A Fine Balance

Rohinton Mistry’s novel A Fine Balance is a complex, six hundred page long saga about events during the 1975-77 State of Emergency in India. Turning it into a coherent, stageable play is a considerable feat and Anosh Irani has managed that; even if the result is a long evening at the theatre. It’s actually pretty clever. Besides the ruthless elimination of minor characters and sub-plots he handles the principal characters’ back stories by dropping in bits of information all through the narrative that allow the audience to fill in details that are otherwise not made explicit. It’s efficient and effective.

So the story is condensed down to Dina (Zorana Sadiq), a widow, trying to get by by starting a garment sub-contracting business. She hires two tailors; Ishvar (Anand Rajaram) and his nephew Om (Ben Yoganathan), and they together with her PG, Maneck (Siddharth Sharma); the student son of an old friend, carry the plot supported by Husein Mdhavji and Sugoth Varughese playing multiple roles. It’s only as the play proceeds that we learn that Dina is Parsi and the tailors are Scheduled Caste/Dalit. Which is pretty important. There are all sorts of nuances of caste and creed at play here.

Continue reading →

Pleasure and pain are impossible to separate

“Pleasure and pain are impossible to separate” is the tag line for Bootycandy by John O’Hara. It’s a play about Black/Queer identity and it’s currently playing at Buddies in Bad Times in a co-production with Obsidian Theatre. It’s complex, episodic, impressionistic, very funny and quite filthy. The notes by director Jay Northcott can basically be summarised as “Go with the flow and be open to what’s happening around you”. It’s great advice. Trying to find a linear narrative or “meaning” in Bootycandy is just a recipe for frustration.

Continue reading →

What the Festival

What the Festival is Toronto’s annual weekend of clowns, drag and puppets so it’s a bit niche. This year it took place at the relatively new arts hub Youngplace (that disused school at Shaw and Argyle) which is now surprisingly spiffy. I saw two of the four shows offered; Drag Me to the Opera, and Two.2.Mango’s Hansal and Greteel.

Continue reading →

To a Flame

Erin Shields’ To a Flame opened at the Nancy and Ed Jackman Performance Centre on Friday evening. It’s a co-production of 1s1 Theatre and Nightwood Theatre directed by Josette Bushell-Mingo and it’s designed for Deaf and hearing audiences; the dialogue being in English and ASL. I had pretty mixed feelings about it. It’s brimming with ideas and invention, it’s busy, there’s loads of action and visual interest but in the final analysis it just doesn’t seem to come together or have anything terribly original to say. I have to say some of my previous experience with Erin Shields’ work has felt that way as well.

Continue reading →

Wine in the Wilderness

Wine in the Wilderness is a 1969 play by Alice Childress set in Harlem during the 1964 riots. It’s currently playing at Canadian Stage Berkeley Street in a production directed by Jordan Laffrenier (who also directed Slave Play). It’s a deceptively complex and nuanced analysis of the intersection of race, class and gender in the African-American community at a time of considerable change. The Civil Rights Movement is under way. Educational opportunities have opened up enough to allow the emergence of an aspirational African-American middle class. But this is still a deeply racist USA with police brutality a common occurrence and plenty of people left behind in an increasingly polarized African-American community.

Continue reading →

Walden

Walden by Amy Berryman is currently being presented by Icarus Theatre at The Theatre Centre. It’s set in the United States in a not too distant future where the impacts of climate change have become acute. Summer temperatures in New England push 50C and millions die in tsunamis but social cohesion (such as it is in the USA!) seems largely unaffected. Back to the Earthers flourish unhindered in the mountains but NASA is still funded to the point where it can send manned missions to the Moon or Mars.

Continue reading →

Date of Performance

My last show of this year’s SummerWorks was perhaps the most unusual. Date of Performance; written and directed by Maryam Khalili and presented in The Theatre Centre’s Franco Boni Theatre. It’s a lecture-performance documenting theatre and performance practices created inside Iranian prisons from 1954 to 2024. There is no-one on-stage; just recordings of telephone conversations and some voice overs; all in Farsi with English subtitles.

Photo by Maryam Khalili – the number had increased to 1117 by Sunday
Continue reading →

GPO Box No.211

GPO Box No.211; written and directed by Carmen Lee (also responsible for lighting) and performed by Chun Shing Au (also responsible for the model/mask/paper design), is a theatre/dance piece inspired by an exchange of letters with the creators’ friend Siu Ming (a pseudonym), who was incarcerated as a political prisoner for three years following the 2019 pro-democracy protests in Hong Kong. It’s presented by Theatre du Poulet at A Space Gallery as part of SummerWorks.

Continue reading →

Our Other Organ

Our Other Ogan is a one man show (almost) written and performed by Boaz Barkan.  It was originally designed specifically for the old anatomy theatre at the medical school in Copenhagen.  For the performance at SummerWorks we have to imagine the black box of the Incubator as an amphitheatre with busts of Galen and Hippocrates looking down at the anatomist and his subject.

Continue reading →

Blood Brothers

Blood Brothers, written by Brianna Russell and directed by Catie Thorne, is loosely inspired by the assassination of Julius Caesar but here a similar story of conspiracy, betrayal and death is set in the UoT’s Delta Upsilon Fraternity which is also the performance space for the play.

Continue reading →