review
iPhoto caption: Christian Van Horn and Karen Cargill in 'Bluebeard's Castle.' Photo by Michael Cooper.
REVIEW: COC’s Bluebeard’s Castle/Erwartung is a hypnotic exploration of light
Rather than retread the ground of an overall analysis, I’d like to zoom in on an element that particularly interested me: Simonovitch Prize-winning designer Robert Thomson’s expressionistic lighting for Bluebeard’s Castle, which nicely enriches the opera’s ambiguous psychological landscape.
iPhoto caption: Julian De Zotti, Ruth Goodwin, and Thomas Mitchell Barnet in 'take rimbaud.' Photo by Wade Muir.
REVIEW: At Buddies, take rimbaud blends critical theory with glorious theatrical mess-making
While Susanna Fournier’s script despairs about the political limits of art, ted witzel's production induces the anarchic sensation that anything is possible on stage.
iPhoto caption: Members of the company of 'It’s a Good Life If You Don’t Weaken.' Photo by Dahlia Katz.
REVIEW: It’s a Good Life — but is it a good time? Three critics weigh in.
So much of Canadian identity is a sense of place and the actual, physical spaces that we're in. One song where this jumped out for me was "Bobcaygeon," where they’re walking around in falling snow. It put me right into a moment of walking across a frozen lake in Northern Ontario, seeing stars in a dark sky. It almost made me cry to see someone on stage experience that, and have that sort of connection with a physical place in Canada.
iPhoto caption: Members of the company of 'How to Catch Creation.' Photo by Dahlia Katz.
REVIEW: Soulpepper’s How to Catch Creation has plenty to offer a Canadian audience
From its Black feminist ethics to its ideas about making art and living a good life, How to Catch Creation stands out most of all as a bold intellectual and affective challenge.