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Eleanor Yuneun Park
Eleanor Yuneun Park is an undergraduate student at the University of Toronto, studying English and Religion. She is the Editor-in-Chief of The Varsity, the University of Toronto's tri-campus newspaper, and she participated in the New Young Reviewers Program for the 2023 Toronto Fringe Festival. Eleanor is drawn to postcolonial theatre and anything by the creatives of her generation.
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iPhoto caption: Photo by Mike Meehan.
“Hundreds of pages of text have been cut,” says composer Suzy Wilde. “Many songs have been put on the back burner. That's what writing a musical is: there's a ton of editing that has to be done.”
iPhoto caption: Kelly Wong as Aslan and Élodie Gillett as the White Witch with the cast of 'The Lion, the Witch and the Wardrobe.' Photo by David Cooper.
REVIEW: Shaw Festival’s The Lion, the Witch and the Wardrobe needs a louder roar
Sometimes, theatre transports you to a fantastic new world. Other times, you get a wardrobe full of coats.
iPhoto caption: Photo by Ann Baggley.
“I had this idea to write a play about a group of relative strangers who come together with one common goal,” says playwright Mark Crawford. “I love that kind of narrative: people from disparate parts of a community who come together to form their own little community.”
iPhoto caption: Photo by Dahlia Katz.
The Dora Award-winning, family-friendly opera has returned to mark the opening of Tapestry's new venue on Yonge Street.
iPhoto caption: Top to bottom, L to R: Naguib Keval, Aruna Bhalla, Colin MacLellan, Payge Mildebrath.
How four GTA drama teachers are modelling the importance of connection, empathy, and collaboration
I suspect that most people who work in theatre professionally, and many who don’t, have a story about a high school drama teacher who changed their life. This edition of Speaking in Draft is a celebration of those figures.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Pride and Prejudice gets a postmodern makeover at London’s Grand Theatre
In spite of some missed opportunities, Pride and Prejudice ends up a lighthearted recontextualization of its source material, which should appease all but the most stolid Janeites.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: The Wrong Bashir is an ode to the hyphenated identities of Canada
Quibbles on the show's comedy aside, The Wrong Bashir will stay with me for a while as a successful ode to hyphenated identities across Canada.
REVIEW: Just like Luke Reece’s life story, As I Must Live It is open-ended
In his 90-minute spoken-word solo show, Recce reaches who he needs to reach, offering a piece full of complexity and nostalgia.
REVIEW: Migraaaants is not a dark comedy. And that’s okay.
From the very beginning of playwright Matei Visniec and director Siavash Shabanpour’s Migraaaants, the show's narrator is domineeringly captivating.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: In Prophecy Fog, Jani Lauzon ceremonially reclaims the Giant Rock
We are as significant as a star and a stone. A star and a stone are as significant as us. With this logic, Lauzon breathes life into the Giant Rock and reclaims its existence and sacredness.
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