First some late calls for November:
Here’s what I’m looking forward to in a busy November.
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.
The new season starts to ramp up in September. My month will start at Factory Theatre on the 7th with Mary Beath Badian’s The Waltz; a coming of age drama set in Saskatchewan. That runs until the 17th. The following night there’s a screening at the Four Seasons Centre of Atom Egoyan’s new film Seven Veils that was created in conjunction with last season’s production of Salome. A young woman is tasked with remounting her former mentor’s production of Salome. It stars Amanda Seyfried, Ambur Braid, Michael Schade and Michael Kupfer-Radecky. It’s a chance to see the film ahead of the official premier at TIFF. More details and tickets here.
Things happening next month…
But first this month… on April 27th to 29th male soprano Samuel Mariño is appearing with
Tafelmusik in a programme titled Higher Love: Virtuoso Arias. Details here.
Crow’s Theatre has a couple of shows. True Crime opens on the 2nd. It’s a short run. Preview on the 1st then closes on the 7th. It’s basically a one man, semi-improvised show about an imprisoned con man. The Chinese Lady, which runs 5th to 21st (previews 2nd to 4th) in the smaller Studio Theatre tells the story of the first Chinese woman in the USA. Written by Lloyd Suh and directed by Marjorie Chan it should be interesting. There’s also Boom X. Rick Miller plays over a hundred characters to narrate events from 1969 t0 1995. It runs from the 10th to the 28th. More details at crowstheatre.com.
Theatre Smith-Gilmour’s production of Metamorphoses 2023 opened last night at Crow’s Theatre. It’s an 80 minute show, written and directed by Michele Smith, (with, it’s clear, a lot of input from the cast) taking various stories from Ovid. Most of them involve women (or goddesses) revenging themselves on men for various failings ranging from being smug to violent rape. It’s also very concerned with gender fluidity. The principal narrator is Tiresias and along the way we also meet Hermaphorditus and Caenis.
What do we mean by “forgiveness” or “redemption”? Prodigal, written and directed by Paolo Santalucia currently being presented by the Howland Company at Crow’s Theatre asks us to consider just that. It’s a curiously structured play. On one level it’s a black comedy about a seriously dysfunctional elite family but there’s an intro to each act in which a preacher exegises on the Parable of the Prodigal Son and the Parable of the Lost Sheep. We are invited to compare the characters we are about to see with the dramatic personae of Christ’s teaching. But are they really comparable?”
I saw Marie Farsi’s adaptation for the stage of André Alexis novel Fifteen Dogs at Crow’s Theatre last night. I read the book back in the fall and was impressed. It’s a clever, witty, perceptive novel and I was very curious as to how it would translate to the stage; especial since most of the characters are dogs. Bottom line, it works wonderfully well.
January is looking quite promising on both the music and theatre front but there’s not a lot of opera… Here’s what’s in my agenda.
January 11th to 14th the TSO have four performances of a concert that includes Mozart’s Requiem with a good looking line up of soloists.
This was the seventh time I’ve seen Soundstream’s Electric Messiah. It’s different every time of course but some things stay, more or less, as features. The biggest change this year is the shift from the Drake Underground to Crow’s Theatre. It’s staged as a conventional proscenium arch type show with the audience sitting in tiered rows facing the stage rather than being set up night club style. There’s no bar in the actual performance space but you can still take a drink to your seat. The drinks are cheaper than at the Drake too!
operaramblings 