REVIEW: Tease uses burlesque to unpack body positivity
iPhoto caption: Photo courtesy of Crow's Theatre.
It looks like Natasha, Pierre and the Great Comet of 1812 has been dethroned as Crow’s Theatre’s sexiest recent show.
In its place comes Tease, produced by Big City Kitties in association with Crow’s, now playing in the latter’s studio theatre. Tease evades the limitations imposed by genre by easily hopping between styles – is it a burlesque show? Sketch comedy? Dance? Solo monologue? In truth, it’s all of the above, and for the most part, performers Lindsay Mullan, Mei Miyazawa, and Glenys Marshall land Tease with sexy finesse.
The 90-minute romp through third-wave feminism (and an impressive collection of pasties) opens with a raucous game of Never Have I Ever, in which Mullan, Miyazawa, and Marshall attempt to find the most innocent person in the audience – that person, we’re told, will soon be “corrupted” by the sketches featured in Tease. Those vignettes span a wide gamut of subject matter and trope: there’s a goofy, Western-inspired dance, in which the warring cowboys eventually lay down their guns to hook up with one another, and a cute-yet-haunting tap number performed beautifully by Miyazawa. Marshall performs a (very good!) song on guitar about murdering the billionaires of the world. The trio performs clad in Janelle Joy Hince’s lovely costumes in all their spangly, feathery glory.
Tease comes to a head, however, when Mullan appears onstage alone, completely naked. Gone are the tassels and feathers of Tease‘s previous sketches, along with the jangly music and silly scenarios. No, this is Mullan playing Mullan, reflecting on the personal significance of appearing naked on a stage, in a body Mullan says she’s not always treated with respect. Her ruminations on body positivity as an individual are touching and heartfelt (more on this later), along with the jokes she cracks using her body as a prop – one particular gag about Tease‘s neighbour in the Guloien Theatre received big laughs on opening night.
Tease is a lot of fun – this blazing trio of women is funny, sharp, and well-choreographed (all three are cited as the work’s choreographers, along with Gabriel Gonçalves and Dana Thody). But towards the end of Tease, Mullan herself (also the show’s credited director) says the casting “could have been more punk-rock,” and it’s hard not to agree – there’s nothing particularly revolutionary about able-bodied, athletic women dancing seductively in the name of self-love. The bones of Tease are strong, and there’s a more inclusive version of the show that could come to light with further workshopping. In its current iteration, though, I found it difficult to engage with a performance about societal body positivity when none of the bodies onstage looked remotely like mine.
I want to love Tease – it’s an unfussy good time with lots going on in its choreography and trimmings. (And Marshall’s Bo Burnham-esque song about billionaires has been stuck in my head since Thursday!). But I’m curious about how the show might continue to grow and evolve. The conversation Tease starts is metal as hell – it’ll be all the more so when more body types are able to participate.
Tease runs at Crow’s Theatre until March 24. Tickets are available here.
Intermission reviews are independent and unrelated to Intermission‘s partnered content. Learn more about Intermission‘s partnership model here.
Aisling Murphy
Aisling is Intermission's former senior editor and the theatre reporter for the Globe and Mail. She likes British playwright Sarah Kane, most songs by Taylor Swift, and her cats, Fig and June. She was a 2024 fellow at the National Critics Institute in Waterford, CT.
LEARN MORE
iPhoto caption: Photo by David Cooper.
REVIEW: Why Not Theatre’s Mahabharata is a glorious theatrical banquet
This extraordinary ensemble of artists has made something truly harmonious, truly epic: a story that speaks to a mythical past, honouring a range of South Asian artistic traditions while also drawing a direct line to where — and who — we are now.
iPhoto caption: Photo by Jae Yang.
REVIEW: Guillermo Verdecchia’s Feast is a fascinating text, but Tarragon’s new production feels hazy
I found the play really resonant and rich and layered. It’s about globalization, privilege, travel, displacement, and inequity, and it brought up many associations and past experiences for me. But I don’t feel that Soheil Parsa’s production fully comes together.
iPhoto caption: Karen Hines as Pochsy. Photos by Gary Mulcahey.
REVIEW: VideoCabaret’s Pochsy IV is bizarre, vicious, and hilarious
I can confidently say that you don’t have to have a 30-year-plus background with Karen Hines’ clown character Pochsy to quickly understand her mix of oddball conviction, sly wordplay, and bland narcissism.
iPhoto caption: Photo by Chelsey Stuyt.
REVIEW: Ins Choi debuts impassioned new solo musical at Vancouver’s Pacific Theatre
Faith is the message at Son of a Preacherman’s core. Faith in your beliefs, faith in your passions, faith in your calling, and, most of all — faith in yourself.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: How does the American musical Waitress land in today’s Canada? It’s complicated
The Theatre Aquarius and Grand Theatre co-production is fascinating for its attempt to harness the pleasures of the Broadway musical form, while casting an awkward-stepping jaundiced eye at fantasies of American identity.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: A Public Display of Affection simultaneously holds your hand and breaks your heart
Like a disco ball shimmering to a Donna Summer hit, playwright-performer Jonathan Wilson illuminates and refracts detailed memories about absent friends whose names, struggles, and lives have otherwise vanished, while walking through modern streets where a little gay hand-holding in Starbucks goes completely unnoticed.
iPhoto caption: Photo by Aisling Murphy.
In the darkest months of Yukon winter, it’s all about the Sun Room
I’m here for a week in January as a guest of Nakai Theatre, a hub for theatrical experimentation and outside-the-box programming in Canada’s westernmost territory.
Armchairs, tattoos, and an online theatre magazine
When I started at Intermission, my world was limited to the confines of an armchair. Arts journalism was a high it felt dangerously fruitless to chase. The life stretched ahead of me was amorphous and frightening, a chasm filled with hand sanitizer and immigration concerns. It was worth crying over a spilled kombucha and scrubbing at the stain.
iPhoto caption: Liz Appel headshot courtesy of Liz Appel.
Five questions with Wights playwright Liz Appel
Intermission spoke with Appel over email for a brief Q&A about Wights, now playing at Crow’s Theatre until February 9.
Call for applications: Publishing and editorial assistant
Intermission Magazine is seeking a dynamic and collaborative individual to join our team.
iPhoto caption: What Writing Can Do: The 2025 Musical Theatre Critics Lab
Announcing What Writing Can Do: The 2025 Musical Theatre Critics Lab
What Writing Can Do is timed to coincide with the Grand and Theatre Aquarius’ co-production of Waitress, which will serve as a jumping-off point for discussions throughout the Lab.
iPhoto caption: A Christmas Story production still by Dahlia Katz.
REVIEW: A Christmas Story feels fresh at Theatre Aquarius
If you want to catch A Christmas Story before it closes, good luck — the show is close to sold out, and with the talent on that stage, it’s not hard to see why.
Comments