Tawiah M'carthy
iPhoto caption: Natasha Mumba and Kondwani Elliott Zulu in 'Copperbelt.' Photos by Dahlia Katz.
REVIEW: Before heading to Soulpepper, Copperbelt strikes gold at the NAC
Natasha Mumba's debut play successfully navigates generations of personal and international histories and expectations, including an unflinching examination, through nice-guy Peter, of Canada’s own role in resource extraction in developing countries.
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: From top left: The Seagull (Soulpepper), Hypothetical Baby (The Howland Company), As You Like It, a radical retelling (Crow's/Mirvish), Letters from Max (Necessary Angel), Maanomaa, My Brother (Canadian Stage/Blue Bird), Monster (Factory), Maggie (Theatre Aquarius), Casey and Diana (Stratford Festival), The Master Plan (Crow's). All photos except Casey and Diana by Dahlia Katz; Casey and Diana photo by Cylla von Tiedemann.
Our favourite theatre productions of 2023, in Toronto and beyond
These shows have stood the test of at least a few weeks, if not several months. Their pleasures are not transitory, but mature and long-lasting. We think of them often.
iPhoto caption: Photos by Dahlia Katz
REVIEW: Monster and Here Lies Henry offer truth, lies, and divine stage action
A pair of one-man plays by Daniel MacIvor, now playing at Factory Theatre, explore what it means to watch.