First some background. When Cavalia burst onto the scene in 2003, it was unlike any other show. The spectacle under the Big Top merged horses, riders and acrobats in the most ingenious way. Its founder, Norman Latourelle, had been with Cirque de Soleil so he understood “big”. Toronto was the first stop outside of Quebec, and this –Read More
The plays of Hannah Moscovitch are smart, sassy and sophisticated. Her themes run deep and reflect her keen intelligence. Her strong characters and sharp dialogue can’t help but lure the audience. But here comes the “but”…Moscovitch might be writing about people in crisis, but her plays are medium cool. I admire her artistry but I’m rarely engaged emotionally. She is a playwright for the mind, and it’s important to note that an evening spent with her in the theatre –Read More
Sadly, I couldn’t get to The Coal Mine’s latest production until late in the run. I say sadly, because the play closes this weekend which means I’m trumpeting a superb theatre outing that is almost at its end.
The Coal Mine, whose performing space sits under a pizza restaurant on the Danforth, is in its first season. Their mandate, under artistic producer Diana Bentley and artistic curator Ted Dykstra, is to create an off-Broadway experience that is as intimate as –Read More
The passionate love match between Victorian poets Robert Browning and Elizabeth Barrett has been well-documented in plays like Rudolf Besier’s The Barretts of Wimpole Street and Virginia Woolf’s novella Flush. MacDonald’s play How do I love thee? shows us a completely different side of the couple post elopement. Barrett, it seems, was a drug addict, chained to laudanum, morphine and ether. While the drugs allowed her to give free reign to her imagination, money concerns and his wife’s –Read More
Elizabeth Kuti is among the newest generation of English playwrights currently making waves. Thanks to Cart/Horse Theatre, her 2013 play Fishskin Trousers is receiving its North American premiere. The play itself is not for all markets, combining as it does, real and fictional events with magic realism. Nonetheless, as a storyteller, Kuti does hold our interest.
The mandate of Cart/Horse is, in fact, storytelling, the simpler the better in terms of theatrical values. Kuti’s play links together three separate monologues –Read More