Philip Akin
iPhoto caption: Sophia Walker in 'Clyde's' at Canadian Stage.
REVIEW: At Canadian Stage, Clyde’s reflects on the value of negativity
Clyde’s is particularly interesting because of the risks Lynn Nottage takes with both its form and structure. With five characters on stage for 90 minutes, Nottage writes the play to be as compact and pressurized as possible.
iPhoto caption: Danté Prince and Savion Roach in 'The Christmas Market.' Photo by Kenya Parsa.
Among softly falling snowflakes, dense rum cake, a tree that twirls of its own accord, and a lively soca rendition of classic carol “My Favourite Things,” The Christmas Market unfolds, gradually steering away from familiar festive comforts toward a sharper story of labour and exploitation.
iPhoto caption: Graphic by Krystal Abrigo.
York University’s Facing Backlash symposium builds solidarities in tough times
The symposium’s two packed days felt to me like the collective pursuit of an elusive, shape-shifting prey. But as participants shared experiences, and common-interest groups opened up their internal dialogue to the rest of the symposium, the contours of what we’re all up against started to come into focus for me, and I felt a collective sense of purpose growing.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: In Canadian Stage’s Fat Ham, revenge is a dish best served smoked
Fat Ham is self-aware of its nature as an adaptation, twisting the audience’s familiarity with both Hamlet and Blackness to disrupt their assumptions of who these characters are as people.