From the category archives:

THEATRE

THEATRE

Double Bling Bang Bard

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The Comedy of Errors, Centaur Theatre

by Marianne Ackerman
10.03.2010

So here’s the situation: a stranger comes to town and finds himself mysteriously drawn into somebody else’s life-in-progress. Meanwhile, a guy who’s dug in and married money discovers himself locked out of the house and his calls bounced. Kafka or farce? Peter Hinton’s Comedy of Errors pursues both options.

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THEATRE

Chronique d’une fuite annoncée

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Excuse-moi, Théâtre Jean Duceppe

by Mélanie Grondin
04.03.2010

La fuite a lieu lorsque l’on ne peut ou ne veut plus lutter contre la réalité. Selon Henri Laborit dans L’éloge de la fuite, nous pouvons fuir de différentes façons : les drogues, la psychose, le suicide, la solitude ou l’imaginaire, mais comment peut-on continuer à fuir lorsqu’on est confronté par les méfaits de cette [...]

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THEATRE

A Night to Remember

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Michel & ti-Jean, Centaur Theatre

by Marianne Ackerman
06.02.2010

For the record, a young Michel Tremblay never went stateside to track down the legendary beat writer Jack Kerouac, though watching George Rideout’s brilliant new play inspired by What if … you’ll be tempted to believe he did. Michel & ti-Jean’s invitation to suspend disbelief is easy to accept.

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THEATRE

Charming, Disarming Company

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Geometry In Venice, Segal Centre

by Lev Bratishenko
05.02.2010

My quarrelsome companion and I argued during the intermission of Michael Mackenzie’s Geometry in Venice. She claimed I was only interested in comparing the play with Henry James’ novella, on which it is based, and that this was ‘boring’. I claimed she was drunk. Of course, I was completely correct.

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THEATRE

Please, Rock the Boat

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The Daily Miracle, Infinitheatre

by Marianne Ackerman
30.01.2010

Whatever else can be said about The Gazette, she has proven herself a worthy muse. Brian Moore’s novel The Luck of Ginger Coffey and William Weintraub’s Why Rock the Boat? both pillaged newsroom antics for material in the early Sixties. Now a former copy editor has taken another kick at the old girl, on her imagined [...]

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THEATRE

Noblesse amuse

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Le Bourgeois gentilhomme, Théâtre du Nouveau Monde; La Princesse Turandot, Théâtre Tout à Trac

by Mélanie Grondin
22.01.2010

Pour ceux qui s’ennuient du Festival Juste pour rire, deux occasions de première qualité sont offertes pour se dilater la rate : Le Bourgeois gentilhomme de Molière, mis en scène par l’incomparable Benoît Brière, et La Princesse Turandot, une adaptation libre de la pièce de Carlo Gozzi et de l’opéra de Puccini par Hugo Bélanger.

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THEATRE

Le culte de la technologie

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L’Espérance de vie des éoliennes, Théâtre Jean-Duceppe

by Mélanie Grondin
19.01.2010

L’éolienne, ce grand totem, cette croix biscornue, est le symbole de durabilité, de technologie verte, de la tentative la plus récente à toucher le Ciel. L’éolienne est le symbole de la foi d’Antoine (Luc Bourgeois) en la science; symbole qui n’est pas sans failles.

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THEATRE

Better Than Real

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Sexy Béton, Part III: Abandon, Segal Centre

by Marianne Ackerman
15.01.2010

Artists breaking rules is a dog-bites-man kind of story. Artists who make their own rules and stick by them? Now that’s news. Sexy béton, Part III: Abandon, the finale of Porte Parole theatre’s three-part investigation into the collapse of the Concorde overpass, offers a surprisingly powerful ending to a tightrope act by a company with [...]

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THEATRE

Wild and Wooly

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WILDSIDE FESTIVAL, Centaur Theatre

by Anna Fuerstenberg
09.01.2010

The 13th annual Wildside Festival, at the Centaur Theatre through Sunday, January 17th, definitely lives up to its name. The festival brings together six cutting-edge plays – and it’s a wild and exhilarating ride all the way.

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