As the script ties itself in narrative knots, Megan Follows never loses sight of the dramatic situation’s overwhelming nature; it’s as if her character is fending off a panic attack at every moment, grabbing onto any scrap of hope she can.
Soulpepper and Outside the March effectively drown Uncle Walt’s highly manicured public image in acetone, leaving the audience with a grotesque portrait that feels at once comically exaggerated and painfully accurate.
This May, TO Live will collaborate with Kaha:wi Dance Theatre to present SKéN:NEN, an immersive dance performance with a narrative rooted in cultural knowledge.
This play is such a delight to watch, and I would definitely go again. I live for this quality of performance, and I’m looking forward to how this play will continue to inspire Black Canadian theatre to come.