Mamet’s Speed The Plow* is a rapid-fire dissection of the corrupt world of Hollywood movie making. In the play, Head of Production Bobby Gould struggles to determine whether he should green light a vacuous blockbuster or an adaptation of an apocalyptic book of revelatory poetry.
Footlight Theatre Company’s production of Joseph and the Amazing Technicolor Dreamcoat by Tim Rice and Andrew Lloyd Webber is a silly roller coaster of infectious songs and good family fun.
Your PLANK Panel making sense of the blood and guts that is the Ground Zero (aka The Vogue version) of Evil Dead are: Michael J Unger, Sean Tyson and Franklin T Schneider.
Lynley Hall and Tyler Rive are part of Evil Dead: The Musical, the one at the Vogue not the other one
The curtains open to the backs of students sitting and staring at a large ticking clock on the far wall, waiting for 3pm to strike so they can start their summer vacation.
Suddenly Andrew wishes he taken the HSM2 assignment; Shannon Hanbury, Lexy Campbell, Grace Newson, Julie Trepanier (face covered); photo credit: Rob Sondergaard
With Halloween just behind us, one can compliment Ghostlight Projects for their savvy timing. With sexy costumes and hedonism still lingering in the memories of many of Toronto’s young adults (and die-hard middle agers) the company’s double bill of cult glam classics should help extend the spirit of the holiday.
Seth Drabinsky, left, features in Hedwig and the Angry Inch and Jamie Robinson is Debbie in Debbie Does Dallas the Musical
For me one of the great pleasures of spending time in Vancouver is the city’s contemporary dance scene. It’s a hidden gem in the Canadian cultural landscape.
Laura Hicks in He was swimming the other way, photo: Chris Randle
Provincial Essays seems an odd title for a work of contemporary dance: it evokes pastoral traditions, and vaguely suggests the image of a public figure-of-note in his or her sunset years retiring to the country to write memoirs – indeed, the original essays by Montaigne were a grab-bag of reflections on everything from diet to politics.
In Sara Coffin’s Dropped Signal, the set is made up of about eight weighted helium balloons on strings. Below them, two dancers (Jennifer Clarke and Sara Coffin) roll and move in low light.
He was swimming the other way by MachineNoisy part of Dance in Vancouver
When I was nine, I was limited to three very enthusiastic topics of conversation: Helen Keller, Annie Sullivan, and whales. The latter was inspired by actual encounters (my Dad was a commercial fisherman), but my interest, um, make that obsession, with the deaf and blind Helen Keller and her teacher Annie Sullivan came from regular readings of their Scholastics biographies (both by Margaret Davidson).
With our bodies stuck in cars and cubicles and confining clothes all the time, it’s easy to forget what they can do. The electric duet between Alvin Erasga Tolentino (dancer), and Emmanuel de St. Aubin (musician), presented by Company Erasga, that opened Program Four of this year’s Dance in Vancouver offers some possibilities.
