Rick Roberts
iPhoto caption: Karen Robinson in 'Prophetess.' Photo by Jae Yang.
REVIEW: In Tarragon’s outstanding Prophetess, language is both mighty and inadequate
Margaret’s facility with text helps her maneuver through an institution like York University, where words hold significant power. But the brilliant middle-aged scholar finds herself surprisingly unequipped to process the true sense of more elemental forces: love, grief, spiders.
iPhoto caption: Steven Sutcliffe and company in 'Twelfth Night.' Photo by Dahlia Katz.
REVIEW: High Park Twelfth Night pays tribute to the crazy things we do for love
As the play’s events ping-pong between seriousness and frivolity, Caroline Toal’s Viola appears constantly aware of the dangerous contradictions in the air, remaining guarded against the chaos' pull — and yet never entirely abandoning the possibility of enchantment.
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: Photo by David Hou.
Stratford Festival review: The Goat or, Who Is Sylvia? A review in five acts
The Goat, or Who Is Sylvia? delivers an off-kilter comedy and disturbing tragedy in a fashion that would make the Ancient Greeks proud.