REVIEW: Tease uses burlesque to unpack body positivity
REVIEW: Tease uses burlesque to unpack body positivity
REVIEW: Rock Bottom Movement’s Sex Dalmatian takes offbeat ideas to subversive extremes
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.
REVIEW: Three Sisters weaves together joy, fear, and the Biafran Civil War
and Kemi King
In this conversational review of Three Sisters, contributors Kemi King and Aisha Lesley Bentham reflect on a masterful production helmed by Mumbi Tindyebwa Otu.
REVIEW: In 3 Fingers Back, Donna-Michelle St. Bernard explores the extremes of war
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.
How Cliff Cardinal found his inner rock star
Photography by Dahlia Katz
“What I’m finding out through the beauty of music is that there are things we can’t talk about,” says Cardinal. “But through our relationship with a rock star, we can experience those things in a more real way. We can experience them communally.”
Speaking in Draft: We Quit Theatre
This Winnipeg-based dynamic duo creates work that shatters formal expectations, deconstructs the Western canon, and embraces the uncertainty and intimacy that live performance makes possible.
REVIEW: La Bête is a sublime few hours of rhymes and ridiculousness
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.
TO Live presents Mrs Krishnan’s Party, a semi-improvised comedy from New Zealand
This month, New Zealand’s Indian Ink Theatre Company brings its semi-improvised comedy Mrs Krishnan’s Party to Meridian Arts Centre in North York.
REVIEW: With cuts, Dead Elephants could be a stunner of a play
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.
REVIEW: With a little help from the Fab Four, Theatre Calgary’s As You Like It shines
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.
REVIEW: Inside the babes-in-arms performance of the audacious Universal Child Care
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.
Invisibility cloaks, cardboard rockets, and flying orbs of light: Here’s how Canadian theatre uses the art of magic
In many ways, theatre artists and magicians have the same job. We push the bounds of a live experience to startle audiences into confronting their realities. We aim to tell stories that linger. For a magician, there’s no such thing as “it can’t be done.” It can always be done, one way or another.
Soulpepper digs into Nigerian history with Canadian premiere of Inua Ellams’ Three Sisters
“I started to wonder what it is that I’m interested in saying. How do I see the world? What is my voice for? And the first thing that came to mind was African stories,” says actor Amaka Umeh.
REVIEW: Shifting Ground Collective’s Merrily We Roll Along reminds us to tend to our dreams
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.
REVIEW: Guilt sends Diane Flacks on an odyssey of culpability
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.
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: Ottawa’s undercurrents festival explores a vast sea of emotions and styles
and Aisling Murphy
Curated by Ottawa Fringe, the 14th rendition of undercurrents festival has concluded, having brought fresh, fiery theatre productions to audiences in Canada’s capital.