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Gabrielle Marceau
Gabrielle Marceau is a writer, critic, and editor living in Toronto. She has contributed essays, criticism, and (occasionally) poetry to Sight and Sound, Geist, Mubi Notebook, Cinemascope, Reverse Shot, and Arc Poetry, among others. She is the founding editor of In The Mood, a triannual online journal about film and pop culture.
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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.
iPhoto caption: Tony Ofori and Daren A. Herbert in 'Moonlight Schooner.' Photo by Dahlia Katz.
Kanika Ambrose’s Moonlight Schooner is animated and visually stunning, but its individual pieces don’t come together as neatly as I would've expected.
iPhoto caption: Photo by Fabian Hammerl.
In A a | a B : B E N D, choreographer Aszure Barton aims to rebuild dance from the inside out
“It’s so easy to over-intellectualize dance in general, but B E N D is about hearing and moving to cool-ass music together,” says Barton ahead of the show's run at the Bluma Appel Theatre.
iPhoto caption: Christina Tannous and Béatrice René‑Décarie in 'Le Malentendu.' Photo by Mathieu Taillardas.
REVIEW: TfT delivers humour and cruelty in striking rendition of Camus’ Le Malentendu
Director Karine Ricard banishes all earthly joy from the scene, leaving behind an almost lunar coldness.
iPhoto caption: Photo by Mathieu Taillardas.
REVIEW: Feu Mr. Feydeau! takes charming liberties with a famous playwright’s life
Feu Mr. Feydeau! is an effortlessly enjoyable historical fantasy that takes on death, the creative act, and life's bittersweet disappointments.
iPhoto caption: Samca production still by Barry McCluskey.
REVIEW: Samca is a disturbing, unique production that explores folklore and womanhood
The feminist folklore play, written by and starring Natalia Bushnik and Kathleen Welch, is an engrossing and sometimes frightening experience, perfect to kick off the scary season.
iPhoto caption: Photo by Marie-Julie Garneau
This is a powerful, deeply-felt performance about the treacherous but necessary work of tracing personal and political histories.
iPhoto caption: Photo by Mathieu Taillardas.
REVIEW: Filles du Roi is an entertaining, thoughtful reappraisal of French Canadian history
Sébastien Bertrand takes these women out of the symbolic realm, giving them fully formed identities.
iPhoto caption: Photo by Mathieu Taillardas.
REVIEW: Convictions thoughtfully explores myth in the modern world
Lara Arabian and Théâtre français de Toronto have created a provocative, timely new work that intelligently explores the contradictions of immigration, family, and faith
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