There is Violence and There is Righteous Violence and There is Death or, The Born-Again Crow is perhaps the longest play title ever but the play itself, written by Caleigh Crow, is a fast moving ninety minutes. It’s a collaboration between Native Earth Performing Arts and Buddies in Bad Times and it opened on Thursday night in a production directed by Jessica Carmichael.
Diana Tso’s Carried by the River is currently playing in the Extraspace at Tarragon Theatre in a production directed by William Yong for the Red Snow Collective. It’s the story of a Chinese girl, Kai, who is abandoned by her birth mother because of the “one child policy”, adopted by a Hong Kong mother and brought to Canada as a baby. When she’s about twenty her mother dies unexpectedly leaving her with many unanswered questions. She travels to the province of her birth in search of.. do we ever know what we “are in search of”?
HOUSE + BODY’s production of Measure for Measure currently playing in the Studio Theatre at Crow’s is Shakespeare with a twist. It’s an adaptation written and directed by Christopher Manousos. The schtick is that it’s part of a radio series of live Shakespeare and we are watching the goings on in the studio where five actors play all twenty characters with commercials, sponsor messages and the rest of the baggage of radio broadcasts. There are also some “off stage” shenanigans involving the actors; principally the two women who engage in wistful glances and then have an almost steamy scene in the “interval”. I’m going to speculate that this is a sort of nod to Isabella’s ambiguous nature in the actual play.
Trident Moon, by Anusree Roy and directed by Nina Lee Aquino opened at Crow’s Theatre on Friday night. It’s set in 1947 during the Partition of India and concerns a bunch of women in the back of a truck seeking safety in what has become India. Arun is a Hindu servant to a Moslem family. Her boss, presumably to show he is not soft on Hindus, has beheaded her husband and sons. In revenge she has shot him and kidnapped three of his women folk in the hope that they can be multiply raped by Hindu men when they reach “safety”. The truck also contains her sister who has been accidentally, but seriously, wounded in the shooting, her retarded daughter and a box with the three heads. The truck is driven by her brother.
(L to R back) Afroza Banu, Michelle Mohammed, Anusree Roy, Prerna Nehta, Zorana Sadiq, and Imali Prerera. (Front) Sahiba Arora and Sehar Bhojani
Back in July I saw a crazy clown show called Monks at the Fringe. It’s back playing at the Theatre Centre. It’s basically the same show with Veronica Hortigüela and Annie Luján playing a pair of delinquent Benedictines on their one day off every five years. TL:DR it’s hilariously mad.
Blind Dates is an hour long one woman show written and performed by Vivian Chong and directed by Marjorie Chan. It’s a kind of odyssey in which Chong explores aspects of living with blindness via her experiences with dating and dating apps.
It’s the rub that makes the difference, not the sauce. Or so we are told by Fancy’s stepfather and uncle who now runs the family BBQ restaurant somewhere far south of Elsinore in James ljames’ Fat Ham which opened on Wednesday at Canadian Stage, Berkeley Street. Director Philip Akin describes it as an “overlay” on a well known play by Shakespeare and that’s probably as good a way of looking at it as any.
Duncan Macmillan’s play People, Places and Things opened last night at Coal Mine Theatre. It premiered in London in 2015 and has now been adapted to relocate the setting to Toronto and to customize the movement elements to the small, intimate space at Coal Mine. It’s a play about addiction, addiction treatment, theatre and how we construct and cope with “reality” (whatever that is). It’s long, intense, disturbing and, ultimately, very thought provoking.
After five seasons of TV shows it’s easy to forget that Kim’s Convenience started life as a play at the Toronto Fringe in 2011. It’s now playing in it’s original stage form at Soulpepper in a production directed by Weyni Mengesha and with playwright Ins Choi this time playing the Appa (father) rather than the son Jung.
Edward Albee’s 1962 classic Who’s Afraid of Virginia Woolf? opened at Canadian Stage on Thursday evening in a production directed by Brendan Healy. It’s a long (not far short of 3.5 hours with two short intervals) and complex play; heavily dependent on quick-fire dialogue and with occasional outbreaks of absurdism. An older academic couple invite the “new man” and his wife back for drinks after a faculty party at a small New England college. George, a historian of modest distinction, is married to Martha, the daughter of the college president. The newcomers are Nick, a biologist, and his wife Honey.
operaramblings 