uses burlesque to unpack body positivity
The conversation Tease starts is metal as hell — it’ll be all the more so when more body types are able to participate.
The conversation Tease starts is metal as hell — it’ll be all the more so when more body types are able to participate.
Sex Dalmatian is one of those productions I’d feel confident bringing any fellow young person to, whether or not they’re a fan of the performing arts.
In this conversational review of Three Sisters, contributors Kemi King and Aisha Lesley Bentham reflect on a masterful production helmed by Mumbi Tindyebwa Otu.
3 Fingers Back ain’t no regular play about war. We don’t see or hear the destruction of the land or the cry of the people. Instead, Donna-Michelle (DM) St. Bernard’s double bill of plays is more intimate, an inward crawl to what she calls the “repetitive stress patterns” that constitute the world.
Talk Is Free Theatre never fails to nudge the boundaries of theatre, injecting a refined sense of playfulness into the work it produces. La Bête is yet another success for the company, bringing phenomenal talent to a frequently bizarre play that could fall apart or become repetitive in the wrong hands. Two-and-a-half hours of rhyming couplets never felt so cool.
There’s a pearl of a play embedded somewhere in Dead Elephants, and with further workshopping, I’d be thrilled to see it again. But at its present length, I’m left craving a less arduous journey to the payoff of the play’s final breaths.
This is a great production for anyone, whether or not they’re a Beatles/Shakespeare superfan. You couldn’t ask for a more accessible Shakespearean play, and the music is a perfect fit for the story.
As a new parent, I was thrilled at the prospect of returning to the theatre and introducing my baby to what, at one time, used to take up two or three nights a week of my life.
If you don’t have the, uh, time to make it to the Daniel Radcliffe and Jonathan Groff production in Manhattan, Shifting Ground’s version of Merrily We Roll Along is a worthy contender, urgently ticking along.
There’s lots of great stuff going on in Guilt — but much of the heart of the play lies just below the surface of the sand onstage.
In his 90-minute spoken-word solo show, Recce reaches who he needs to reach, offering a piece full of complexity and nostalgia.
Curated by Ottawa Fringe, the 14th rendition of undercurrents festival has concluded, having brought fresh, fiery theatre productions to audiences in Canada’s capital.
Mohammad Yaghoubi’s Earworm scrapes at the edges of the idiom, making for a sinister, beautifully conceived exploration of abuse and femicide in post-revolution Iran.
The absurdist, magical play follows the unexpected relationship between an idealistic fisherman and a stubborn businesswoman.
This buzzy production of Stoppard’s classic is the ride of a lifetime, so strap in and hold onto your hats.
Both pieces in the winter double bill are par for the course with TDT’s recent artistic output: unabashedly queer and consistently experimental.