Soulpepper opened a run of a revival of their 2019 production of Tennessee William’s A Street Car Named Desire at the Young Centre on Tuesday evening. It’s a terrific production and performance but, as usually happens to me with Mr. Williams’ plays, I found myself admiring it more than enjoying it. Showcasing dishonest, violent people living lives of noisy despair without any form of redemption, however brilliantly portrayed, leaves me wondering what the point of it all is.
Season announcements for theatre companies for 2024/25 are coming out fast and one notable thing is that a number of shows from Crow’s Theatre have been picked up by other companies. Both Pierre, Natasha and the Great Comet of 1812 and Fifteen Dogs have been picked up by Mirvish (as Uncle Vanya was this season). Soulpepper have picked up The Master Plan which will also be seen in Hamilton. I’ve linked to my reviews which are enthusiastic about all except Pierre, Natasha. That was a huge hit, especially with people who like Broadway musicals more than I do and, as the prologue warns, it wasn’t written for opera fans who have read War and Peace three times so my views should be viewed through that lens.
It’s coming towards the end of the traditional “season” but there’s sill plenty happening. Here’s how I see may shaping up at present (I expect more theatre listings will come in. They tend to be somewhat less notice!):
A Public Reading of an Unproduced Screenplay About the Death of Walt Disney by Lucas Hnath opened last night at the Young Centre in a production by Outside the March and Soulpepper. It’s one of those pieces that is perhaps easier to admire than enjoy. Technically, everything about it is excellent but sitting through ninety minutes of egotistical bullying is not a whole lot of fun.
First some additional February shows
Opera
De Profundis: Oscar Wilde in Jail is an adaptation by Gregory Prest of the famous letter that Wilde wrote, page by page, to Lord Alfred Douglas while he was in prison. It opened; a world premiere, last night in a Soulpepper production directed by Prest at the Young Centre.
Here’s a round up of February shows not previously mentioned; mostly straight theatre.
WILDWOMAN, by Kat Sadler (who also directed), is part of the {{her words}} festival at Soulpepper and I attended the first preview performance on Thursday night at the Young Centre. It’s not usual to review previews but I’m out of the country for most of the run proper so there it is. It’s an interesting piece. It weaves together two (more or less) real stories that are quite tenuously related into a single integrated narrative that explores humanity, power and the role of women in society.
Here are a few shows that didn’t make it into earlier listing posts:
2021 was another year of parts. Pretty much no live indoor performances before September then a few chances to get to the theatre and now, well who knows? So what stood out for me in 2021? Here’s a round up by category.
Live Shows
Not much of course but there were some good shows, though opera didn’t really figure. The Home Project from Native Earth and Soulpepper was a thought provoking look at the the idea of “home”. MixTape at Crow’s Theatre explored the variegated nature of relationships through the medium of the once ubiquitous mix tape. And on a more conventional note there was a rearranged at short notice recital at Koerner hall that showcased the extremely talented Davóne Tines. Continue reading
operaramblings 