Director Timothy Sheader impressively keeps the production moving forward at a heart pumping pulse right to the jaw dropping emotional climax of the title song and the Crucifixion.
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Rachel Forbes’ insightfully keen eye to the production’s look in costume selection and design winningly worked well for me. I liked the subtle incorporations of the colours of the season (silver, gold, red) reflected in the artists’ clothing
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The Shaw producers clearly knew how to respect Irving Berlin’s material and built a stunning show around stunning songs. We often use the term ‘ensemble’ to describe a particularly tight cast, but we can consider ‘Holiday Inn’ to be an ‘ensemble’ of leadership in that every department – music, acting, lighting, sets, choreography, costumes – was on full creative display.
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Ryan deSouza’s musical direction also embraces the mirthful antics of this production. Common street instruments fill the house with seasonal cheer. The opening of the second act pulls us in, as a simple rhythmic bell ringing charms us into our seats. The harmonies of the cast were magical.
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‘No Change in the Weather’ becomes an authentic East Coast celebration of song, of dance, of laughter…and OF LIFE. I’m still thinking of it today as I write this article about the tremendous joy on the faces of these versatile artists and their kinetic energy that was transferred to me in the house.
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To quote Lucie Arnaz Luckinbill about the recent upcoming film version of her parents in Aaron Sorkin’s ‘Being the Ricardos’: “It’s frickin’ amazing.” The same holds true here for Thiessen’s engaging script and this Shakespeare in the Ruins consuming production filmed by Sam Vint.
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Sensitively and compassionately directed by Mumbi Tindyebwa Otu, ‘Cast Iron’ becomes a tale of dignity, grace, and humour thanks to the finely distinguished vocal work of Alison Sealy-Smith supported by the solid work of John Gzowski as Sound Designer and Composer.
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Under Chris Abraham’s perceptive direction, Zorana Sadiq remained in complete artistic control of her emotions continuously as she shared segments of her life growing up and recounted some moments within her family that were sometimes poignant, sometimes difficult…
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‘Angel’ is an exalted work of music and dance worthy of Milton, Rilke, and a superb cast.
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The title +(dix) confused me when I spoke with Vikram. Our conversation went well as I learned a great deal more about dance, but I wasn’t sure if I truly understood what the title means.
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I certainly hope this ‘Moby’ returns for another engagement next summer as I thoroughly admired this fanciful musical adaptation which accomplished two things for me…
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‘Mno Bimaadiziwin’ explores briefly the lives of characters as they prepare for a sweat lodge ceremony. I’m going to be honest and say I had no idea what it was and I’m pleased to have learned it here.
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‘The Home Project’ is a welcome return home to live theatre in Toronto’s Distillery District especially considering all the social changes and movements of the last eighteen months.
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The evening had a true “cabaret” style feel to it with some high barstool seating and a rustic circular stage with red drapery. Dixon’s opening wail on the harp produced the infectious beginning.
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The strength in Ms. Johnson’s script [Serving Elizabeth] is in the constant interplay between the two plots. This is also a strength of the costumes. They define characters and the generations.
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I listened to some mighty impressive choral work that ventured into a sometimes angry, sometimes bitter, tirade against we baby boomers as to how we are responsible and should be ashamed of ourselves for the choices made over forty, fifty years ago that have now made our planet sick.
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David Danzon moves beyond just a mere representation of a trademark stock character. His ethereally fascinating Pierrot remained enchantingly haunting for me during the hour-long production.
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After watching actor and playwright Mark Crawford’s terrific opening night performance of ‘Chase the Ace’ with the Festival Players at Bloomfield’s Eddie Farm in Prince Edward County, one thing came abundantly clear to me.
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With courage and boldness the festival produced Tomson Highway’s 1986 searing story of ‘The Rez Sisters’, a complex and weighty play
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The Guild’s production of ‘Alice in Wonderland’ vibrantly shone for me on this dog day summer opening night in Scarborough, despite one rust spot quibble that I will address shortly.
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