African Footprint by Richard Loring (Rose Theatre). The diverse history of South Africa is told through music and dance. Mar 1-2 at 8 pm. $75-$90. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Clyomon And Clamydes (Poculi Ludique Societas/Graduate Centre for Study of Drama at U of T. Two knights travel in search of honour and love in this Elizabethan play. Opens Feb 25 and runs to Mar 8, Wed-Sat 8 pm, Sun 2 pm. $20, srs $15, stu $10. Studio Theatre, 4 Glen Morris. 416-978-7986.
The Drowsy Chaperone by Bob Martin, Don McKellar, Lisa Lambert and Greg Morrison (Rose Theatre). The musical-within-a-musical gets a staging. Mar 13-14, Fri-Sat 8 pm, mat Sat 2 pm. $85-$100. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
The Dybbuk by S Anski (TEATRON Jewish Theatre). Other-worldly forces affect a bride in a village in Eastern Europe. Previews Feb 25-25 at 1 pm. Opens Feb 26 and runs to Mar 8, Thu (and Feb 25) 8 pm, Sat 8:30 pm, Sun 2 pm. $22-$44. Leah Posluns Theatre, 4588 Bathurst. 416-781-5527, teatrontheatre.com.
An Evening With Uncle Val by Andy Jones (Rose Theatre). A retired fisherman moves to the suburbs of St. John's in this solo comedy. Feb 23-23 at 8 pm. $30-$45. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Five-Hole: Tales Of Hockey Erotica by Dave Bidini (One Yellow Rabbit). Stories about the sexy side of Canada's national sport are told in this musical comedy. Mar 10-10 at 8 pm. $45-$60. Rose Theatre, 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Friday Night Magic At Revival (Revival Bar). Magicians and conjurers perform in a weekly show. Indefinite run, Fri 8 pm (doors 6 pm). $20. 783 College. 416-535-7888.
Glory's Grace by Kathleen Jackson Allamby (Entertainment By Demand). A woman deals with her mother's Alzheimer's disease in this dark comedy. Proceeds to the Alzheimer Society of Toronto. Previews Feb 20-20. Opens Feb 21 and runs to Mar 7, Tue-Sat 8 pm, mat Sat 2:30 pm. $20-$30, stu/srs $15-$25 . Theatre Passe Muraille, 16 Ryerson. 416-504-7529, artsboxoffice.ca.
Impromptu Splendor (The National Theatre of Canada). An audience suggestion spawns an improvised play. Indefinite run, Thu 8 pm. Pwyc. Comedy Bar, 945 Bloor W. impromptusplendor.com.
Inês by James Rolfe and Paul Bentley (Queen of Puddings/Harbourfront Centre). A married man's affair leads to murder in this opera inspired by Portuguese fado music. Opens Feb 22 and runs to Mar 1, Sun 4 pm, Wed-Thu and Sat 8 pm. $35-$59. Enwave Theatre, 231 Queens Quay W. 416-973-4000, queenofpuddingsmusictheatre.com.
The Jungleish Book by Peter Towill (Nags Players). A traditional English pantomime tells the classic story. Proceeds to Kids Help Phone. Opens Feb 19 and runs to Feb 28, Thu-Sat 8 pm, mat Sat 1:30 pm. $12-$18, children $2. Tranzac, 292 Brunswick. nagsplayers.com.
The Patient Hour by Kristen Thomson (Tarragon Theatre). Two siblings reunite over their unconscious mother's hospital bed. Previews Feb 17-24. Opens Feb 25 and runs to Mar 29, Tue-Sat 8 pm, mats Sat-Sun 2:30 pm. $32-$38, stu/srs $20-$27, previews $19, Fri rush $10. 30 Bridgman. 416-531-1827, tarragontheatre.com.
The Peking Acrobats (Rose Theatre). Special effects, live music and Chinese acrobatics are combined in this spectacle. Mar 26-26 at 8 pm. $40-$55. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
That Night Follows Day by Tim Etchells (Harbourfront World Stage/Victoria). Young actors explore how a child's world is shaped by adults in this piece performed in Dutch with English surtitles. Opens Feb 25 and runs to Feb 28, Wed-Sat 8 pm. $40. Fleck Dance Theatre, 207 Queens Quay W. 416-973-4000, harbourfrontcentre.com.
Une Maison Face Au Nord by Jean-Rock Gaudreault (Théâtre français de Toronto). A man faces a changing society, modern issues and generational conflict in this family drama. Previews Feb 25-26. Opens Feb 27 and runs to Mar 8, Wed-Sat 8 pm, mats Sun 2:30 pm and March 7 at 3:30 pm. $29-$46, stu/srs $24-$32. Berkeley Street Theatre, 26 Berkeley. 416-534-6604, theatrefrancais.com.
Viagara Falls by Lou Cutell (Rose Theatre). Two lifelong friends discover modern pharmaceuticals in this comedy. Mar 6-7, Fri-Sat 8 pm, mat Sat 2 pm. $40-$55. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Saturday, February 28, 2009
Tuesday, February 24, 2009
Sad News For The Story of My Life
From Richard Ouzounian's piece in today's Star -
"The Story of My Life, the musical written by Torontonians Neil Bartram and Brian Hill, closed on Broadway on Sunday afternoon after only five performances.
"The Story of My Life, the musical written by Torontonians Neil Bartram and Brian Hill, closed on Broadway on Sunday afternoon after only five performances.
The two-character story about the lifelong friendship between two men was first produced by the Canadian Stage Company in 2006.
Virtually all of the New York reviews of the show, which opened on Thursday night, were extremely negative, with words like 'flavourless,' 'shopworn' and 'sentimental' being used by critics from the major Manhattan dailies. It's expected to lose all of its $5 million budget."
So sad.
Richard also got around to reviewing Janna Polzin as Maria in The Sound of Music. As I have mentioned on the blog I have heard nothing but positive things about her performances and I was actually a bit disappointed to see Elicia, although she was wonderful. I am glad to see that Janna is finally getting some much deserved publicity.
Friday, February 20, 2009
What's on in Toronto
(this list courtesy of Now Magazine)
African Footprint by Richard Loring (Rose Theatre). The diverse history of South Africa is told through music and dance. Mar 1-2 at 8 pm. $75-$90. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Binti's Journey adapted by Marcia Johnson from a novel by Deborah Ellis (Theatre Direct Canada). A young African girl seeks her grandmother after losing her family to HIV/AIDS. Opens Feb 18 and runs to Mar 1, Wed-Thu 4:30 pm, Sat 4 and 7 pm, Sun 1 and 4 pm. $25, stu/srs $15. Artscape Wychwood Barns, 601 Christie, Loop Centre. 416-504-7529, theatredirect.on.ca.
A Book Of Spells (Two Women Productions). Jan Andrews and Jennifer Cayley interweave poetry with stories. Feb 24-24 at 7:30 pm. $20. Gladstone Hotel, 1214 Queen W. 416-531-4635.
The Box (Rivoli). The quarterly salon night features performance, film, music and more by Claudia Dey, Amer Diab and others. Feb 25-25 at 8 pm. Pwyc ($5-$10 sugg). 332 Queen W. boxsalon.com.
Carmen by Georges Bizet (Toronto Opera Repertoire). A woman tempts a soldier away from his fiancée. Opens Feb 13 and runs to Mar 1, Feb 13, 18, 21 and 27 at 7:30 pm, Feb 15 and Mar 1 at 2 pm. $25, stu/srs $15. Bickford Centre Theatre, 777 Bloor W. 416-978-8849, toronto-opera.com.
Cinderella by Gioachino Rossini (Toronto Opera Repertoire). A prince switches places with his valet to determine which sister loves him for himself. Opens Feb 11 and runs to Feb 28, Feb 11, 14, 20, 25 and 28 at 7:30 pm, Feb 22 at 2 pm. $25, stu/srs $15. Bickford Centre Theatre, 777 Bloor W. 416-978-8849, toronto-opera.com.
Clyomon And Clamydes (Poculi Ludique Societas/Graduate Centre for Study of Drama at U of T). Two knights travel in search of honour and love in this Elizabethan play. Opens Feb 25 and runs to Mar 8, Wed-Sat 8 pm, Sun 2 pm. $20, srs $15, stu $10. Studio Theatre, 4 Glen Morris. 416-978-7986.
The Color Purple based on the novel by Alice Walker (Mirvish/Oprah Winfrey). The power of love and hope help a black woman triumph over adversity in this musical. Previews Feb 10-10. Opens Feb 11 and runs to Mar 14, Tue-Sat 8 pm, mats Sat-Sun and Wed 2 pm. $26-$120. Canon Theatre, 244 Victoria. 416-872-1212, mirvish.com.
Dirty Dancing – The Classic Story On Stage by Eleanor Bergstein (Mirvish). The musical based on the 80s movie gets a staging. Opens Aug 1 and runs to Mar 29, Tue-Sat 8 pm, Sat-Sun and Wed 2 pm. $36-$120. Royal Alexandra Theatre, 260 King W. 416-872-1212, mirvish.com. N (GS)
The Drowsy Chaperone by Bob Martin, Don McKellar, Lisa Lambert and Greg Morrison (Rose Theatre). The musical-within-a-musical gets a staging. Mar 13-14, Fri-Sat 8 pm, mat Sat 2 pm. $85-$100. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
The Dybbuk by S Anski (TEATRON Jewish Theatre). Other-worldly forces affect a bride in a village in Eastern Europe. Previews Feb 25-25 at 1 pm. Opens Feb 26 and runs to Mar 8, Thu (and Feb 25) 8 pm, Sat 8:30 pm, Sun 2 pm. $22-$44. Leah Posluns Theatre, 4588 Bathurst. 416-781-5527, teatrontheatre.com.
An Evening With Uncle Val by Andy Jones (Living Arts Centre). Jones plays a retired fisherman who moves to the suburbs of St. John's in this solo comedy. Feb 20-20 at 8:30 pm. $25-$41. 4141 Living Arts, Mississauga. 905-306-6000.
An Evening With Uncle Val by Andy Jones (Rose Theatre). A retired fisherman moves to the suburbs of St. John's in this solo comedy. Feb 23-23 at 8 pm. $30-$45. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Extreme Holmes Makeover: Murder Edition (Mysteriously Yours... Dinner Theatre). Renovation gurus are embroiled in a murder mystery in this interactive dinner show. Opens Feb 6 and runs to Jun 13, Fri-Sat 8 pm (dinner 6:30 pm). $40-$45, stu/srs $35-$40 (show only). 2026 Yonge. 416-486-7469, mysteriouslyyours.com.
The Fan by Carlo Goldoni (ACT II Studio). Rivalries and jealousies arise when a lady drops her fan in this commedia dell'arte play. Feb 19-21, Thu-Fri 7 pm, mat Fri 2 pm, Sat 4 pm. $12, stu/srs $10. Ryerson Theatre School, 44 Gerrard E. 416-979-5000 ext 6297.
Fidelio by Ludwig van Beethoven (Canadian Opera Company). A woman disguised as a man works at a prison where her husband is unjustly incarcerated. Opens Jan 24 and runs to Feb 24, Jan 30, Feb 4, 12, 18, 21 and 24 at 7:30 pm, Feb 7 at 4:30 pm, Feb 15 at 2 pm. $60-$290, youth $30-$98. Four Seasons Centre for the Performing Arts, 145 Queen W. 416-363-8231, coc.ca. NNN (GS)
Five-Hole: Tales Of Hockey Erotica by Dave Bidini (One Yellow Rabbit). Stories about the sexy side of Canada's national sport are told in this musical comedy. Mar 10-10 at 8 pm. $45-$60. Rose Theatre, 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
The Forbidden Phoenix by Marty Chan and Robert Walsh (Lorraine Kimsa Theatre for Young People). Chinese and western musical theatre combine in a story about Chinese immigrants brought to work on Canada's railroads. Previews Feb 2-4. Opens Feb 7 and runs to Mar 8, Sat-Sun 2 pm (call or check website for more dates and times). $20, stu/srs $15. 165 Front E. 416-862-2222, lktyp.ca. NNNN (JK)
Friday Night Magic At Revival (Revival Bar). Magicians and conjurers perform in a weekly show. Indefinite run, Fri 8 pm (doors 6 pm). $20. 783 College. 416-535-7888.
Glory's Grace by Kathleen Jackson Allamby (Entertainment By Demand). A woman deals with her mother's Alzheimer's disease in this dark comedy. Proceeds to the Alzheimer Society of Toronto. Previews Feb 20-20. Opens Feb 21 and runs to Mar 7, Tue-Sat 8 pm, mat Sat 2:30 pm. $20-$30, stu/srs $15-$25 . Theatre Passe Muraille, 16 Ryerson. 416-504-7529, artsboxoffice.ca.
Impromptu Splendor (The National Theatre of Canada). An audience suggestion spawns an improvised play. Indefinite run, Thu 8 pm. Pwyc. Comedy Bar, 945 Bloor W. impromptusplendor.com.
Inês by James Rolfe and Paul Bentley (Queen of Puddings/Harbourfront Centre). A married man's affair leads to murder in this opera inspired by Portuguese fado music. Opens Feb 22 and runs to Mar 1, Sun 4 pm, Wed-Thu and Sat 8 pm. $35-$59. Enwave Theatre, 231 Queens Quay W. 416-973-4000, queenofpuddingsmusictheatre.com.
Iolanthe (Or, The Fairy And The Federalist) (North Toronto Players). The Fairy Queen sends a magical being to Parliament to teach politicians a lesson. Opens Feb 20 and runs to Mar 1, Fri 8 pm, Sat 7 pm, Sun 2 pm. $25, srs $20, stu $15. City Playhouse Theatre, 1000 New Westminster. 905-727-2209, northtorontoplayers.com.
Jersey Boys by Marshall Brickman and Rick Elice (Dancap Productions). Frankie Valli and the Four Seasons become pop icons in this musical. Opens Aug 1 and runs to Mar 1, Tue-Sat, mats Sat-Sun and Wed 2 pm. $55-$125. Toronto Centre for the Arts, 5040 Yonge. 416-872-1111, dancaptickets.com. NNNN (Susan G Cole)
Jewel by Joan MacLeod (The Rearview Mirror). This solo show about a woman's personal tragedy is based on the sinking of the Ocean Ranger. Opens Feb 18 and runs to Feb 21, Wed-Sat 8 pm. $15. 193 Baldwin. jewel.reserve@gmail.com.
The Jungleish Book by Peter Towill (Nags Players). A traditional English pantomime tells the classic story. Proceeds to Kids Help Phone. Opens Feb 19 and runs to Feb 28, Thu-Sat 8 pm, mat Sat 1:30 pm. $12-$18, children $2. Tranzac, 292 Brunswick. nagsplayers.com.
Knickerbocker Holiday by Kurt Weill and Maxwell Anderson (Toronto Operetta Theatre). A publisher and a governor clash over a woman and corruption in 17th-century New York. Previews Feb 20-20. Opens Feb 21 and runs to Feb 22, Fri-Sat 8 pm, Sun 2 pm. $39-$78. Jane Mallett Theatre, 27 Front E. 416-366-7723, torontooperetta.com.
Lady In The Red Dress by David Yee (fu-GEN Theatre). Toronto's Chinatown is the setting for characters embroiled in a world of corruption and deceit. Previews Jan 24-28. Opens Jan 29 and runs to Feb 21, Mon-Sat 8 pm, mat Sat 2 pm. $10-$26. Young Centre for the Performing Arts, 55 Mill. 416-866-8666, fu-gen.org. NNNN (GS)
Medieval Times (Medieval Times). This tournament features jousting knights on horseback. Indefinite run, Fri-Sat 7:30 pm, Sun 1 and 4 pm. $62.95, child $43.50. 10 Dufferin, at Exhibition Place. 416-260-1234.
Miss Julie: Freedom Summer by Stephen Sachs (Canadian Stage Company). An interracial liaison shatters lives and social barriers in 60s Mississippi. Previews Feb 9-11. Opens Feb 12 and runs to Mar 7, Mon-Sat 8 pm, mats Wed 1:30 pm, Sat 2 pm. $20-$90, limited Mon pwyc. Bluma Appel Theatre, 27 Front E. 416-368-3110, canstage.com.
National Acrobats Of China (Massey Hall). The troupe performs a theatrical acrobatic show. Feb 23-23 at 8 pm. $29.50-$49.50. 178 Victoria. 416-872-4255, masseyhall.com.
A New Brain by William Finn and James Lapine (Acting Up Stage Theatre Company). An ailing children's TV composer races against time to write his best work. Previews Feb 12-12. Opens Feb 13 and runs to Mar 1, Wed-Sat 8 pm, Sun 7 pm. $25-$40, stu $22. Berkeley Street Theatre, 26 Berkeley. 416-368-3110, actingupstage.com.
Not Getting It by Anne Marie Scheffler (Statler’s). Scheffler performs her solo show about sex and the single woman. Opens Feb 16 and runs to Feb 23, Mon 8 pm. $20. 487 Church, Upstairs Cabaret. 416-962-1209, notgettingit.com
The Obama Experience (AnitAFRIKA! Dub Theatre). Images, film, sound and live theatre are used to look at the journey to the historic inauguration. Feb 19-21 at 8 pm. Pwyc ($5-$10 sugg). 62 Fraser. 416-434-1823, anitafrika.com.
Palais D'Hiver (Hart House). This evening features circus arts by Zero Gravity, Les Coquettes Nouveau Burlesque, organic food, open bar and DJ party. Feb 20-20 at 8 pm. $65. 7 Hart House Circle. 416-978-8849, uofttix.ca.
The Patient Hour by Kristen Thomson (Tarragon Theatre). Two siblings reunite over their unconscious mother's hospital bed. Previews Feb 17-24. Opens Feb 25 and runs to Mar 29, Tue-Sat 8 pm, mats Sat-Sun 2:30 pm. $32-$38, stu/srs $20-$27, previews $19, Fri rush $10. 30 Bridgman. 416-531-1827, tarragontheatre.com.
The Peking Acrobats (Rose Theatre). Special effects, live music and Chinese acrobatics are combined in this spectacle. Mar 26-26 at 8 pm. $40-$55. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Proof by David Auburn (East Side Players Community Theatre). A woman wonders if she's inherited her mathematician father's genius or his madness. Opens Feb 19 and runs to Mar 7, Wed-Sat 8 pm, Sun 2 pm. $18, stu $12. Papermill Theatre, 67 Pottery. 416-425-0917.
Rhubarb Festival (Buddies in Bad Times Theatre). The new works festival celebrates its 30th anniversary with plays, dance, poetry, performance art and more by Lex Vaughn, Jon Paul, Chad Dembski, Liza Balkan, Sulong Theatre Collective and others. Opens Feb 4 and runs to Feb 22, Wed-Sun 8 pm. $17, passes $25-$60. 12 Alexander. 416-975-8555, artsexy.ca.
Rusalka by Antonín Dvorák (Canadian Opera Company). A water nymph falls in love with a mortal prince in this Czech opera. Opens Jan 31 and runs to Feb 23, Jan 31, Feb 5, 11, 17, 20 and 23 at 7:30 pm, Feb 8 at 2 pm, Feb 14 at 4:30 pm. $60-$290. Four Seasons Centre for the Performing Arts, 145 Queen W. 416-363-8231, coc.ca. NNNN (JK)
Say Goodnight Gracie – The Life, Laughter And Love Of George Burns And Gracie Allen by Rupert Holmes (Rose Theatre). This solo show is adapted from the memoirs of George Burns. Feb 20-21, Fri-Sat 8 pm, mat Sat 2 pm. $40-$55. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Silk Stockings by Cole Porter (Civic Light Opera Company). A Soviet spy falls for a Hollywood producer in 50s Paris in this musical. Opens Feb 18 and runs to Mar 7, Wed 7 pm, Thu-Sat 8 pm, mats Sun (and Mar 7) 2 pm. $20-$27.50. Fairview Library Theatre, 35 Fairview Mall. 416-755-1717, civiclightoperacompany.com.
A Skull In Connemara by Martin McDonagh (Toronto Irish Players). The village gravedigger digs up the old dead to make room for the new in this dark comedy. Opens Feb 19 and runs to Mar 7, Thu-Sat 8 pm, Sun 2 pm. $18, mats $15. Alumnae Theatre, 70 Berkeley. 416-440-2888, torontoirishplayers.org.
The Sound Of Music by Richard Rodgers, Oscar Hammerstein, Howard Lindsay and Russel Crouse (Mirvish). Maria meets the von Trapp family in the classic musical. Opens Oct 3 and runs to Jun 28, Tue-Sat 7:30 pm, mats Sat-Sun and Wed 1:30 pm. $26-$120. Princess of Wales Theatre, 300 King W. 416-872-1212, mirvish.com. NNNN (GS)
Swan Queen And The Radical Faerie by Frank Canino (First Draft Theatre Company). Canino's play about a retired ballerina and her stepson gets a reading. Feb 23-23 at 7 pm. Pwyc. Epicure Café, 502 Queen W.
That Night Follows Day by Tim Etchells (Harbourfront World Stage/Victoria). Young actors explore how a child's world is shaped by adults in this piece performed in Dutch with English surtitles. Opens Feb 25 and runs to Feb 28, Wed-Sat 8 pm. $40. Fleck Dance Theatre, 207 Queens Quay W. 416-973-4000, harbourfrontcentre.com.
Toronto The Good by Andrew Moodie (Factory Theatre). A black attorney represents a police officer in a racial profiling case in this drama. Previews Jan 31-Feb 4. Opens Feb 5 and runs to Mar 1, Tue-Sat 8 pm, Sun 2 pm. $20-$37, Fri rush $10, Sun pwyc. 125 Bathurst. 416-504-9971, factorytheatre.ca. NNN (GS)
Travesties by Tom Stoppard (Soulpepper). James Joyce, Vladimir Lenin and Tristan Tzara come together in the mind of a British official. Previews Feb 12-16. Opens Feb 17 and runs to Mar 21, Tue-Sat (and some Mon) 7:30 pm, mat Sat (and some Wed) 1:30 pm. $34-$68, stu $28; rush $20 (stu $5). Young Centre for the Performing Arts, 55 Mill. 416-866-8666, soulpepper.ca.
Tshepang by Lara Foot Newton (Harbourfront World Stage/Mopo Productions). An international media frenzy follows the sexual assault of an infant in South Africa. Opens Feb 18 and runs to Feb 21, Wed-Sat 8 pm, mat Sat 2 pm. $30. Studio Theatre, 235 Queens Quay W. 416-973-4000, harbourfrontcentre.com.
Ubuntu (The Cape Town Project) (Neptune Theatre/Theatrefront). A South African man and a Canadian woman find they are haunted by the same family ghosts. Previews Jan 21-27. Opens Jan 28 and runs to Mar 1, Tue-Sat 8 pm, mats Sat-Sun 2:30 pm. $32-$38, Fri rush $10. Tarragon Theatre, 30 Bridgman. 416-531-1827, tarragontheatre.com. NNN (JK)
Une Maison Face Au Nord by Jean-Rock Gaudreault (Théâtre français de Toronto). A man faces a changing society, modern issues and generational conflict in this family drama. Previews Feb 25-26. Opens Feb 27 and runs to Mar 8, Wed-Sat 8 pm, mats Sun 2:30 pm and March 7 at 3:30 pm. $29-$46, stu/srs $24-$32. Berkeley Street Theatre, 26 Berkeley. 416-534-6604, theatrefrancais.com.
Urinetown by Mark Hollmann and Greg Kotis (Theatre Scarborough). A corporation takes advantage of a global water shortage in this musical comedy. Opens Feb 5 and runs to Feb 21, Thu-Sat 8 pm (except Feb 21), mats Sun (and Feb 21) 2 pm. $24, stu/srs $20 (Thu and Sun only), stu rush $10. Scarborough Village Theatre, 3600 Kingston. 416-396-4049.
Viagara Falls by Lou Cutell (Rose Theatre). Two lifelong friends discover modern pharmaceuticals in this comedy. Mar 6-7, Fri-Sat 8 pm, mat Sat 2 pm. $40-$55. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Vox Lumiere's The Hunchback Of Notre Dame (Rose Theatre). The Lon Chaney film is transformed using live music, theatre and film. Mar 21-21 at 8 pm. $60-$75. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
We Will Rock You by Ben Elton (Mirvish). Teens rebel against a futuristic world where live music is banned. Opens Aug 1 and runs to May 3, Tue-Sat 8 pm, mats Sat-Sun and some Wed 2 pm. $20-$85. Panasonic Theatre, 651 Yonge. 416-872-1212, mirvish.com. NN (GS)
West Side Story by Arthur Laurents, Leonard Bernstein and Stephen Sondheim (Randolph Young Company). Youths from rival gangs fall in love in this musical. Opens Feb 13 and runs to Mar 1, Fri-Sat 7 pm, mats Sat-Sun 2 pm. $20. Bathurst Street Theatre, 736 Bathurst. 416-872-1111, randolphacademy.com.
Wise.Woman by Rebecca Fisseha (bcurrent). Modern relationships and self-discovery are explored through a journey into an East African dynasty. Opens Feb 20 and runs to Mar 8, Fri-Sat 8 pm, Sun 6 pm, mat Sat 2 pm. $20, stu $15. Theatre Centre, 1087 Queen W. artsboxoffice.ca.
The Wizard Of Oz by L Frank Baum (Fallen Rock Productions). The popular musical is staged to benefit POGO (Pediatric Oncology Group of Ontario). Opens Feb 18 and runs to Feb 22, Wed-Sat 7:30 pm, mats Wed-Thu noon, Sat-Sun 1 pm. $25-$55. Isabel Bader Theatre, 93 Charles W. 416-978-8849, fallenrock.ca.
African Footprint by Richard Loring (Rose Theatre). The diverse history of South Africa is told through music and dance. Mar 1-2 at 8 pm. $75-$90. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Binti's Journey adapted by Marcia Johnson from a novel by Deborah Ellis (Theatre Direct Canada). A young African girl seeks her grandmother after losing her family to HIV/AIDS. Opens Feb 18 and runs to Mar 1, Wed-Thu 4:30 pm, Sat 4 and 7 pm, Sun 1 and 4 pm. $25, stu/srs $15. Artscape Wychwood Barns, 601 Christie, Loop Centre. 416-504-7529, theatredirect.on.ca.
A Book Of Spells (Two Women Productions). Jan Andrews and Jennifer Cayley interweave poetry with stories. Feb 24-24 at 7:30 pm. $20. Gladstone Hotel, 1214 Queen W. 416-531-4635.
The Box (Rivoli). The quarterly salon night features performance, film, music and more by Claudia Dey, Amer Diab and others. Feb 25-25 at 8 pm. Pwyc ($5-$10 sugg). 332 Queen W. boxsalon.com.
Carmen by Georges Bizet (Toronto Opera Repertoire). A woman tempts a soldier away from his fiancée. Opens Feb 13 and runs to Mar 1, Feb 13, 18, 21 and 27 at 7:30 pm, Feb 15 and Mar 1 at 2 pm. $25, stu/srs $15. Bickford Centre Theatre, 777 Bloor W. 416-978-8849, toronto-opera.com.
Cinderella by Gioachino Rossini (Toronto Opera Repertoire). A prince switches places with his valet to determine which sister loves him for himself. Opens Feb 11 and runs to Feb 28, Feb 11, 14, 20, 25 and 28 at 7:30 pm, Feb 22 at 2 pm. $25, stu/srs $15. Bickford Centre Theatre, 777 Bloor W. 416-978-8849, toronto-opera.com.
Clyomon And Clamydes (Poculi Ludique Societas/Graduate Centre for Study of Drama at U of T). Two knights travel in search of honour and love in this Elizabethan play. Opens Feb 25 and runs to Mar 8, Wed-Sat 8 pm, Sun 2 pm. $20, srs $15, stu $10. Studio Theatre, 4 Glen Morris. 416-978-7986.
The Color Purple based on the novel by Alice Walker (Mirvish/Oprah Winfrey). The power of love and hope help a black woman triumph over adversity in this musical. Previews Feb 10-10. Opens Feb 11 and runs to Mar 14, Tue-Sat 8 pm, mats Sat-Sun and Wed 2 pm. $26-$120. Canon Theatre, 244 Victoria. 416-872-1212, mirvish.com.
Dirty Dancing – The Classic Story On Stage by Eleanor Bergstein (Mirvish). The musical based on the 80s movie gets a staging. Opens Aug 1 and runs to Mar 29, Tue-Sat 8 pm, Sat-Sun and Wed 2 pm. $36-$120. Royal Alexandra Theatre, 260 King W. 416-872-1212, mirvish.com. N (GS)
The Drowsy Chaperone by Bob Martin, Don McKellar, Lisa Lambert and Greg Morrison (Rose Theatre). The musical-within-a-musical gets a staging. Mar 13-14, Fri-Sat 8 pm, mat Sat 2 pm. $85-$100. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
The Dybbuk by S Anski (TEATRON Jewish Theatre). Other-worldly forces affect a bride in a village in Eastern Europe. Previews Feb 25-25 at 1 pm. Opens Feb 26 and runs to Mar 8, Thu (and Feb 25) 8 pm, Sat 8:30 pm, Sun 2 pm. $22-$44. Leah Posluns Theatre, 4588 Bathurst. 416-781-5527, teatrontheatre.com.
An Evening With Uncle Val by Andy Jones (Living Arts Centre). Jones plays a retired fisherman who moves to the suburbs of St. John's in this solo comedy. Feb 20-20 at 8:30 pm. $25-$41. 4141 Living Arts, Mississauga. 905-306-6000.
An Evening With Uncle Val by Andy Jones (Rose Theatre). A retired fisherman moves to the suburbs of St. John's in this solo comedy. Feb 23-23 at 8 pm. $30-$45. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Extreme Holmes Makeover: Murder Edition (Mysteriously Yours... Dinner Theatre). Renovation gurus are embroiled in a murder mystery in this interactive dinner show. Opens Feb 6 and runs to Jun 13, Fri-Sat 8 pm (dinner 6:30 pm). $40-$45, stu/srs $35-$40 (show only). 2026 Yonge. 416-486-7469, mysteriouslyyours.com.
The Fan by Carlo Goldoni (ACT II Studio). Rivalries and jealousies arise when a lady drops her fan in this commedia dell'arte play. Feb 19-21, Thu-Fri 7 pm, mat Fri 2 pm, Sat 4 pm. $12, stu/srs $10. Ryerson Theatre School, 44 Gerrard E. 416-979-5000 ext 6297.
Fidelio by Ludwig van Beethoven (Canadian Opera Company). A woman disguised as a man works at a prison where her husband is unjustly incarcerated. Opens Jan 24 and runs to Feb 24, Jan 30, Feb 4, 12, 18, 21 and 24 at 7:30 pm, Feb 7 at 4:30 pm, Feb 15 at 2 pm. $60-$290, youth $30-$98. Four Seasons Centre for the Performing Arts, 145 Queen W. 416-363-8231, coc.ca. NNN (GS)
Five-Hole: Tales Of Hockey Erotica by Dave Bidini (One Yellow Rabbit). Stories about the sexy side of Canada's national sport are told in this musical comedy. Mar 10-10 at 8 pm. $45-$60. Rose Theatre, 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
The Forbidden Phoenix by Marty Chan and Robert Walsh (Lorraine Kimsa Theatre for Young People). Chinese and western musical theatre combine in a story about Chinese immigrants brought to work on Canada's railroads. Previews Feb 2-4. Opens Feb 7 and runs to Mar 8, Sat-Sun 2 pm (call or check website for more dates and times). $20, stu/srs $15. 165 Front E. 416-862-2222, lktyp.ca. NNNN (JK)
Friday Night Magic At Revival (Revival Bar). Magicians and conjurers perform in a weekly show. Indefinite run, Fri 8 pm (doors 6 pm). $20. 783 College. 416-535-7888.
Glory's Grace by Kathleen Jackson Allamby (Entertainment By Demand). A woman deals with her mother's Alzheimer's disease in this dark comedy. Proceeds to the Alzheimer Society of Toronto. Previews Feb 20-20. Opens Feb 21 and runs to Mar 7, Tue-Sat 8 pm, mat Sat 2:30 pm. $20-$30, stu/srs $15-$25 . Theatre Passe Muraille, 16 Ryerson. 416-504-7529, artsboxoffice.ca.
Impromptu Splendor (The National Theatre of Canada). An audience suggestion spawns an improvised play. Indefinite run, Thu 8 pm. Pwyc. Comedy Bar, 945 Bloor W. impromptusplendor.com.
Inês by James Rolfe and Paul Bentley (Queen of Puddings/Harbourfront Centre). A married man's affair leads to murder in this opera inspired by Portuguese fado music. Opens Feb 22 and runs to Mar 1, Sun 4 pm, Wed-Thu and Sat 8 pm. $35-$59. Enwave Theatre, 231 Queens Quay W. 416-973-4000, queenofpuddingsmusictheatre.com.
Iolanthe (Or, The Fairy And The Federalist) (North Toronto Players). The Fairy Queen sends a magical being to Parliament to teach politicians a lesson. Opens Feb 20 and runs to Mar 1, Fri 8 pm, Sat 7 pm, Sun 2 pm. $25, srs $20, stu $15. City Playhouse Theatre, 1000 New Westminster. 905-727-2209, northtorontoplayers.com.
Jersey Boys by Marshall Brickman and Rick Elice (Dancap Productions). Frankie Valli and the Four Seasons become pop icons in this musical. Opens Aug 1 and runs to Mar 1, Tue-Sat, mats Sat-Sun and Wed 2 pm. $55-$125. Toronto Centre for the Arts, 5040 Yonge. 416-872-1111, dancaptickets.com. NNNN (Susan G Cole)
Jewel by Joan MacLeod (The Rearview Mirror). This solo show about a woman's personal tragedy is based on the sinking of the Ocean Ranger. Opens Feb 18 and runs to Feb 21, Wed-Sat 8 pm. $15. 193 Baldwin. jewel.reserve@gmail.com.
The Jungleish Book by Peter Towill (Nags Players). A traditional English pantomime tells the classic story. Proceeds to Kids Help Phone. Opens Feb 19 and runs to Feb 28, Thu-Sat 8 pm, mat Sat 1:30 pm. $12-$18, children $2. Tranzac, 292 Brunswick. nagsplayers.com.
Knickerbocker Holiday by Kurt Weill and Maxwell Anderson (Toronto Operetta Theatre). A publisher and a governor clash over a woman and corruption in 17th-century New York. Previews Feb 20-20. Opens Feb 21 and runs to Feb 22, Fri-Sat 8 pm, Sun 2 pm. $39-$78. Jane Mallett Theatre, 27 Front E. 416-366-7723, torontooperetta.com.
Lady In The Red Dress by David Yee (fu-GEN Theatre). Toronto's Chinatown is the setting for characters embroiled in a world of corruption and deceit. Previews Jan 24-28. Opens Jan 29 and runs to Feb 21, Mon-Sat 8 pm, mat Sat 2 pm. $10-$26. Young Centre for the Performing Arts, 55 Mill. 416-866-8666, fu-gen.org. NNNN (GS)
Medieval Times (Medieval Times). This tournament features jousting knights on horseback. Indefinite run, Fri-Sat 7:30 pm, Sun 1 and 4 pm. $62.95, child $43.50. 10 Dufferin, at Exhibition Place. 416-260-1234.
Miss Julie: Freedom Summer by Stephen Sachs (Canadian Stage Company). An interracial liaison shatters lives and social barriers in 60s Mississippi. Previews Feb 9-11. Opens Feb 12 and runs to Mar 7, Mon-Sat 8 pm, mats Wed 1:30 pm, Sat 2 pm. $20-$90, limited Mon pwyc. Bluma Appel Theatre, 27 Front E. 416-368-3110, canstage.com.
National Acrobats Of China (Massey Hall). The troupe performs a theatrical acrobatic show. Feb 23-23 at 8 pm. $29.50-$49.50. 178 Victoria. 416-872-4255, masseyhall.com.
A New Brain by William Finn and James Lapine (Acting Up Stage Theatre Company). An ailing children's TV composer races against time to write his best work. Previews Feb 12-12. Opens Feb 13 and runs to Mar 1, Wed-Sat 8 pm, Sun 7 pm. $25-$40, stu $22. Berkeley Street Theatre, 26 Berkeley. 416-368-3110, actingupstage.com.
Not Getting It by Anne Marie Scheffler (Statler’s). Scheffler performs her solo show about sex and the single woman. Opens Feb 16 and runs to Feb 23, Mon 8 pm. $20. 487 Church, Upstairs Cabaret. 416-962-1209, notgettingit.com
The Obama Experience (AnitAFRIKA! Dub Theatre). Images, film, sound and live theatre are used to look at the journey to the historic inauguration. Feb 19-21 at 8 pm. Pwyc ($5-$10 sugg). 62 Fraser. 416-434-1823, anitafrika.com.
Palais D'Hiver (Hart House). This evening features circus arts by Zero Gravity, Les Coquettes Nouveau Burlesque, organic food, open bar and DJ party. Feb 20-20 at 8 pm. $65. 7 Hart House Circle. 416-978-8849, uofttix.ca.
The Patient Hour by Kristen Thomson (Tarragon Theatre). Two siblings reunite over their unconscious mother's hospital bed. Previews Feb 17-24. Opens Feb 25 and runs to Mar 29, Tue-Sat 8 pm, mats Sat-Sun 2:30 pm. $32-$38, stu/srs $20-$27, previews $19, Fri rush $10. 30 Bridgman. 416-531-1827, tarragontheatre.com.
The Peking Acrobats (Rose Theatre). Special effects, live music and Chinese acrobatics are combined in this spectacle. Mar 26-26 at 8 pm. $40-$55. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Proof by David Auburn (East Side Players Community Theatre). A woman wonders if she's inherited her mathematician father's genius or his madness. Opens Feb 19 and runs to Mar 7, Wed-Sat 8 pm, Sun 2 pm. $18, stu $12. Papermill Theatre, 67 Pottery. 416-425-0917.
Rhubarb Festival (Buddies in Bad Times Theatre). The new works festival celebrates its 30th anniversary with plays, dance, poetry, performance art and more by Lex Vaughn, Jon Paul, Chad Dembski, Liza Balkan, Sulong Theatre Collective and others. Opens Feb 4 and runs to Feb 22, Wed-Sun 8 pm. $17, passes $25-$60. 12 Alexander. 416-975-8555, artsexy.ca.
Rusalka by Antonín Dvorák (Canadian Opera Company). A water nymph falls in love with a mortal prince in this Czech opera. Opens Jan 31 and runs to Feb 23, Jan 31, Feb 5, 11, 17, 20 and 23 at 7:30 pm, Feb 8 at 2 pm, Feb 14 at 4:30 pm. $60-$290. Four Seasons Centre for the Performing Arts, 145 Queen W. 416-363-8231, coc.ca. NNNN (JK)
Say Goodnight Gracie – The Life, Laughter And Love Of George Burns And Gracie Allen by Rupert Holmes (Rose Theatre). This solo show is adapted from the memoirs of George Burns. Feb 20-21, Fri-Sat 8 pm, mat Sat 2 pm. $40-$55. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Silk Stockings by Cole Porter (Civic Light Opera Company). A Soviet spy falls for a Hollywood producer in 50s Paris in this musical. Opens Feb 18 and runs to Mar 7, Wed 7 pm, Thu-Sat 8 pm, mats Sun (and Mar 7) 2 pm. $20-$27.50. Fairview Library Theatre, 35 Fairview Mall. 416-755-1717, civiclightoperacompany.com.
A Skull In Connemara by Martin McDonagh (Toronto Irish Players). The village gravedigger digs up the old dead to make room for the new in this dark comedy. Opens Feb 19 and runs to Mar 7, Thu-Sat 8 pm, Sun 2 pm. $18, mats $15. Alumnae Theatre, 70 Berkeley. 416-440-2888, torontoirishplayers.org.
The Sound Of Music by Richard Rodgers, Oscar Hammerstein, Howard Lindsay and Russel Crouse (Mirvish). Maria meets the von Trapp family in the classic musical. Opens Oct 3 and runs to Jun 28, Tue-Sat 7:30 pm, mats Sat-Sun and Wed 1:30 pm. $26-$120. Princess of Wales Theatre, 300 King W. 416-872-1212, mirvish.com. NNNN (GS)
Swan Queen And The Radical Faerie by Frank Canino (First Draft Theatre Company). Canino's play about a retired ballerina and her stepson gets a reading. Feb 23-23 at 7 pm. Pwyc. Epicure Café, 502 Queen W.
That Night Follows Day by Tim Etchells (Harbourfront World Stage/Victoria). Young actors explore how a child's world is shaped by adults in this piece performed in Dutch with English surtitles. Opens Feb 25 and runs to Feb 28, Wed-Sat 8 pm. $40. Fleck Dance Theatre, 207 Queens Quay W. 416-973-4000, harbourfrontcentre.com.
Toronto The Good by Andrew Moodie (Factory Theatre). A black attorney represents a police officer in a racial profiling case in this drama. Previews Jan 31-Feb 4. Opens Feb 5 and runs to Mar 1, Tue-Sat 8 pm, Sun 2 pm. $20-$37, Fri rush $10, Sun pwyc. 125 Bathurst. 416-504-9971, factorytheatre.ca. NNN (GS)
Travesties by Tom Stoppard (Soulpepper). James Joyce, Vladimir Lenin and Tristan Tzara come together in the mind of a British official. Previews Feb 12-16. Opens Feb 17 and runs to Mar 21, Tue-Sat (and some Mon) 7:30 pm, mat Sat (and some Wed) 1:30 pm. $34-$68, stu $28; rush $20 (stu $5). Young Centre for the Performing Arts, 55 Mill. 416-866-8666, soulpepper.ca.
Tshepang by Lara Foot Newton (Harbourfront World Stage/Mopo Productions). An international media frenzy follows the sexual assault of an infant in South Africa. Opens Feb 18 and runs to Feb 21, Wed-Sat 8 pm, mat Sat 2 pm. $30. Studio Theatre, 235 Queens Quay W. 416-973-4000, harbourfrontcentre.com.
Ubuntu (The Cape Town Project) (Neptune Theatre/Theatrefront). A South African man and a Canadian woman find they are haunted by the same family ghosts. Previews Jan 21-27. Opens Jan 28 and runs to Mar 1, Tue-Sat 8 pm, mats Sat-Sun 2:30 pm. $32-$38, Fri rush $10. Tarragon Theatre, 30 Bridgman. 416-531-1827, tarragontheatre.com. NNN (JK)
Une Maison Face Au Nord by Jean-Rock Gaudreault (Théâtre français de Toronto). A man faces a changing society, modern issues and generational conflict in this family drama. Previews Feb 25-26. Opens Feb 27 and runs to Mar 8, Wed-Sat 8 pm, mats Sun 2:30 pm and March 7 at 3:30 pm. $29-$46, stu/srs $24-$32. Berkeley Street Theatre, 26 Berkeley. 416-534-6604, theatrefrancais.com.
Urinetown by Mark Hollmann and Greg Kotis (Theatre Scarborough). A corporation takes advantage of a global water shortage in this musical comedy. Opens Feb 5 and runs to Feb 21, Thu-Sat 8 pm (except Feb 21), mats Sun (and Feb 21) 2 pm. $24, stu/srs $20 (Thu and Sun only), stu rush $10. Scarborough Village Theatre, 3600 Kingston. 416-396-4049.
Viagara Falls by Lou Cutell (Rose Theatre). Two lifelong friends discover modern pharmaceuticals in this comedy. Mar 6-7, Fri-Sat 8 pm, mat Sat 2 pm. $40-$55. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
Vox Lumiere's The Hunchback Of Notre Dame (Rose Theatre). The Lon Chaney film is transformed using live music, theatre and film. Mar 21-21 at 8 pm. $60-$75. 1 Theatre Lane, Brampton. 905-874-2800, rosetheatre.ca.
We Will Rock You by Ben Elton (Mirvish). Teens rebel against a futuristic world where live music is banned. Opens Aug 1 and runs to May 3, Tue-Sat 8 pm, mats Sat-Sun and some Wed 2 pm. $20-$85. Panasonic Theatre, 651 Yonge. 416-872-1212, mirvish.com. NN (GS)
West Side Story by Arthur Laurents, Leonard Bernstein and Stephen Sondheim (Randolph Young Company). Youths from rival gangs fall in love in this musical. Opens Feb 13 and runs to Mar 1, Fri-Sat 7 pm, mats Sat-Sun 2 pm. $20. Bathurst Street Theatre, 736 Bathurst. 416-872-1111, randolphacademy.com.
Wise.Woman by Rebecca Fisseha (bcurrent). Modern relationships and self-discovery are explored through a journey into an East African dynasty. Opens Feb 20 and runs to Mar 8, Fri-Sat 8 pm, Sun 6 pm, mat Sat 2 pm. $20, stu $15. Theatre Centre, 1087 Queen W. artsboxoffice.ca.
The Wizard Of Oz by L Frank Baum (Fallen Rock Productions). The popular musical is staged to benefit POGO (Pediatric Oncology Group of Ontario). Opens Feb 18 and runs to Feb 22, Wed-Sat 7:30 pm, mats Wed-Thu noon, Sat-Sun 1 pm. $25-$55. Isabel Bader Theatre, 93 Charles W. 416-978-8849, fallenrock.ca.
Rent- The School Edition
An interesting article from the Times this morning, about the revised edition of Rent available for school productions. It seems that even an edited version of Rent is making some school's nervous and a few planned productions have even been cancelled. Click the header above to read the full article.
Wednesday, February 18, 2009
Check this out
Another Canadian musical makes it to Broadway. I mean Neil Bartram and Brain Hill are expats, but they still love Canada, or so they say. Check it out.
Big announcement today from CanStage
The CanStage website invited the press and public to the theatre today at 11am for a special announcement. The announcement was supposed to be broadcast live on the website, but I can't seem to get the footage. Does anyone have an update?
The Mirvish Line-Up
The Mirvish line-up came out this morning. And while they certainly have quite a lot in the works, with a whooping nine shows on the schedule only about half are really exciting to me. But that is still four or so shows that I will definitely be hoping to see. Here's what interests me, oh and click the headline above for the full line-up.
Mirvish is bringing the crowd pleaser Joseph and the Amazing Technicolor Dreamcoat by Andrew Lloyd Webber and Tim Rice, back. And while I personally don't care to see it Joseph is definitely a big draw and will likely inspire another television foyer for Mirivish. Ouzounian is speculating that the lead will be chosen a la reality TV.
"Asked yesterday if TV viewers would choose a Joseph here, Mirvish only said, 'I think that would be a great thing.' Sources at CBC-TV conceded that: 'We're in discussions but nothing for sure at this point.' "
The most exciting thing on the schedule is The Harder They Come, the hit London musical based on the 1972 Jamaican film that made Jimmy Cliff and his reggae music worldwide sensations. I know a few, not-so-into-the-musical, friends who'd go see this and I am really looking forward to it.
There is also a revival of Stuff Happens, by David Hare, which should be interesting, and will definitely get me out to the theatre.
The farewell tour of Chaim Topol as Tevye in Fiddler on the Roof, has got a big cache attached to it, and will also bring out big houses. Although I might not be among the masses.
I haven't heard much about the musical Little House on the Prairie. It is obviously based on the classic stories of Laura Ingalls Wilder, which in turn gave rise to the beloved TV series. According to Ouzounian it broke house records at the Guthrie Theatre of Minneapolis when it premiered there last summer. So that makes it worthwhile and definitely something new for the city. Melissa Gilbert, one of the TV show's original stars, will appear in the musical here as well.
I am really sad that Young Frankenstein, the Mel Brooks musical is coming. I could care less, and would have rather seen Mirvish bring Legally Blonde or Grey Gardens.
The much discussed Priscilla Queen of the Desert follows Young Frankenstein. Priscilla is based on the cult classic film of the same name and is already a hit in Australia where the show was conceived. This show is scheduled to open in London next month and have its North American premiere in Toronto in the spring of 2010.
And perhaps the most exciting play of the season is last year's Pulitzer and Tony Award-winning study of the ultimate dysfunctional family, August: Osage County, will come to the Canon for a limited run, starring Estelle Parsons. I can't wait for that!
Mirvish is bringing the crowd pleaser Joseph and the Amazing Technicolor Dreamcoat by Andrew Lloyd Webber and Tim Rice, back. And while I personally don't care to see it Joseph is definitely a big draw and will likely inspire another television foyer for Mirivish. Ouzounian is speculating that the lead will be chosen a la reality TV.
"Asked yesterday if TV viewers would choose a Joseph here, Mirvish only said, 'I think that would be a great thing.' Sources at CBC-TV conceded that: 'We're in discussions but nothing for sure at this point.' "
The most exciting thing on the schedule is The Harder They Come, the hit London musical based on the 1972 Jamaican film that made Jimmy Cliff and his reggae music worldwide sensations. I know a few, not-so-into-the-musical, friends who'd go see this and I am really looking forward to it.
There is also a revival of Stuff Happens, by David Hare, which should be interesting, and will definitely get me out to the theatre.
The farewell tour of Chaim Topol as Tevye in Fiddler on the Roof, has got a big cache attached to it, and will also bring out big houses. Although I might not be among the masses.
I haven't heard much about the musical Little House on the Prairie. It is obviously based on the classic stories of Laura Ingalls Wilder, which in turn gave rise to the beloved TV series. According to Ouzounian it broke house records at the Guthrie Theatre of Minneapolis when it premiered there last summer. So that makes it worthwhile and definitely something new for the city. Melissa Gilbert, one of the TV show's original stars, will appear in the musical here as well.
I am really sad that Young Frankenstein, the Mel Brooks musical is coming. I could care less, and would have rather seen Mirvish bring Legally Blonde or Grey Gardens.
The much discussed Priscilla Queen of the Desert follows Young Frankenstein. Priscilla is based on the cult classic film of the same name and is already a hit in Australia where the show was conceived. This show is scheduled to open in London next month and have its North American premiere in Toronto in the spring of 2010.
And perhaps the most exciting play of the season is last year's Pulitzer and Tony Award-winning study of the ultimate dysfunctional family, August: Osage County, will come to the Canon for a limited run, starring Estelle Parsons. I can't wait for that!
Miss Julie - Freedom Summer
Friday night I went to see Miss Julie at CanStage with an actor friend. EAP was invited to the fundraiser after party which was really nice, and we got great seats for the show. Unfortunately we agreed that this production was too manic, and that most of the major climatic moments of the original script were lost in the frenetic pace. I didn't think it was as bad as Richard Ouzounian did. But I didn't love it either. I agreed with a lot of what Newstruck said in his review. The original story of Miss Julie was set in Swedan in the late 19th century and tells the story of a wealthy young woman who takes a servant in her family household as her lover. In the Freedom Summer adaption Miss Julie is the daughter of a southern judge in 1964 Mississippi. For me, Kevin Hanchard as the black chauffeur John, who Miss Julie seduces, was the highlight of the show. Hanchard was the only member of the three man cast, which also featured Caroline Cave, of Festen fame, and Raven Dauda, who was able to keep the southern drawl from sounding over-the-top ridiculous. Raven Dauda as Christine the cook and John's intended was uneven at best. At moments she stole the show with her nuances, but I lost a lot of what she was saying to the bizarre staging that had her delivering lines with her back to the audience. Saddest of all though, was Ms. Cave. Although she is a beautiful actress and Justin loved Festen, she was so overdone as Miss Julie. As if her wig and constant costume adjusting weren't bad enough, Cave didn't bring anything close to subtle to this role. In fact her choices were so wrong that I felt that couldn't have been her's. Director Stephen Sachs in my opinion ruined what in many respects would have been a great adaption of Miss Julie. Certainly the script and cast were strong and the setting was ideal, but Sachs let's this production get away from him.
Saturday, February 14, 2009
The Colour Purple - Star Review
Check out Richard's review for The Star. Linked above. I am thinking that I might go see this. I didn't feel that inclined but I am coming around. Ouzounian really like it and that says quite a lot. He certainly liked it better than Miss Julie Anyone want to come with me?
Friday, February 13, 2009
A Man I'd like to Be - Hugh Leonard dies at 82
Although I don't have the ambition as a playwright, "Jack" is a man I aspire to be like. A playwright, critic, actor, theatre enthusiast, and general God Mr. Leonard will be best remembered for his play Da, which won several Tony's, including one for best play. I like him particularly because of the cult of identity he developed as a columnist with The Sunday Independent Ireland's largest Sunday newspaper. Everyone knew him and kissed his butt, and plenty feared him. Not because he was an unkind man but because he was vicious in his criticisms and lavish in his praise. Click the above link to read the NY Times obituary.
Thursday, February 12, 2009
Urinetown - A Good Show Makes All The Difference.
Last night Ryan and I ventured out in the wet weather to take in a show about wetness of another kind. And happily we left feeling theatrically quenched. (I promised that is the last of the water puns.) Right from the start the show was captivating, and a great reminder of how good Urinetown really is. Both Ryan and I had seen the show before. I, in San Francisco at ACT where the first touring company premiered, and Ryan saw it here at CanStage. The CanStage production got such great reviews many felt it was better than the original New York production. Needless-to-say we have quality standards for this show. In fact Ryan turned to me just before the start and asked if we were prepared in case it was a butcher job. And let me just say looking at the set I was afraid.
I'd like to get the unpleasantness out of the way first because in the end we really like this production. But, I don't understand why, and particularly with U of T amateur productions, everyone builds really literal sets that ultimately do not work, and look bad. In this case the set made us wonder if the designer thought the show was called Fecestown. Not good.
The use of an overwhelming amount of dry wall, to represent city structures and the public amenities that are so vital to the plot, covered in brown splotchy paint was so visually unpleasant and not necessary. And yes, looked like feces. And the sad thing about it was that in one section of this wall was a huge hole covered over with what I would describe as 12inch by 2inch fence slating. It was supposed to look like a crack in the wall, which it did, and was meant to add to the derelict feel of the place. But which also gave me the vision of how much better the set would have looked if they had used the wood slating over the frame and skipped the shit brown dry wall, giving the set a more minimalistic feel. It would have allowed the director to use more of the structure in the action and staging. Not to mention, more of the stage. And the slates would have been visually interesting and denoted a downtrodden environment without having to be covered in crap. But instead set designer Luke Sutherland went in a very obvious direction and executed it poorly. The set also had the unfortunate side effect of pushing all of the action too far downstage for my liking.
The flaws with the set only exacerbated my other only problem with the show and that was lighting. I don't want to go on and on about it, suffice it to say that it was awful. Actors were constantly out of the light and the whole lighting arrangement was sloppy and boring. So much so, that there was spill during a third of the scenes on a black light box above the stage, which was so distracting, particularly when the actors made use of the second tier of the set. But in my opinion the bad technical impact of these was totally nullified by this show, and in many ways this production was wonderful. Here is what worked
Meria Gold's choreography, to me, and I am a tough dance critic, was perfect. It was clean, really utilized the stage and took account of the dance level of the cast. The choreography was interesting and appropriate for the show. And there were definitely some unexpected moments. "Don't be the Bunny," a quirky number towards the end of the first act was particularly memorable. She utilized shapes and levels and kept it campy and fun. Really well done.
I also really liked a lot the physical comedy choices made by both director, Neil Silcox, and by the actors. In particularly Melanie Lamoureux as Hope Cladwell and Amanda Whitney as Little Sally shone in this regard, and added a lot to the Show's energy. Other highlights in the cast were Officer Lockstock, who I liked but Ryan was on the fence about. In my opinion that role is all about energy and a commanding presence. Both of which I felt Andrew Dundass, who played Lockstock had. Ryan felt he lacked a physical embodiment of the role, but I thought he was focused and consistent. Andrew Knowlton as Bobby Strong was well cast and had all of the boyish and endearing qualities a Bobby should have. But to me Matthew Tremain as Caldwell B Cladwell stole the show. His scenes and songs of evil plotting with Joey Unnold's, perfectly slimy Senator Flipp, and the rest of the Ur-in-Good Company ensemble were the strongest of the production. Overall I thought the casting was spot on. And Ryan and I were impressed by the staging.
Vocally it seemed many of the leads suffered from tired voices, but I am a firm believer that strong actors can sing anything. And this Show's music while entertaining is not It's strongest element anyway. The men appeared to be more vocally affected than the women and there were definitely some cringe worthy notes. On the womens' side I was underwhelmed initially by Natalie Kulesza as Ms. Pennywise but she grew on me, and was one of Ryan's favourites. What really impressed me in the music department was how well the cast sounded as an ensemble. The harmonies were well balanced and the orchestra while not perfect added to the show rather than detracted. Sound which can often let musicals down was happily not a major issue here.
There were however, a few directorial choices that I questioned. And overall while I liked the staging I wonder how much impact Silcox had on his obviously talented cast. Particularly there was a female ensemble member who should have been reigned in because her vocal affectation competed with Little Sally, and became jarring. There were also some character connections that were not clearly defined and I think could have benefited from a stronger direction. Particularly the relationship between Pennywise and the Cladwells.
All in all after seeing Urinetown I felt it was one of the better productions I have seen at Hart House, and I think, the best production I have seen of the UC Follies. The Follies are definitely the most premiere company at U of T and I have seen all of their shows going back to A Chorus Line six seasons ago. What made this the best, was its evenness in quality and talent. And hands down the best show choice since UC did Evita, the only Andrew L. Webber worth Its salt, in my book. In years past the Follies have done either bad shows, Nine, over-the-top shock, Rocky Horror, or just plain wrong A Chorus Line, and Urinetown provided a nice departure from those. I only wish they could have generated a larger audience for their great production. Low turn out might be in part due to saturation, Victoria College did Urinetown two seasons ago but the Follies have the power to bring in a lot larger audience and a wider range of talent.
On that note, I would like to conclude with a question as to why the Follies continue to outsource talent in such an extreme way? I mean I don't have a problem with any of the casting choices as I said, based on talent. But if I was a UC student I would definitely wonder why I am funding a show full of Sheridan and Randolph grads? That aside, fully entertaining and Ryan and I, as we walked home agreed that when the lights are the biggest problem, you know you've got a pretty good show on your hands.
I'd like to get the unpleasantness out of the way first because in the end we really like this production. But, I don't understand why, and particularly with U of T amateur productions, everyone builds really literal sets that ultimately do not work, and look bad. In this case the set made us wonder if the designer thought the show was called Fecestown. Not good.
The use of an overwhelming amount of dry wall, to represent city structures and the public amenities that are so vital to the plot, covered in brown splotchy paint was so visually unpleasant and not necessary. And yes, looked like feces. And the sad thing about it was that in one section of this wall was a huge hole covered over with what I would describe as 12inch by 2inch fence slating. It was supposed to look like a crack in the wall, which it did, and was meant to add to the derelict feel of the place. But which also gave me the vision of how much better the set would have looked if they had used the wood slating over the frame and skipped the shit brown dry wall, giving the set a more minimalistic feel. It would have allowed the director to use more of the structure in the action and staging. Not to mention, more of the stage. And the slates would have been visually interesting and denoted a downtrodden environment without having to be covered in crap. But instead set designer Luke Sutherland went in a very obvious direction and executed it poorly. The set also had the unfortunate side effect of pushing all of the action too far downstage for my liking.
The flaws with the set only exacerbated my other only problem with the show and that was lighting. I don't want to go on and on about it, suffice it to say that it was awful. Actors were constantly out of the light and the whole lighting arrangement was sloppy and boring. So much so, that there was spill during a third of the scenes on a black light box above the stage, which was so distracting, particularly when the actors made use of the second tier of the set. But in my opinion the bad technical impact of these was totally nullified by this show, and in many ways this production was wonderful. Here is what worked
Meria Gold's choreography, to me, and I am a tough dance critic, was perfect. It was clean, really utilized the stage and took account of the dance level of the cast. The choreography was interesting and appropriate for the show. And there were definitely some unexpected moments. "Don't be the Bunny," a quirky number towards the end of the first act was particularly memorable. She utilized shapes and levels and kept it campy and fun. Really well done.
I also really liked a lot the physical comedy choices made by both director, Neil Silcox, and by the actors. In particularly Melanie Lamoureux as Hope Cladwell and Amanda Whitney as Little Sally shone in this regard, and added a lot to the Show's energy. Other highlights in the cast were Officer Lockstock, who I liked but Ryan was on the fence about. In my opinion that role is all about energy and a commanding presence. Both of which I felt Andrew Dundass, who played Lockstock had. Ryan felt he lacked a physical embodiment of the role, but I thought he was focused and consistent. Andrew Knowlton as Bobby Strong was well cast and had all of the boyish and endearing qualities a Bobby should have. But to me Matthew Tremain as Caldwell B Cladwell stole the show. His scenes and songs of evil plotting with Joey Unnold's, perfectly slimy Senator Flipp, and the rest of the Ur-in-Good Company ensemble were the strongest of the production. Overall I thought the casting was spot on. And Ryan and I were impressed by the staging.
Vocally it seemed many of the leads suffered from tired voices, but I am a firm believer that strong actors can sing anything. And this Show's music while entertaining is not It's strongest element anyway. The men appeared to be more vocally affected than the women and there were definitely some cringe worthy notes. On the womens' side I was underwhelmed initially by Natalie Kulesza as Ms. Pennywise but she grew on me, and was one of Ryan's favourites. What really impressed me in the music department was how well the cast sounded as an ensemble. The harmonies were well balanced and the orchestra while not perfect added to the show rather than detracted. Sound which can often let musicals down was happily not a major issue here.
There were however, a few directorial choices that I questioned. And overall while I liked the staging I wonder how much impact Silcox had on his obviously talented cast. Particularly there was a female ensemble member who should have been reigned in because her vocal affectation competed with Little Sally, and became jarring. There were also some character connections that were not clearly defined and I think could have benefited from a stronger direction. Particularly the relationship between Pennywise and the Cladwells.
All in all after seeing Urinetown I felt it was one of the better productions I have seen at Hart House, and I think, the best production I have seen of the UC Follies. The Follies are definitely the most premiere company at U of T and I have seen all of their shows going back to A Chorus Line six seasons ago. What made this the best, was its evenness in quality and talent. And hands down the best show choice since UC did Evita, the only Andrew L. Webber worth Its salt, in my book. In years past the Follies have done either bad shows, Nine, over-the-top shock, Rocky Horror, or just plain wrong A Chorus Line, and Urinetown provided a nice departure from those. I only wish they could have generated a larger audience for their great production. Low turn out might be in part due to saturation, Victoria College did Urinetown two seasons ago but the Follies have the power to bring in a lot larger audience and a wider range of talent.
On that note, I would like to conclude with a question as to why the Follies continue to outsource talent in such an extreme way? I mean I don't have a problem with any of the casting choices as I said, based on talent. But if I was a UC student I would definitely wonder why I am funding a show full of Sheridan and Randolph grads? That aside, fully entertaining and Ryan and I, as we walked home agreed that when the lights are the biggest problem, you know you've got a pretty good show on your hands.
Tuesday, February 10, 2009
Urinetown @ Hart House
A few good friends of EAP's are in Urinetown at Hart House. I am going to see it Wednesday and plan to post a review on Thursday, here on the blog. The UC Follies are U of T's best known theatre company and their shows are usually very good. So definitely go check them out this weekend. And click here to read more about the show, and to find out how to pre-order tickets.
Don't miss A New Brain
I went down to the Berkeley yesterday to help out with the tech for A New Brain. I didn't get to see any of the show, but I have the utmost faith. The set is great, and I love the way they have incorporated the sail. If you don't know what i am talking about don't worry, go see the show and you will. Here is the info for tickets.
A New Brain
By William Finn & James Lapine
Berkeley Street Theatre – Downstairs
26 Berkeley Street, Toronto, Ontario
February 12 – March 1, 2009
416-368-3110
A New Brain
By William Finn & James Lapine
Berkeley Street Theatre – Downstairs
26 Berkeley Street, Toronto, Ontario
February 12 – March 1, 2009
416-368-3110
Friday, February 6, 2009
Thursday, February 5, 2009
The Star thinks Happy Days are sad again.
Richard Ouzounian's bad review of Happy Days is not unexpected, but it is still sad. I had heard from an inside source that even Paul Williams, who wrote the music, said that Happy Days is still in early stages of development. That might be one reason why the show is so bland. That and the fact that the music is the worst offender, i.e. not memorable. From everything I'd heard the show was totally forgettable, and Ouzounian feels the same. But he also takes issue with the cast, which I had heard was a bright spot. Only Joey Sorge, who plays the Fonz gets any praise from our Star reviewer. He's pictured above.
Even more reasons to get out to the theatre
Richard Ouzounian's, piece today in The Star has us at EAP nervous. We are big supporters of Buddies in Bad Times, and it was sad to read that they are feeling the financial crunch. Feeling it so much that they had to cancel production for their scheduled March show. The silver lining is that the Rhubarb festival, which kicked off last night is not going to be affected, and that cancelling their run of Gay for Pay has stemmed the tide of financial bleeding. Be sure and check the article for more theatre news. And be sure to click here to find out about the Rhubarb Festival and Buddies.
Support for local artists
February 4, 2009. Toronto, ON – Dancer and choreographer Barbara Lindenberg's latest project, A True Lady of Mystery, will take place at the Tranzac Main Hall over two Mondays – February 16 & 23.
A collection of seven pieces for eight dancers, A True Lady of Mystery is imbued with dream imagery and stories from Lindenberg's past. She credits her subconscious with helping to create the dances, abstract pieces that take a non-narrative shape: "Dreams, random moments and images from my past – I use these things to find movement that intrigues me," Lindenberg says.
A True Lady of Mystery has been two years in the making. Lindenberg, a co-founder of Toronto's innovative Up Darling collective, started by creating each of the seven dances as solos, and has worked over the past several months to turn them into group pieces.
Along with Lindenberg, fellow Toronto dancers Corrin Adams, Andrya Duff, Lara Ebata, Mairéad Filgate, Natalie Fullerton, Meredith Thompson, and Holly Treddenick form the cast of A True Lady of Mystery, with musical accompaniment and performances by local musicians Jennifer Castle (voice, guitar), Jonathan Adjemian (piano), and Jason Benoit (banjo).
Lindenberg's previous works have been presented at Nuit Blanche Toronto 2007, Dance Matters (Risky Business and Rebel Yells), A Month of Sundays, Up Darling, Fringe Shanghai, the whole Exhibition (AWOL Gallery), Series 808 Season Finale and Lab Cab Festival.
The Tranzac is at 292 Brunswick Avenue. Tickets for A True Lady of Mystery will be available for $15 at the door the night of each performance.
For more information contact:
Aurora Ratcliffe
aurora.ratcliffe@gmail.com
416-834-2572
A collection of seven pieces for eight dancers, A True Lady of Mystery is imbued with dream imagery and stories from Lindenberg's past. She credits her subconscious with helping to create the dances, abstract pieces that take a non-narrative shape: "Dreams, random moments and images from my past – I use these things to find movement that intrigues me," Lindenberg says.
A True Lady of Mystery has been two years in the making. Lindenberg, a co-founder of Toronto's innovative Up Darling collective, started by creating each of the seven dances as solos, and has worked over the past several months to turn them into group pieces.
Along with Lindenberg, fellow Toronto dancers Corrin Adams, Andrya Duff, Lara Ebata, Mairéad Filgate, Natalie Fullerton, Meredith Thompson, and Holly Treddenick form the cast of A True Lady of Mystery, with musical accompaniment and performances by local musicians Jennifer Castle (voice, guitar), Jonathan Adjemian (piano), and Jason Benoit (banjo).
Lindenberg's previous works have been presented at Nuit Blanche Toronto 2007, Dance Matters (Risky Business and Rebel Yells), A Month of Sundays, Up Darling, Fringe Shanghai, the whole Exhibition (AWOL Gallery), Series 808 Season Finale and Lab Cab Festival.
The Tranzac is at 292 Brunswick Avenue. Tickets for A True Lady of Mystery will be available for $15 at the door the night of each performance.
For more information contact:
Aurora Ratcliffe
aurora.ratcliffe@gmail.com
416-834-2572
You're Welcome America. A Final Night with George W Bush opens tonight!
You're Welcome America. A Final Night with George W Bush, which casts former 'Saturday Night Live' star Will Ferrell as the 43rd President of the United States, officially opens tonight at Broadway's Cort Theatre Feb.The production, which began previews Jan. 20, is currently scheduled to run through March 15.
Ferrell is joined onstage by Michael Delaney as Dr. Scott Blumeth, Patrick Ferrell as a Secret Service Operative, Pia Glenn as Condoleezza Rice and Adam Mucci as the Pilot. Mindy Haywood is the understudy for the role of Condoleezza Rice.
You're Welcome America is directed by Adam McKay, Ferrell's longtime collaborator. These two have collaborated on numerous projects including some really irritating Ferrell pictures of the past few years, so let's hope they do Broadway well.
The production features scenic design by Eugene Lee, costume design by Tom Broecker, lighting design by Brian MacDevitt, sound design by Peter Fitzgerald and video design by Lisa Cuscuna/Chris Cronin with choreography by Matt Williams and flying effects (!!!) by Flying by Foy. Charles Means is the production stage manager.
HBO will air a live telecast of You're Welcome America. A Final Night with George W Bush on March 14, and will be directed by Marty Callner.
If you are in Manhattan or visiting in the next few months and want to check this out, go to:
http://www.telecharge.com/behindTheCurtain.aspx
(Will Ferrell as George W
photo by Mary Ellen Matthews)
Wednesday, February 4, 2009
Stephanie J. Block - 9 to 5
9 to 5 might be really big for Broadway. And I have known that Ms. Block was a star since she did her run of Wicked in Toronto.
Miss Julie - Can Stage
EAP got a special invite to the opening of Miss Julie at CanStage, and the fundraiser after party. Since Justin is off travelling the world I have the great pleasure of bring Ryan with me. He's a super talented up-and-comer and we wish him all the best. Miss Julie is an incredible play, and I think the production looks excellent. Along with the Rhubarb, it's one of the theatre events I am most excited about. To get tickets click here
A New Brain
I had the pleasure of meeting Mitchell from Acting Up Stage yesterday for lunch. We chatted about theatre, the economy, and the difficulties of producing new musical work here in Toronto. It was great to meet him finally, since our interests overlap so much. I hope I will have the chance to get involved with a production of theirs at some point, and at the very least I will be going to see A New Brain, which opens at Berkeley Street Theatre Feb. 12. Click here for ticket information.
Week One at the Rhubarb Festival
GRAHAM & DIANE
8pm, The Cabaret
Created and performed by Lex Vaughn
Directed by Walter Boscariol
Meet Diane: A meek admin assistant who is trying her hand in the performing arts, after being inspired by a visit from corporate comedians at her workplace. Meet Graham: a brash and utterly foul-mouthed ventriloquist doll and Diane's only friend for twenty years.
A HISTORY OF THE CAGE
8pm, The Chamber
By Amos Latteier
A History of the Cage is a lecture/performance uses zoo architecture as a lens to explore a wide variety of topics including nature, freedom, spectatorship, identity, and our complex relationships with animals. The interdisciplinary performance blurs the genres of PowerPoint and documentary film, producing a unique synthesis of education and humour.
ASSALAAMU `ALAYKUM (PEACE BE UPON YOU)
8:35pm, The Cabaret
Created and Performed by Jon-Paul
Because we need each other, we believe in one another, and I know that we're going to uncover what's sleeping in our souls. Who cares about a description? Take a chance on someone. What, you haven't got 25 minutes to spare?
SWEET ECSTASY: PLANS FOR AN ESCAPE ROUTE
8:35pm, The Chamber
Created and Performed by Don Simmons
Employing cinema's methods of emotional manipulation this performance will develop cinemagraphic moments into magical moments lived inside the theatre, questioning - which is more "real" our current lived experience, or the more fictional experience of the movies? This performance will explore the emotional rollercoaster of a Summer Blockbuster.
WHAT'S IT LIKE?
9:10pm, The Cabaret
Created and Performed by David Bateman
Directed by Chad Dembski
Mixing spoken word with stand-up, theatre, and performance poetry, What's It Like? provides a serio-comic response to the sincere, well meaning, yet frequently frustrating questions one is inundated with upon particular forms of personal disclosure.
MONTPARNASSE
9:10pm, The Chamber
A Sheep No Wool/Groundwater Productions presentation
Created and performed by Maev Beaty and Erin Shields
Created and Directed by Andrea Donaldson
Montparnasse is an erotic submersion into the world of artist models in Paris in the 1920s. Peek behind the canvas and discover a rich culture of voyeurism, paint, sexual autonomy, nakedness, identity, anonymity, jealousy, ego, cruelty and the Divine Muse.
Buddies In Bad Times Theatre presents
A RHUBARB FEATURE PRESENTATION
THE BE(A)ST OF TAYLOR MAC (New York)
THURS - SUN 4 SHOWS ONLY!
9:45pm, The Chamber (90min)
By Taylor Mac
Directed by David Drake
A flamboyant chameleon of words, music, and sociopolitical tirades, visual and vocal phenomenon Mac employs gender-bending surrealism to explore the human condition and challenge the contemporary culture of fear.
RHUBARB WEEK ONE SPECIAL EVENTS:
FESTIVAL KICK-OFF BASH
Wed, Feb 4, 10pm, The Cabaret
Celebrate Rhubarb's 30th Anniversary following the opening of Week One with libations, revelry and performances by very special guests.
TALKING TO CHRIS DUPUIS
Chris Dupuis aka the "Barbara Walters of the performance art scene," interviews three participants from the 2009 Rhubarb Festival and shows you a side of these artists you never new existed.
Thurs, Feb 5, 7 pm
(Photo: Taylor Mac)
The 30th Rhubarb Festival begins in the city
Here is the official Press Release from Buddies in Bad Times. For all you who are wondering what to do this month, this is an exciting time for the local theatre scene.
Buddies in Bad Times Theatre presents
Buddies’ announces a stellar line-up for the 2009 Rhubarb Festival of new works. For 30 years The Rhubarb Festival has offered Toronto artists a critic-free environment to experiment with contemporary theatrical explorations. Rhubarb encourages established artists to take new risks and emerging artists to explore the medium of performance creation in an inspired, encouraging space.
Buddies In Bad Times Theatre presents an exciting line-up of new, original, contemporary theatre, performance and dance for our 30th Rhubarb Festival. This year’s festival kicks-off with a special feature presentation of acclaimed New York performer Taylor Mac in The Be(a)st of Taylor Mac as part of his cross-Canada tour. The 2009 line-up features a host of brave new offerings from by Toronto’s hottest indie artists such as Lex Vaughn, Jenn Goodwin, Erin Sheilds, Meav Beaty, Andrea Donaldson, Amos Latteire, Chad Dembski, Alex Wolfson, Susie Burpee, Michael Rubenfeld, Catherine Hernandez, Alistair Newton and Halifax’s Secret Theatre. Buddies is also proud to bring you a special presentation of Public Recordings’ internationally acclaimed /Dance/Songs/.
Canada’s oldest and largest new works festival is famous for playing fabulous host to the most outrageous acts you’ll catch all year round. This year’s line-up features one-of-a-kind performances you won’t see on any other stage! We’ve got comedy, theatre, contemporary dance, drag, performance art and rock ‘n’ roll all under one roof. Once you’re in the door you’re in for a wild ride. Evening Passes are available for a lean $17, and that gets you in to the shows of your choice that night. $25 gets you a Week Pass so you can come and go, take your time and catch every show at your own pace. A limited number of Festival Passes are available for a mere $60. Our Festival Pass gives you unlimited access to any performance on any night and comes with a copy of Rhubarb-o- Rama, edited by Franco Boni and featuring rare short plays by artists of Rhubarbs past such as Jacob Wren, Darren O’Donnell, Moynan King, Daniel MacIvor and more.
ABOUT RHUBARB
First produced by Buddies in 1979, Rhubarb is more than a festival; it is a commentary on theatre - on how we create it, on how we present it, and on how we experience it. Here we allow the artist and the idea to be the centre of attention. The trappings of traditional theatre are purged in favour of a stripped-down approach, where inspiration and invention are genesis.
THE 30TH RHUBARB FESTIVAL
CANADA’S PREMIER NEW WORKS FESTIVAL
Feb 4 – 22, 2009
Festival Director Erika Hennebury
TORONTO, FEBRUARY 2009...CANADA'S PREMIERE NEW WORKS FESTIVAL TURNS 30.
Buddies In Bad Times Theatre presents an exciting line-up of new, original, contemporary theatre, performance and dance for our 30th Rhubarb Festival. This year’s festival kicks-off with a special feature presentation of acclaimed New York performer Taylor Mac in The Be(a)st of Taylor Mac as part of his cross-Canada tour. The 2009 line-up features a host of brave new offerings from by Toronto’s hottest indie artists such as Lex Vaughn, Jenn Goodwin, Erin Sheilds, Meav Beaty, Andrea Donaldson, Amos Latteire, Chad Dembski, Alex Wolfson, Susie Burpee, Michael Rubenfeld, Catherine Hernandez, Alistair Newton and Halifax’s Secret Theatre. Buddies is also proud to bring you a special presentation of Public Recordings’ internationally acclaimed /Dance/Songs/.
Canada’s oldest and largest new works festival is famous for playing fabulous host to the most outrageous acts you’ll catch all year round. This year’s line-up features one-of-a-kind performances you won’t see on any other stage! We’ve got comedy, theatre, contemporary dance, drag, performance art and rock ‘n’ roll all under one roof. Once you’re in the door you’re in for a wild ride. Evening Passes are available for a lean $17, and that gets you in to the shows of your choice that night. $25 gets you a Week Pass so you can come and go, take your time and catch every show at your own pace. A limited number of Festival Passes are available for a mere $60. Our Festival Pass gives you unlimited access to any performance on any night and comes with a copy of Rhubarb-o- Rama, edited by Franco Boni and featuring rare short plays by artists of Rhubarbs past such as Jacob Wren, Darren O’Donnell, Moynan King, Daniel MacIvor and more.
ABOUT RHUBARB
First produced by Buddies in 1979, Rhubarb is more than a festival; it is a commentary on theatre - on how we create it, on how we present it, and on how we experience it. Here we allow the artist and the idea to be the centre of attention. The trappings of traditional theatre are purged in favour of a stripped-down approach, where inspiration and invention are genesis.
THE 30TH RHUBARB FESTIVAL
February 4 – 22, 2009
Evening Pass $17, Week Pass $25, *Festival Pass $60
(*includes a copy of Rhubarb-o-Rama – limited availability)
BUDDIES IN BAD TIMES THEATRE
12 Alexander Street, Toronto, ON, Canada
Box Office: 416-975-8555
www.artsexy.ca
Monday, February 2, 2009
Toronto The Good
"I know what it's like to be young, black... and angry..." (Thomas in Toronto The Good)In the spirit of Factory Theatres’ dedication to producing Canadian plays with Canadian perspective comes Andrew Moodie’s dramatic exploration of race in Toronto which opens this week in conjunction with Factory Theatre's 2008/2009 season. When a policewoman finds a gun after randomly pulling over a young male, who happens to be black, she is charged with racial profiling. The plot becomes even more multifaceted when a black lawyer is appointed to represent her. Moodie is a former recipient of the Chalmers Award. Directed by Philip Akin, this show is getting major buzz and promises to provide an affecting night out at the theatre.
Sunday performances are Pay What You Can at the door. Performance times are Tuesday - Saturday at 8p.m. and Sunday at 2p.m.
http://www.factorytheatre.ca/tickets.htm
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