What a blast! Dance, Music and Theatre all in one fun-filled, entertaining, work-out evening.
A Harbourfront commission presented by Boca del Lupo, Bluemouth Inc. out of Toronto and New York, has created a unique and exciting event. Based on marathon dances that started up in the 1920’s and 30’s, where people struggled for days to stay on their feet to win the competition, Bluemouth has re-created a mini version for us to enjoy in one evening.
Not really knowing what to expect and dragging my husband along, who was worried he would...
Like anyone who has seen a production by theatrical genius Robert Lepage, I’ve come to expect, and to love, his stage wizardry and to be riveted by his brilliant theatrical sleight of hand and how he uses the elements of the stage as though they were utterly malleable, transformable.
Tono: A Red Sky Production is an aesthetically satisfying, dynamic piece of performance that explores the relationships between Aboriginal cultures from opposite ends of the earth, fusing modern dance, North American plains culture and Mongolian traditions.
Tono takes inspiration from shamanic horse cultures, and the result is a strong physical geometry expressive of strong spirit. Full body movements and rhythmic foot stomping are accompanied by throat singing, Mongolian long-song, and the music of the horse-head violin. These otherworldly melodies are grounded by the percussive sounds of xylophone, gongs and hand cymbals. Startling accents come from one unusual instrument...
I have to admit to mixed feelings about KAMP, which is on at the Roundhouse as part of the ongoing PuSH Festival. While, I admire the technical wizardry of it all and the attention to detail, I’m afraid its purpose and what it adds to the world is one that leaves me unsure and, maybe, a bit uneasy.
Despite two enormous screens that stand behind him and a slide show that sometimes blurs like magic into moving images, William Yang acts out one of oldest and simplest forms of performance: storytelling.
Is musical theatre known for its subtleties? I guess not. And this is why Beyond Eden — despite its tender treatment of challenging themes — wears its many rich metaphors on its sleeve. Everything is on the surface: beautiful but obvious.
I arrive just before 7 pm - for a show that started at 12 noon and will wrap up about 8 pm. The sound begins to envelope you as you enter the space. I then notice about 30 people lying on the floor listening. Some are motionless. Others are chanting or pounding the floor with various limbs. I sit down in the front row of chairs - I think there are more people onstage in the action than with me in the stands.
After several minutes of sounds and audience members wandering in and out, a small band starts to...
