Peter Hinton’s Funny Girl is a fresh take on the story of Fanny Brice, where comedy, tragedy, and song come together into a magnificent new work. Rover caught up with Hinton for a chat.
Actor Damien Atkins wants to believe. But does his one-man-show have enough of the X-Files Factor to convince the skeptics?
Three plays on Montreal stages this week – The Medea Effect, Terminus, The Nisei and the Narnauks – use myth to show the unshowable and speak the unspeakable.
A review of Donna-Michelle St. Bernard’s Governor General Award-nominated, Dora Mavor Moore-prizewinning play, Gas Girls, now playing at the Segal Centre.
A review of Belles-Soeurs – The Musical, playing at the Segal Centre
Montreal was still reeling from Expo 67, mini-skirts were turning heads, pot was definitely not medicinal, and the world was headed to California when The Graduate hit movie screens. The zeitgeist of the time was change. When the world was moving fast and everything seemed possible, The Graduate manifested all of its conflicts, not to mention scandal, hope and pure exuberance.
Fleeing her family’s cult at age 19, Montreal comic Kate Conner’s path to comedy wasn’t an easy one, but the mother of 4 thinks she’s got it figured out: just don’t look down.
Soul Doctor is a partially Yiddish world premiere of the story of orthodox rabbi Shlomo Carlebach, who had a fateful encounter with the great Nina Simone in the 60s and became an international rock star.
Top Girls spotlights an outstanding all-woman cast embodying contemporary women caught between individualism and societal cooperation.
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.
One of the characters in The Seagull says that theatre is medicine and the audience needs healing. In the case of the Seagull, the medicine is both delicious and effective. The play is long, but one only notices that after it is over, the standing ovation ends, and you glance at a watch. In theatre time it transpires in a flash. This is first class medicine from some world class practitioners.
Peter Hinton is an award winning playwright and director. From 2005-2012, he was Artistic Director of English Theatre at Canada’s National Arts Centre in Ottawa; prior to that he was an associate artist at The Stratford Festival for seven seasons and then more recently directed at the Shaw Festival. For the Segal Centre, he directed A Night in November by Marie Jones, Buried Child by Sam Shepard, and his own adaptation of Henrik Ibsen’s A Doll House. Peter was the 2012 English recipient of the National Theatre School of Canada’s Gascon/Thomas Award for significant achievement in Canadian Theatre, and in 2009, he was named an Officer of the Order of Canada. I met Peter in the lobby of the Segal Centre.
It is not often that Montrealers see a world premiere, let alone of a musical. The current Yiddish production of Tales of Odessa at the Segal Centre does have its English and French surtitles and a written English synopsis to guide the audience through the plot intricacies. However, the attraction here is not following every minor comment, but being swept along by the evocative music and immersed in the total atmosphere.
It would hardly have taken the world’s greatest detective to deduce that Hollywood pulling-power, in the shape of local boy Jay Baruchel, combined with the brand name recognition of Conan Doyle’s immortal creation, would make Sherlock Holmes a surefire hit. Guttingly, the death of playwright-performer Greg Kramer just before rehearsals began have made this not just a major cultural event for the city but a celebration of the life and talent of one of its most mercurial theatre artists.
NDG’s own Jay Baruchel is apparently the 79th actor to portray Arthur Conan Doyle’s fictional detective, Sherlock Holmes of 221B Baker street, London. And 79 is not too many, because this premiere production of the late Greg Kramer’s play is stupendous.