Allegra Fulton & Alexander Thomas. Set design by Anna Treusch. Costume design by Michelle Bohn. Lighting design by Steve Lucas. Photo by Dahlia Katz. Coal Mine Theatre opened its Toronto premiere of Stephen Adly Guirgis’s Between Riverside and Crazy to a packed house at its home on Toronto’s Danforth Avenue last night. Directed by KelliContinue reading “Shades of gray in the intimate, entertaining, deeply poignant Between Riverside and Crazy”
Tag Archives: race
Desperation, desire & cruelty in the ferocious, electric, heart-breaking A Streetcar Named Desire
Amy Rutherford and Mac Fyfe. Set design by Lorenzo Savoini. Costume design by Rachel Forbes. Lighting design by Kimberly Purtell. Photo by Dahlia Katz. Soulpepper sets the stage on fire with a slow burn of desperation, desire and cruelty in its ferocious, electric, heart-breaking production of Tennessee Williams’ A Streetcar Named Desire, directed by ADContinue reading “Desperation, desire & cruelty in the ferocious, electric, heart-breaking A Streetcar Named Desire”
A lesser known perspective of WWI in the compelling, eye-opening, thought-provoking Gods Like Us
Zazu Oke & Vince Deiulis. Set construction by Erica Causi. Lighting design by Wes Babcock. Photo by Kelsi Dewhurst. Theatre Nidãna challenges what we think we know about WWI as it commemorates the 100th Anniversary of the Armistice of the First World War, giving us a little known perspective with the world premiere ofContinue reading “A lesser known perspective of WWI in the compelling, eye-opening, thought-provoking Gods Like Us”
The incendiary impact of one man’s struggle in the ring in the electric, gut-punching The Royale
Dion Johnstone. Set & costume design by Ken MacKenzie. Lighting design by Michelle Ramsey. Photo by Cylla von Tiedemann. Soulpepper transports us to 1905, where an African-American boxer tests his mettle against the formerly retired white heavyweight champion, with incendiary results that reach far beyond the two men in the ring. This is the electric,Continue reading “The incendiary impact of one man’s struggle in the ring in the electric, gut-punching The Royale”
Culture, identity & the meaning of the blues in Soulpepper’s powerful, entertaining Ma Rainey’s Black Bottom
Top: Alex Poch-Goldin. Bottom: Marcel Stewart, Diego Matamoros, Beau Dixon, Neville Edwards & Alana Bridgewater. Set & lighting design by Ken MacKenzie. Costume design by Alexandra Lord. Photo by Cylla von Tiedemann. Soulpepper takes us to 1920s Chicago, where the race, power and creative exploitation collide in a lively, tension-filled recording studio session in AugustContinue reading “Culture, identity & the meaning of the blues in Soulpepper’s powerful, entertaining Ma Rainey’s Black Bottom”
Toronto Fringe: Two men reach out for each other in times of division & change in the intimate, tender, layered The Seat Next to the King
Tanisha Taitt directs Minmar Gaslight Productions’ run of Steven Elliott Jackson’s beautifully compelling The Seat Next to the King, winner of the 2017 Toronto Fringe Best New Play contest, now running in the Theatre Passe Muraille (TPM) Mainspace. Opening in 1964 in a public washroom in Washington, D.C., The Seat Next to the King presentsContinue reading “Toronto Fringe: Two men reach out for each other in times of division & change in the intimate, tender, layered The Seat Next to the King”
Former high school pals reunite to solve an old, gruesome mystery in the dark, macabre, thoughtful Swan
Finish what you start. Little Black Afro Theatre joins forces with Filament Incubator for a production of Aaron Jan’s Swan, directed by Jan and dramaturged by Lucy Powis; and opening last night to a packed house in the Theatre Passe Muraille (TPM) Backspace. As we enter the theatre and settle into our seats, the playingContinue reading “Former high school pals reunite to solve an old, gruesome mystery in the dark, macabre, thoughtful Swan”
SummerWorks: Debating feminism & privilege in provocative, sharply funny Don’t Talk to Me Like I’m Your Wife
Traitorous whore spy? Feminist? Sexually liberated opportunist? The gloriously notorious Mata Hari gets look through 21st century eyes in Call Me Scotty Production’s premiere of Andrea Scott’s Don’t Talk to Me Like I’m Your Wife, directed by Andrew Lamb and opening last night in the Theatre Centre Mainspace as part of this year’s SummerWorks program.Continue reading “SummerWorks: Debating feminism & privilege in provocative, sharply funny Don’t Talk to Me Like I’m Your Wife”
life with more cowbell 