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.

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Rogers v. Rogers

Michael Healey’s Rogers v. Rogers directed by Chris Abraham opened at Crow’s Theatre on Wednesday night.  It’s a sort of follow up to The Master Plan in that it’s Toronto based and deals with corporate greed and incompetence coupled to governmental ineptitude and general inability to keep up with the corporate world.  It’s different in that it’s two related stories mashed together and, more notably, in that Tom Rooney plays all the characters.

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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.

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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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The Master Plan

The Master Plan by Michael Healey opened last night at Crow’s Theatre in a production directed by Chris Abraham.  It’s based on Josh O’Kane’s book Sideways: The City Google Couldn’t Buy and deals with the tortuous relationship between Google subsidiary Sidewalk Labs, Waterfront Toronto and the various other stakeholders involved in developing the (relatively) small parcel of land, Quayside, at Parliament and Queen’s Quay and the wider future of the Eastern Portlands.

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A murder at Crow’s

True Crime, a Castleton Massive production, by Torquil Campbell and Chris Abraham opened at Crow’s Theatre last night.  It’s essentially a one man show featuring Campbell (not quite… composer Julian Brown provides musical backing throughout).  It’s certainly a tour de force by Campbell who is on stage continually for 90 minutes and it’s hard to tell when he’s on script and when he’s improvising.  He plays a raft of characters from himself, to his father and wife, an imprisoned con man, several dogs and a bunch of others.  And he does it very well.  He also sings (and barks).

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Uncle Vanya

Chekhov’s Uncle Vanya is the sort of play that makes one wonder why the Russian Revolution didn’t happen much sooner.  If the land owning class were living such miserable lives it must have been absolute hell for the peasants.  Maybe they just couldn’t afford a guillotine?  Anyway it’s playing at Crow’s Theatre right now in a production directed by Chris Abraham which runs until October 2nd.

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