If you were one of the lucky ones to nab tickets to the one-night-only performance of Adam Lazarus’ Daughter at this year’s undercurrents, then you will no doubt understand what I mean when I say that it is almost quite literally one of the worst shows you will ever sit through. Don’t get me wrong, … Continue reading Throwback Thursday: Reflections on “Daughter”
“Girls have been written and represented in popular culture in many different ways. Most of these representations have been largely unsatisfying because they never get girlhood quite right. It is not possible for girlhood to be represented wholly—girlhood is too vast and too individual an experience. We can only try to represent girlhood in ways … Continue reading Moscovitch’s 1920s Drama Falls Short in 2018
Robert Lepage’s 887, an autobiographical exploration of memory, aging, and Québec’s Quiet Revolution, is currently running at the National Arts Centre for the first time in English and if you haven’t already seen it, you should. 887 excels both as a beautiful play to look at, thanks to Lepage’s legendary stagecraft (and backstage crew of … Continue reading 887 Gets 10/10
2018 might be off to a rather chilly start, but the even the sub-zero temperatures failed to keep theatregoers from attending the opening night of Macau Experimental Theatre’s Mr. Shi and His Lover at the National Arts Centre (playing until January 13th). Given the high accolades that this production has received coming out of Toronto … Continue reading Go See “Mr. Shi (and His Lover)”!
We’re at the point where a brand new year is around the corner and we find ourselves asking “what did we do this year?” In the spirit of a round-robin Christmas letter, we thought we’d let you know what our 2017 has been like… January proved to be an exciting start to the year for … Continue reading 2017 In Review: What Have We Been Up To?
by Ron Finnigan Edited by Brie McFarlane On December 6th, I was part of the "voyeurs" watching performer Tess Degenstein, in the role of Mimi, go on a blind date with a man named Paul selected seemingly at random from the audience. This was not rehearsed. Paul had no idea he would be chosen when … Continue reading Blind Date – Laughing at Someone Else’s Nightmare
Blind Date @ GCTC November 30-December 17, 2017 Previews November 28 and 29 WHAT IS EMBEDDED CRITICISM? The traditional model for theatre criticism (and other art forms) involves a separation between artist and critic. The artist(s) create(s) a piece of theatre and present it, the critic attends the performance and writes their review, and never … Continue reading EMBEDDED CRITICISM: Critics Become Stagehands for a Night
Musicals, with their outrageous sets and costumes, 11 o’clock numbers, and dance breakdowns, aren’t a common sight at Great Canadian Theatre Company. Their current production of Adam Gwon’s Ordinary Days, however, shows that none of those things are necessary to produce quality musical theatre that still maintains a significant degree of theatricality. Ordinary Days follows … Continue reading “Ordinary Days” Goes Small and Wins Big
Written by Ron Finnigan Edited by Ian Huffam Sir John A: Acts of a Gentrified Ojibway Rebellion is a play presented at the NAC from October 3rd to 14th, 2017. I had the pleasure of attending the performance on October 11th, which included a talk-back with the performers after the play. In the program handed … Continue reading “Sir John A: Acts of a Gentrified Ojibway Rebellion” – a Review
The latest production of the National Arts Centre’s English Theatre season, Lauren Yee’s King of the Yees, reminds me of the division between social drama and aesthetic drama that can help us to talk about the different ways in which we view and interpret theatrical productions. While this show is a boon to Artistic Director … Continue reading “King of the Yees”: A Noble Attempt at Merging the Social and Aesthetic on Stage