Quirkiness and kookiness abound plenty in this sometimes clever, sometimes zany, and sometimes mature ‘panto’ twist of the story classic ‘Alice in Wonderland’…And it’s all part of the tremendous fun Ross Petty provides

Even though I have no formal background in dance and movement doesn’t hold me back from saying if a production is good… ‘Touch’ is more than just good.

I loved the opening because ‘The Winter’s Tale/Le Conte d’Hiver’ literally began as a story book introduction with the famous English and French lines “Once upon a time/Il était une fois”. Combine this with Brittany Hunter’s pleasing choreography reminiscent of the era became so very enchanting, and I was hooked right from there.

Togetherness and connection are two important themes that run through this slate of new productions - plus I also sensed that this time of Covid slightly permeated the text itself…

… “Holier Than Thou” was a real showstopper. Sister Mary Hubert (Jo-Anne MacDonald) lead the cast in this foot stomping, hand clapping, gospel crowed pleaser of a number… A winner…

Translating a play into audio only is surely a difficult task but ‘The Walls’ is an excellent candidate. The set is stark enough to be easily described with a dull plain room and walls with no windows. The dialogue is prominent especially with the chilling, insincere voices of the interrogators.

I didn’t find anything rotten in the table read of Rosen’s script as I thoroughly enjoyed the vocal work of these artists as they took me back to an untrue historical literary account of the ‘other’ Shakespeare, but who the hell cares on that account?

The challenge of standing on the stage alone without the support of another actor can rattle the nerves of any seasoned actor so having the courage to do this should be commended…I found that partway through their time on stage I didn’t want it to end, I wanted more from each of them. It would be a real treat to see them on stage again.

Mr. Nance soulfully sings each number with a clear understanding of the songs’ messages that still resonates within my very being even as I sit here writing this commentary an hour later.

Meticulously and admiringly staged by Director Jayme Armstrong (whom I remember from years ago on CBC’S ‘How Do You Solve a Problem Like Maria?) with adroit film direction by JP Thibodeau, the pacing of this streamed production mercifully flows naturally and smoothly from scene to scene. From what I also understand, the Alberta Health Services provided direct guidance and supervision to ensure the safety of everyone involved from the actors to the technical crew backstage

“Myers and Schaal cleverly enrich the story with a number of simple metaphors and symbols that sprout into deeper connections and more lofty themes. “

I applaud Fabulist Theatre’s opportunity to showcase the talent of these young people. The company promotes inclusivity and re-imagination. Every member of this company gets a chance to tell their story. The performers who were involved got a chance to tell their ‘Disneyfied’ story.

Anita Majumder’s ‘Flower Girl’ challenges the viewer to consider what the world should look like after the Covid-19 lock-down. It had me thinking what my responsibility is in making those changes come about. These questions might not be top of mind during a conversation between a bride and her wedding planner, but that is just what Ms. Majumder’s story gives us.

For a piece written in such a short time Dyer wrote a twenty-minute play of character depth which became emotional for me. From the moment Carrie enters the room and pulls the duvet over her, I was pulled in. The stress she shares with the audience is sharply felt.

The phrase “these are strange times” is getting a little tiresome, but a project from Tarragon Theatre this weekend alternatively reminds us that difficulties can inspire unique and powerful creativity. To replace their scrubbed annual gala, seventeen resident playwrights were challenged to create and perform five minute playlets based on the theme of possibility and hope for a post covid world

A strong symbiotic chemistry of collaboration between Director Nina Lee Aquino and Kevin Hanchard as Victor created a very real portrayal of a hurting and visceral man who was doing his best to keep it all together even though he is on the “precipice of a nervous breakdown”,

‘i am entitled to rest’ is presented using actors and puppets, and the relationship between actor and puppet becomes a focus. For the most part, the puppetry was generally used solidly; however, at times, this usage created a disconnect between the viewer and the storytellers…

Doing a show on Zoom with everyone in the comfort of their own space (company and audience alike) requires some creativity to deal with direct interaction between characters. This was done with ease by having the character say what they were doing and to whom. At first it was a little distracting but didn’t take long for this to be as natural to the flow of the show as if they had been performing the actions on stage.

At times, the production reminded me of a glitzy Las Vegas show revue…Nevertheless, that glitter and glitz flee quickly away leaving me feeling distant from the emotional element surrounding Ms. Summer’s checkered past in a failed relationship with one of her many lovers.

It is in this risk taking where ‘The Negroes Are Congregating’ becomes a powerful form of an immediate and live connection we make with others and to others…To be honest, ‘The Negroes Are Congregating’ is a risky play that sometimes did create discomfort for me and for my invited guests…