Measure for Measure

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.

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Trident Moon

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

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There’s the rub!

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.

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Don’t look down

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.

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Kim’s Convenience

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.

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Games people play

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.

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Winter Solstice

Roland Schimmelpfennig’s play Winter Solstice in an English translation by David Tushingham opened at Canadian Stage’s Berkeley Street Theatre on Friday night.  It’s directed by Alan Dilworth of Necessary Angel theatre Company in collaboration with Birdland Theatre and Canadian Stage.

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Towards a Poetics of the Person

Liz Appel’s play Wights was premiered at Crow’s Theatre on Wednesday night in a production directed by Chris Abraham.  It’s a complex satire on Academia and academic relationships with a touch of comedy/horror; Whose Afraid of Virginia Woolf with just a smidgeon of Shawn of the Dead.  And it takes place in the immediate run up to the 2024 US Presidential Election. with all the hopes and fears for the future packed into that.

Wights-photobyDahliaKatz-9302

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