The touring production of the Broadway version of Mel Brooks’ Young Frankenstein is currently at the Princess of Wales theatre in Toronto, and anyone who spent their youth spouting lines from the original movie to whomever was in earshot would be well advised to check it out. In fact, anyone with a taste for the zany would find their bum-in-plush-seat time well spent.
Roger Bart and Sutton Foster; photo by Paul Kolnik
In court masques designed by Inigo Jones in the seventeenth century, Charles I, King of England, enjoyed a perspectival vision that could be seen properly only from the king’s seat.
Naked, beautiful, natural, and perfect symbols of the male and female bodies, dancers Alison Denham and Billy Marchenski, in one full hour of a most intriguing interpretive performance, tell a history of man and woman, of the body and the soul. A piece of intricate choreography ranging from animalist primal movements to sophisticated modern gestures, their bodies reveal the rawness and the evolutionary change of the human form.
The choreographer, Alvin Erasga Tolentino, collaborates with the two dancers to weave together a unique and deep...
ADAMEVE/Man-Woman, Alison Denham and Billy Marchenski
At the beginning of after homelessness, David Diamond, Artistic Director of Headlines Theatre, tells us to view the piece with an open heart, and I did just that. Unfortunately, by the end of the night, the strain made me in danger of suffering an aneurism.
I remember a review for an REM album – I think it might have been for New Adventures in Hi-Fi – where the reviewer started his critique with the following: “You already know whether you’ll like this album or not”.
Check out the frocks! Monique Lund and Sara-Jeanne Hosie wearing jaw-droppers in White Christmas. Photo by David Cooper.
