Yes, BASH'd is a bona fide hit. It played Off-Broadway (in New York City) and has won a bunch of awards. Written and performed by Chris Craddock and Nathan Cuckow, this fast-paced rhymin' slammin' hip-hop musical love story is told to us by two gay rappers – T-Bag and Feminem. And the near-capacity crowd at the Cultch's opening night was rightfully impressed by their masterful performances.
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.
Brevity is the order of the day; go and see Otello at the Four Seasons Centre for the Performing Arts.
The Canadian Opera Company’s production of Verdi’s timeless piece, the crowning glory of a brilliant career, leaves little to be desired. Famed tenor Clifton Forbis in the title role can only be described as sublime. His voice, prowess with Verdi’s score and dramatic force combine to make his performance a masterful one. Scott Hendricks is diabolical and enticing as the evil Iago, though his rounded voice is sometimes drowned out by the orchestra or the chorus. I’m...
(l – r) (kneeling) Emanuele D’Aguanno as Cassio, Tiziana Caruso as Desdemona, Clifton Forbis as Otello, Scott Hendricks as Iago and Adam Luther as Roderigo in the Canadian Opera Company’s production of Otello. Photo: Michael Cooper
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...
The latest work from Canadian theatre icon Judith Thompson – Such Creatures – is a warm welcome home after her debut thirty years ago at the intimate backspace of Theatre Passe Muraille.
Such Creatures confronts audiences with pain, rage, fear and unimaginable choices. True to form, Thompson handles the harshest realities of human existence with sensitivity, artistry and always hope. Milder than her earlier work, Such Creatures strikes a graceful balance between accessibility and thoughtful, political theatre. Two powerful, interwoven monologues are artfully brought to life under the direction of Brian Quirt and nuanced actors Michaela Washburn...
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.
