“This production, again, offered a solid juxtaposition of dance style in comparison with the Swedish production. I noticed many elemental styles of jazz, some tap, modern and swing.”

“Some plot elements from ‘Girl from the North Country’ need to be fleshed out further as there are nineteen members in the cast, and some of the backstories need closure or further addressing. This element does not destroy this wonderful company’s exhibition of true ensemble performance perfection for the stirring renditions of Dylan’s songs.”

“‘Piaf/Dietrich’ offers captivating and jaw-dropping performances by Louise Pitre and Jayne Lewis as the famed chanteuses cabaret singers who form a loyal friendship and, for a brief while, became lovers while living in America.”

“To watch ‘The Crucible’ is not an easy feat by any means as it is emotional, it is nerve wracking, it is horrifying, and it is uplifting.”

“One strength of this production lies in the terrific ensemble work, especially where the cast utilizes dramatic, silent pauses forcefully. After seeing this opening night performance, I was reminded once again just how powerful silence can be on stage when it is timed nicely.”

“I really wanted to walk away from ‘The Book of Life’ a tad more hopeful as Ms. Katese speaks about the fact she focused on maintaining her Book of Life intact during this turmoil and strife.”

RENT rocks Vancouver’s Queen Elizabeth Theatre this week as Broadway Across Canada’s revives Jonathan Larson’s fabulous bohemian tale of artistes, New Yorkers and AIDS afflicted lovers for the 20th Anniversary Tour.

At three hours and forty-five minutes, ‘The Front Page’ maintains that solid comic through line necessary to sustain interest. Great fun. Try to catch it if you can.

There are no easy answers in this play as my guest and I were talking quite a bit on the train ride home later about behaviours of adults who are wronged and who have been wronged, and the moral implications involved. 

Just over three hours long, ‘Birds of a Kind’ demanded close attention be paid as it was easy to get lost if you don’t have a background in Middle East Palestinian conflicts. My attention wandered as so much information was given that I began to lose track of specific relationships the characters had with each other.

Soulpepper is tackling French playwright Yasmina Reza’s 1994 play, ‘Art’, which was translated by Christopher Hampton and has been very successful in its productions in London’s West End, on Broadway, and elsewhere.

I couldn’t help but remember the adage “Good things come to those who wait” after seeing the opening night performance of ‘Million Dollar Quartet’ (from the book by Floyd Mutrux and Colin Escott) now onstage at Port Hope’s Capitol Theatre.

Pay a visit to the Winslow Farm and to 4th Line Theatre to feel the heartbeat of a rural community and a troupe of solid actors who tell a good story.

Theatre on the Ridge should be congratulated for a fine summer festival encompassing drama, comedy, classics and Canadiana.  It has been a pool of diversity as wide as the Toronto Raptors’ fan base.  Their final production of David Ives’ ‘Venus in Fur’ deepens the pool even further with a witty production of a complex take on the battle of the sexes.

Like many other Canadian playwrights, Joan McLeod enjoys writing about Canada. But what sets her apart is her desire to peel back the peaceful veneer of Canadian society and reveal the stark reality of conflict and unease that often goes unacknowledged. This is true of her 2013 play, The Valley, which takes an unflinching look at mental health and, more specifically, the interaction of on-duty police officers with citizens suffering with mental illness.

Theatre on the Ridge has recognized the depths of Wilde’s most popular work with its recent preview performance in Port Perry, Ontario.  The writing speaks for itself, but it is the acting that elevates this production.

Nathan the Wise’ is a play that requires at least two or more viewings for its rich subtext of the exploration of three faiths. If anything, for a twenty first century audience, the play allows us hopefully to open that discussion of trying to find a common humanity and element that exists between all of us.

Let’s be honest – I had fun at ‘The Office A Musical Parody’. Yes, I smiled and laughed at some of the double entendres and innuendos that do take place in an office and/or school setting so thanks to the McSmiths for the laughs.

Creating Shakespearean productions that are accessible and intriguing entertainment for people of all ages is a true challenge. To do it consistently for a quarter century, well, that’s another thing entirely. Yet, the Driftwood Theatre Group has been doing just that since 1995.

Truth be told, this 36-year-old script now appears as if it doesn’t have the same electric punch and jab it once had. That is not to say the performances are lacking because these four actors are top notch.