The Soldier’s Tale reimagined

Sankofa: The Soldier’s Tale Retold is the latest and, probably, the last show from Art of Time Ensemble.  It’s a bold and successful attempt at updating Stravinsky’s iconic work.  The music is all Stravinsky but Titilope Sonuga’s libretto is new.  It preserves the basic triad of Narrator, Soldier and the Devil but moves them to WW1 Canada.  Our soldier is a Black Canadian of West African extraction who is trying to join the Canadian army, which rejects him because of his skin colour.  His faith in his heritage, symbolised by the spirit bird Sankofa, with a little help from the Devil leads to the formation of the 2nd Construction Battalion, a non-combat unit, which was the only way Black Canadians could serve.  He survives the war and returns from France to find that the same battles must be fought over (and over, and over) again.

Ordena Stephens-Thompson & Olaoluwa Fayokun_Sankofa_ The Soldier_s Tale Retold_Art of Time Ensemble_photo by John Lauener

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Lucy Barton

I saw My Name is Lucy Barton; adapted for the stage by Rona Munro from Elizabeth Strout’s novel and directed by Jackie Maxwell on Wednesday evening.  It’s a one woman show featuring an astonishing performance by Maev Beaty who is on stage for the entire play, which is little short of two hours long.  She plays Lucy Barton and her mother and all the other characters are described not shown.  In some ways it feels more like a book reading than a stage play.

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This Feels Like the End

Bonnie Duff’s This Feels Like the End premiered at Buddies in Bad Times on Thursday evening, directed by Michelle Blight, as part of Next Stage.  I caught the second performance on Saturday afternoon.  The premise is that the sun has failed to rise so the entire world is deprived of natural light and nobody can explain it.  It’s even more inexplicable in that there isn’t a drastic drop in temperature, plants still grow and the moon is visible but let’s not get hung up on the physics.  The play is about the different ways humans react to such a phenomenon.

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Civilized

The Toronto Fringe Next Stage festival opened on Wednesday evening at Buddies in Bad Times with Keir Cutler’s Civilized.  It’s a one man tour de force in which John Huston plays a senior bureaucrat from Indian Affairs during the Laurier government who has returned from the dead to explain to contemporary Canadians why the Residential School System was entirely necessary and a Very Good Thing.

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13 Plays About ADHD… All At The Same Time

13 Plays About ADHD… All At The Same Time by Alec Toller (mostly) is a show that is currently running at the tiny Assembly Theatre in the heart of Little Tibet so if you get bored there are momos a’plenty to be had.  Unsurprisingly the show is about ADHD.  Hosts Sharjil Rasool and Danny Pagett (who predictably arrives late) attempt to take us through a seminar about ADHD, how to diagnose yourself how to recover from it (if you have it).

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Reminiscencia

Reminiscencia is a performance piece created during lockdown by Chilean playwright Malicho Vaca Valenzuela.  Valanzuela is the sole live performer and from his desk on stage he taskes us through series of scenes and themes using AV material on his laptop projected onto a giant screen.  It’s ultimately about memory.  How we create a footprint in history and how that does and doesn’t endure.  His examples are all taken from his home town of Santiago de Chile.

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Mukashi, Mukashi

Mukashi, Mukashi; Once Upon a Time, currently playing at the Theatre Centre, is a collaboration between two companies; Toronto’s CORPUS and Osaka’s KIO.  It explores two characters who feature prominently in the folklore of Europe and Japan; the wolf and the crane.  This is done via a playful exploration of two well known folk tales; Little Red Riding Hood and the story of the Crane-Woman who weaves miraculous cloth.

Kohey Nakadachi in Mukashi, Mukashi_CORPUS_photo by Yoshikazu Inoue

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Roberto Zucco

Bernard-Marie Koltès’ Roberto Zucco (translated by Martin Crimp) is currently playing at Buddies in Bad Times in a production directed by ted witzel. It’s a piece from the 1980s, written as Koltès was dying of AIDS and set in the mean streets of the less salubrious part of a European city, perhaps Paris.

Roberto Zucco_photo of Daniel MacIvor and Jakob Ehman by Jeremy Mimnagh_set and costume by Michelle Tracey, lighting by Logan Raju Cracknell

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The Maple Leaf Forever?

1939, written by Jani Lauzon and Kaitlyn Riordan and directed by Jani ,opened last night at Canadian Stage’s Berkeley Street theatre.  The setting is a Residential School in Northern Ontario which is set to host the King and Queen as part of their 1939 tour of Canada.  The Welsh, but fiercely anglophile[1], English teacher decides that putting on a production of Shakespeare’s All’s Well That Ends Well would be suitable fare for the royals.

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A brilliantly atmospheric Rosmersholm

Crow’s Theatre opened the season last night with a production of Ibsen’s Romersholm in an adaptation by Duncan Macmillan directed by Chris Abraham.  It’s not perhaps Ibsen’s best known play but it’s powerful and somewhat topically relevant and the production at Crow’s is excellent in every way.

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