I went to see Wild Dogs on the Moscow Trains because I really enjoyed Anthony MacMahon’s script for The Frenzy of Queen Maeve at last year’s festival and was looking forward to seeing My Theatre Award nominee Ewa Wolniczek perform another of his pieces. To my surprise and delight, I found that Wild Dogs is […]
People really like to call Aaron Sorkin sexist. Now, I’ve shared on many occasions my firm belief that his often weakly drawn female characters have entirely more to do with his inability to understand women than any honest belief that we are inferior (man’s got no game, I feel pretty strongly that his writing shows […]
Just one more, I promise. This is the last one. And I promise this one is nice. This one is really nice. Because this was the thing I liked. This was the Only thing I legitimately really liked over the course of the entire Fringe Festival without previously liking the company, the text, the director […]
After two instalments of highly critical Fringe complaining (Part 1, Part 2– my colleagues were much nicer), I have two productions left to discuss. One was pretty good but not as great as I wanted it to be, one was one of the highlights of the year in theatre so far. But what they share is the participation of artists […]
Click Here to read Part One of my Fringe 2013 saga. Fuck Shakespeare sounded like something I might like. It was about a playwright (I love stories about writers; I generally find that writers do a good job writing them- who’dathunk?) and supposedly incorporated Shakespeare somehow. That’s more than enough reason than I need to […]
The third episode of The Newsroom‘s second season mostly moved along developing plots: the Genoa tip is gaining in credibility, Maggie is preparing for her (doomed) trip to Africa, Jim is making waves on the Romney press bus, and Neal is pulling for more Occupy coverage. We also revisited Hope Davis’ gossip columnist from last […]
There’s always at least one magnificent piece of work that just doesn’t fit into our annual awards, either because it stands head and shoulders above the rest of the work being done or because it’s simply so very different, incomparable. That’s what our yearly Honorary Awards are for. There’s one for each branch presenting awards: […]
The two most recent productions in Soulpepper’s 2013 season have been lively re-interpretations of texts that can only be described as classics. The first, Michael O’Brien and John Millard’s anachronistic take on Rossini’s The Barber of Seville, was a goofy romp-like good time and little more. The sublime pleasure of having the great Dan Chameroy […]