By Megan Mooney
Okay. First, a confession. For some reason I have found this a very difficult article to write. I saw AGOKWE ages ago, and have been turning the show over and over in my head since then. The main problem is that I can’t actually figure out what I think of the show.
Here’s what I do know… I am glad I saw the show. There are some stunning moments in this show. And, this can’t have been an easy show to write and perform for Waawaate Fobister, in fact, the whole thing felt pretty brave.
Why brave? Well, I wondered out loud to Lisa, who accompanied me to the show, whether this would be harder to do in front of a First Nations audience, or a non-First Nations audience (which, in the Toronto theatre scene usually translates to white). But Fobister did this in Toronto, so it will be in front of both, since I seem to remember being told that Toronto has the highest population of First Nations people in Canada.
Continue reading AGOKWE – Buddies in Bad Times
By Alex Rayment
The Bad Dog Theatre company is a place of improv. Unscripted shows rule at this place, with different types on different nights. Wednesday Nights are Harold Nights – “a show featuring improvisers of all experience levels teaming up and tackling . . . improvised storylines inspired from a single audience suggestion”. So, I imagine you can tell where I’m going with this. Let me tell you about last Wednesday…
Continue reading Harold Nights – Wednesday's at Dog Theatre Company
Review by Dana Lacey
Its hard to review a play by a dead genius, and King Lear is one of Shakespeare‘s best. If you’ve ever seen it before, you know three things: the banter is hilarious, the insults viciously entertaining and the script entirely too long. The Hart House production stays pretty true to all of these things.
The ultra-brief plot: King Lear wants divide his kingdom to his three daughters, and as you can imagine some feelings end up hurt. Alliances are formed, evil plots are devised and disguises are worn, while Lear becomes increasingly senile. The action is oh-so-good, and the violence is cartoon worthy, full of sword fights and eye gouging (“out vile jelly!”).
If you don’t already know the story, its easy to get confused by Billy’s meandering plot lines and there’s a huge chunk in the middle where politics overtake the action. The friend I brought really wished there were two intermissions. Full disclosure: I love this play and have seen it performed many times, but have never made it through an entire show without dozing off.
Continue reading King Lear – Hart House Theatre
By Dana Lacey
Crackwalker freaked me out before they’d killed the houselights. At first glance the set was beautiful: a dozen light bulbs hung overhead, sending an eerie but soft glow over everything. First the small details kicked in: a battered couch, balls of newspaper, an old chain-link fence…then the one that’s hardest to miss: a giant, bearded and filthy man wandering slowly back and forth, trenchcoat hanging open, the occasional guttural growl coming from a face hidden beneath a hood. He’ll spend most of the play slumped drunkenly in a corner. This was the Crackwalker, I suppose.
Continue reading Crackwalker – Staged and Confused
So, it’s hard to say what you would know Gordon Pinsent best for, considering he’s done pretty much everything, including becoming an Officer, and then a Champion of The Order of Canada. Which is only right, because he’s always kind of seemed like the quintessential Canadian actor (and director, and writer).
Well, on September 25th Pinsent is set to receive yet another accolade…
Continue reading Gordon Pinsent – A Canadian legend honoured by The Company Theatre