ON Criticism
iPhoto caption: Durae McFarlane in 'Primary Trust.' Photo by Dahlia Katz.
REVIEW: Primary Trust harnesses anxiety for good at London’s Grand Theatre
Eboni Booth's Pulitzer Prize-winning Primary Trust invites its audience to visualize hopeful futures rather than disasters. This tender production, directed by Cherissa Richards, proposes that imagining such a future is the first step to achieving it.
iPhoto caption: Lisa Nasson and Nicole Joy-Fraser in 'Mischief.' Photo by Jae Yang.
REVIEW: In Tarragon and Native Earth’s Mischief, the jokes aren’t the point
Mischief may not fully cohere into a singular statement, but it leaves behind something quieter and more human: the feeling of having spent time inside a community, listening to its jokes, its arguments, and its silences. It is a play full of questions — some answered, many not — and it trusts the audience enough to live with that uncertainty.
iPhoto caption: Peter N. Bailey and Durae McFarlane in 'Primary Trust.' Photo by Dahlia Katz.
How the Grand Theatre’s Primary Trust makes a tiki bar feel like home
Let’s get one thing straight: Eboni Booth's Pulitzer-winning Primary Trust isn’t about working in bars. But it honours bars as spaces we return to — where we go to feel safe.
iPhoto caption: 'Mischief' photo by Jae Yang.
Tarragon’s Mischief explores activism, matriarchy, and collective grief
“I was thinking about what mischief means to Canada as a country, and what that law means versus what it means to Indigenous people,” says playwright Lisa Nasson. “The antithesis of those two [meanings] I find really fascinating, and they really play into what this story is about.”