sisters-rage-review

REVIEW: Lepage’s ethereal The Far Side of the Moon is insomniac theatre

The Far Side of the Moon begins and ends with a large mirror on stage, and the show extracts enigmatic power from the tantalizing question of whether its protagonist is losing himself in his reflection, or moving toward self-discovery.

REVIEW: National Ballet’s Procession tangles the lines of sorrow and sensuality

Procession, the National Ballet of Canada’s brooding and stylized world premiere ballet, rushes to the stage with startling vitality — and does so at a funeral.

REVIEW: Tarragon’s CHILD-ish takes a hopeful and hilarious look at life through kids’ eyes

It’s a giggly good time, if a pinch oversweet.

REVIEW: At Ottawa’s GCTC, you won’t expect what happens when Abraham Lincoln Goes to the Theatre

Sarah Kitz’s production leans into the play’s real strength: its exploration of narrative. The characters attempt to narrativize the play’s events before, after, and even while they take place. But their failure to impose narrative logic onto complex realities only results in escalating cycles of violence.

REVIEW: During this year’s TIFF, two films depicted theatre as a vessel for transcendence

Of the several performing arts-adjacent selections I took in, most affecting were two dramas: Lee Sang-il’s Kokuho and Chloé Zhao’s Hamnet. In both period pieces, theatre creation serves as an emotional outlet for an artist navigating devastating loss.

Tarragon’s upcoming show gives audiences a verbatim taste of children’s wisdom, wit, and weirdness

The first inklings of CHILD-ish came to Drake in 2017. “I got to an age where I started having a lot more kids in my life,” he said. That “got me curious about what adults can learn from kids: playing with and flipping that power dynamic of who’s the learner and who’s the teacher.”

Weesageechak Begins to Dance invites artists and audiences to explore newness together

Weesageechak Begins to Dance is the annual festival of new and innovative First Nations, Métis, and Inuit theatre, opening on November 6 at Native Earth Performing Arts.

REVIEW: With Richard Three, Shakespeare in the Ruff affirms their tradition of re-imagining Shakespeare in powerful ways

There is a rift in the time-space continuum at Withrow Park this summer: multiverse Richard III has met Shakespearean universe Richard III for a coronation and some Shakespearean hijinks.

REVIEW: Otîhêw at Shakespeare in Action

A volcanic eruption and violent colonial expansion has turned the world upside down. Without sun and moon, the realities of famine and smallpox unleash new fears that threaten to unravel the fabric of community.

Change for the Better: On Indigeneity at the Stratford Festival

Both [Sky and Peters] want to honour the Indigenous artists who have worked with the [Stratford] festival for years, quietly carving out space for public and visual representation.

REVIEW: The 39 Steps at County Stage Company

A cast of fantastic actors takes you on an equally fantastic journey through some of the silliest places and situations — it’s great fun.

REVIEW: Women of the Fur Trade at the Stratford Festival

Louis Riel is SO dreamy. Tall. A little disheveled and unkempt, because he’s an introspective poet who’s busy fighting for social justice. And he wears glasses. He’s the total package.