Playwright Stephen Adly Guirgis’ bold dismantling of the betrayal of Jesus envisions a purgatorial world known as “Hope” where even the most easily damnable deserve consideration and possibly even salvation. It’s a hugely ambitious play with a massive cast of characters- gods and saints and devils, icons and angels and people- an anachronistic allegory that […]
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Before Worlds Apart premiered, Jeff Probst was confident that fans would love this season after a somewhat dull cast of San Juan del Sur (minus the very deserving winner at the end). I’ve got to say, I didn’t believe him for a good portion of this season. Just like last fall, this season saw all […]
For 7 performances May 20-24, the Helen Gardiner Phelan Playhouse will play host to the inaugural presentation from Martha Rose Productions Inc., the latest addition to Toronto’s indie theatre community. The chosen text- the Canadian premiere of Neil LaBute’s Miss Julie, an adaptation of August Strindberg’s 1888 naturalistic masterpiece relocated to Long Island in the […]
The Bard is back on Broadway – just don’t go looking for any of his plays. No, Shakespeare is actually playing leading man in the new musical Something Rotten! playing at the beautiful St. James Theatre. Something Rotten! is a meta-musical that is just a little too cute for its own good and, ultimately, it […]
Jane the Virgin wrapped up its freshman season this week with a one, two, three… actually, I’ve lost count of how many twists ended up in “Chapter Twenty-Two.” Despite its less-than-strategic title, this show is one of the greats, with the finale making me cry, laugh, and say “Noooooo” aloud more than once. So, like […]
Well, Revenge finished up its four-season long run this week, and the finale, like the rest of the show, was…mediocre. I hate to sound like every other person on the Internet that has ever watched Revenge, but it’s true – Revenge was fantastic in its first season and lost its spark in subsequent seasons. While […]
Dennis Potter’s Brimstone and Treacle was considered controversial when it was first written in 1976. Much has changed in the past 40 years, and yet this is still a controversial play in terms of its depiction of sexual violence and the performance of disability. As such, the question why stage this play was at the […]
There are a few operatic conventions that really get me down. The first is a wackadoo story that let’s say isn’t exactly grounded in human truth. The second is overdramatic Tragedy with a capital t. Though the two productions that make up the Canadian Opera Company’s spring season embody, respectively, these qualities to a tee, […]