Those of us living in Ottawa understand just how cruel these winter months can be. Despite having a relatively mild and easy December and January this year, these past few weeks in February have given us good reminder that we’re not through it yet. However, no amount of inclement weather could keep Ottawa audiences away … Continue reading Undercurrents Theatre Festival Sees its Best Year Yet
Review by Wes Babcock Man Walks Into a Bar pulls apart the conventions of comedy and theatre to deliver a powerful examination of the roles we inhabit in our real lives. Created by Rachel Blair, and performed by Blair and Blue Bigwood-Mallin, this show aims straight at the centre of the ongoing discussion about … Continue reading Knock Knock: Man Walks into a Bar
Monstrous, or, The Miscegenation Advantage starts with a simple question of identity but quickly becomes distracted by unnecessary historical background and underused dramaturgical elements; this show raises issues instead of questions and because of this it becomes impossible to provide answers. Part autobiography, part research, part indictment of racism, part dance, it’s hard to … Continue reading Monstrous, or What’s the Advantage?
Review by Ian Huffam Every now and then, I see a show that completely baffles me. I don’t mean this in the sense that it’s mind-blowingly good or bad, just that the creators of the show seem to be on a different wavelength. 100 Watt Productions’ Particle is exactly that kind of show, although … Continue reading What is Particle?
Kristina Watt stars in this energetic one-woman show that defies easy classification. This is a very difficult play to get inside and understand. Two aspects that are clear, if not easily understandable in themselves or in relation to one another is the self consciously bad tech, and the core of Virginia Woolf’s novel to which … Continue reading Particle: (Particle)arly Odd
Review by Wes Babcock Monstrous, created and performed by Sarah Waisvisz, tells the story of a woman’s struggle to find and inhabit a clear identity at the intersection of uncertainty about just about every aspect of her family’s diverse origins. The problem Waisvisz’s character faces is this: when you come from everywhere and … Continue reading Monsterless Monstrous
Review by Wes Babcock Mouthpiece speaks so strongly for itself that I don’t have to. Moreover, I don’t want to. Let me explain: there is a scene in the show in which we are explicitly made aware of the internal perception that every word and action the character expresses is part of a constant … Continue reading Mouthpiece Speaks for Itself
Listen to Me Listen to You Review by Ian Huffam Interactive theatre is still fairly unexplored territory in Ottawa. There’s been SubDevision and May Can’s HappinessTM in TACTICS last year as two standout examples, but performances of this variety are far fewer in number than traditional dramatic productions in this city. Wait, you say, a … Continue reading Listen to Me Listen to You
Review by Wes Babcock Listen to Me is an odd show. The only people with tickets are the eight audience participants who begin the show sitting alone at café tables, who are shortly joined by their first of eight possible actors. After three minutes, you change tables, and begin to listen to and interact … Continue reading Listen To Me: A Struggle for Connection
Review by Ian Huffam Quote Unquote Collective’s Mouthpiece is provocative and relevant, funny and horrifying, universal yet highly individualized, and deals beautifully with ugly issues. A lot can rush through someone’s mind in one day, which is what we see in this tightly choreographed parade of one woman’s thoughts and experiences over a … Continue reading Mouthpiece a Masterpiece