The vibes were resonating at the Théâtre Ste. Catherine with the now third annual presentation of Jesus Christ Superband, the improv-related spoof of cult hit Jesus Christ Superstar.
Albino children being abandoned and rounded up in prison-like shelters; sometimes, murdered for their body parts. They are supposed to bring luck.
It was a thrill to see this cast working together, playing the thousands who made up the warring Greeks and Trojans.
The story is very simple and direct and the writing is clear and delightful, but the big bonus is getting to see Clare Coulter strut her stuff in a role that fits like a glove.
There was so much testosterone on stage that my companion and I had to take out our programmes and fan ourselves. The cast was outstanding. Paul Flicker may be a first time director but he is not a first time caster.
As one of the founders of the Playwrights Guild I have often bemoaned the lack of public readings for playwrights living in Quebec who are not Francophone.
This epic Aeneid is both timely and fabulous. Olivier Kemeid has transposed some of the story to modern settings and his refugee camps and underworlds are as horrific as anything imagined by Virgil.
Oren Safdie, 22 years a playwright, is enjoying a successful run of his first script to be produced in Montreal, his hometown. I spoke with the writer just before he attended a performance at the Bain St. Michel.
Motherhouse is a brave marriage of political story telling and popular theatre. Holly Gauthier-Frankel takes the stage and kibitzes with the audience, quickly launching into the story of the woman who works at a munitions factory in Verdun during the First World War.
Geneviève Metson plays with phosphorus in the lab and has learnt its story. She will tell it at Place Bonaventure on Saturday with an interactive dance performance.
All plays about the holocaust are difficult to watch. This particular tale, of a wealthy Austrian woman who manages to survive but loses much on the way, is no exception.
In a gripping two hours, The Walnut Tree relates in a mix of dream sequences and starkly realistic confrontations, yet another story of the few survivors of the nightmares that swept Europe in the mid 20th century.
“The single biggest problem in communication is the illusion that it has taken place.”George Bernard Shaw. I do not know if Eugene Ionesco, the Romanian-French “Theatre of the Absurd” playwright knew of this quip when he wrote The Bald Soprano, his first play in 1950, the year of Shaw’s absurd death at 94 while climbing a tree.
The ancient Greeks said it all. Not only in philosophy, but in theatre. Some 500 to 400 years BCE, the Greek dramatists Fab Four — Aeschylus, Aristophanes (my favorite), Euripides and Sophocles — ruled the roost with deep observations that traverse the centuries, unmatched by anyone until Shakespeare.
THEATRE: UNSEAMLY BY OREN SAFDI. She’s young and beautiful. Her skirt is terribly short but otherwise there’s nothing about Malina (as played by Arlen Aguayo Stewart) to suggest she’s a scheming seductress bent on destroying her ex-lover, a charismatic corporate genius.