From the category archives:

THEATRE

THEATRE

Réflexions existentielles

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Huis clos, Théâtre du Nouveau Monde

by Mélanie Grondin
27.03.2010

Dans un monde où les téléspectateurs sont bombardés quotidiennement de télé-réalités remplies de belles gens qui aiment se montrer et se regarder, vient, de manière opportune, Huis clos. Écrite par Jean-Paul Sartre en 1943, la pièce reflète ce que Sartre appelle l’enfer : le besoin de se voir, de se définir et de se comprendre [...]

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THEATRE

Organic, Yes … But Stunted

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Father Land, Bain St. Michel

by Alex Woolcott
18.03.2010

There is much to admire in Father Land, the deeply flawed play at the Bain St. Michel: Infinitheatre remains one of the only companies producing original work by new Montreal writers; there is the performance of Neil Napier, one of the city’s most talented actors; and there are set and lighting designs by award winning [...]

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THEATRE

The Politics Of Emotional Deserts

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A Line In The Sand, Segal Centre

by Coralie Duchesne
13.03.2010

The multi-talented team of Mike Payette and Mathieu Perron, who interchangeably wear the hats of producer/director/actor with equal aplomb for their Tableau D’Hôte theatre company, bring us another compelling Canadian play: the Montréal première of A Line in The Sand by Guillermo Verdecchia and Marcus Yussef.

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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

Spirited Excess & Bawdy Silliness

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The Mid-Life Crisis of Dionysus, MainLine Theatre

by Marc Seltzer
02.03.2010

Not to be missed at the MainLine Theatre is a musical comedy reimagining the Greek god of wine, Dionysus, in middle age. With text and lyrics by Jeremy Hechtman and Patrick Goddard, inspired by a story of Garrison Keillor, this is smartly written comedy delivered with great timing by a well-rehearsed and able cast.

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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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THEATRE

Off-Off-The-Wall Broadway Xmas

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My Christmas in New York, Nouveau Théâtre Ste. Catherine

by Sarah Fletcher
18.12.2009

“Fuck Broadway. The real show is here, on this avenue,” says struggling poet Adam Manduwksi in My Christmas in New York, an improvisational play on at Théâtre Ste. Catherine. Set on East 27th and 2nd Avenue and peppered with impromptu acting, a colourful cast brings to life a vision of the holidays alternately bleak and [...]

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THEATRE

Local Playwrights Go Public

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Tableau d’hôte Theatre, Infinithéâtre

by Anna Fuerstenberg
12.12.2009

Montreal’s been a sad place to be a playwright. The two major theatres were, and some say still are, much too interested in doing second-hand U.S. and U.K. productions, and neglecting both Canadian work and local playwrights. However, there has been a sea change with Centaur’s production of Bated Breath, and In Piazza San Domenico, [...]

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