First-Metis-Man-of-Odesa-review
Liliia Smichenko
Liliia is a writer from Ukraine based in Toronto where she graduated from Humber College's journalism program. With a focus on arts and entertainment, she finished her internship at Florence University of the Arts in Italy. Her work has been published in places like smART Magazine, Humber Literary Review, and Blending Magazine. She is passionate about creative writing, books, and theatre, and loves when all those things come together.
LEARN MORE
iPhoto caption: Tom Rooney in 'Rogers v. Rogers' at Crow's Theatre. Photo by Dahlia Katz.
REVIEW: Tom Rooney dazzles in world premiere of Michael Healey’s Rogers v. Rogers
Rooney and Healey skewer the Rogers family with a disarmingly relaxed virtuosity that the surrounding Crow's Theatre production sometimes supports, and sometimes lets down.
iPhoto caption: Isabella Kinch, Ben Rudisin and Christopher Gerty in 'The Nutcracker.' Photo by Bruce Zinger.
REVIEW: National Ballet’s scrumptious Nutcracker will melt every last Grinch-heart in town
James Kudelka’s Nutcracker treats children as imaginative equals and adults as worthy of a sprinkling of magic, too. It’s an unwavering, saturated dream of joy you never want to wake up from.
iPhoto caption: Jane Spidell in 'Twelve Dinners.' Photo by Dahlia Katz.
REVIEW: Family tensions run high in TIFT’s intimate Twelve Dinners
In the now-closed Twelve Dinners, an autobiographical play written and directed by Steve Ross, audiences received intimate access to an unvarnished version of a younger Ross through 12 evening meals with his parents.
iPhoto caption: Members of the company of 'Narnia.' Photo by Dahlia Katz.
REVIEW: Bad Hats’ Narnia is a joyful, heartwarming escape
The spirit of openness and the joy of discovery rule over this Narnia. Open the wardrobe and see.
iPhoto caption: Members of the company of 'Robin Hood.' Photo by Dahlia Katz.
REVIEW: Canadian Stage’s Robin Hood panto is anti-capitalist fun for the whole family
Following Ross Petty’s legacy of scene-stealing, Damien Atkins as the evil Prince John is easily the greatest delight of the show.
iPhoto caption: Lauren Gillis and Alaine Hutton in 'Public Consumption.' Photo by Eden Graham.
REVIEW: Lester Trips’ stylish Public Consumption captures the internet’s profound emptiness
Rather than directly representing online life, Public Consumption speculates — with virtuosity — about how the digital world affects our bodies. And the show's findings are by no means comfortable.
REVIEW: First Métis Man of Odesa at Punctuate! Theatre/Theatre Centre
First Métis Man of Odesa captures how the fates of two people are entwined into global events larger than life, and how one cannot exist without the other.
Comments