The trouble with adapting most children’s books is that they are very light on plot. Niagara’s Carousel Players’ two-person production of Where the Wild Things Are (originally adapted for the stage by TAG Theatre in Glasgow) suffers from this problem- it’s only 65 minutes long and still feels like they’re filling for time. What felt […]
When we watch Christoph Willibald Gluck’s Orfeo ed Euridice at the Canadian Opera Company, we are offered more than a simple narrative — we’re invited into a space of ritual and reflection. Christophe Gayral’s staging (originally conceived by Robert Carsen in 2011) evokes how I imagine an ancient Greek tragedy performed: stripped of excess, yet […]
This much-maligned production I think gets a bad rap that’s only partially deserved. There’s a lot that it gets right, it’s just that what it gets wrong it gets very wrong and those things are super distracting (and unhelpfully weighted towards the end, making them more memorable). I’ve long been a fan of the […]
I try to review the full Stratford season every year and, with very few exceptions, have done so with great consistency since 2010 (I missed the 2022 late openers and I think a Henry VIII at some point?). This year I’m supposed to be on maternity leave but the thought of missing out completely just […]
A very strong ensemble of some of Shaw’s (and Canada’s) best highlight this strange(r than usual) Will Eno show, an adaptation of Ibsen’s epic Peer Gynt that falsely claims you don’t need to know the original to follow along. You absolutely need to know the original in order to feel rooted at all in this […]
Some uncomfortably personal context: I just had a kid. Attempting to be realistic about the amount of time this website takes to run, I was planning to start maternity leave right around now and cut theatre reviewing from our coverage entirely for the rest of the year. But, when my son arrived two months early, […]
The Grand Theatre in London, Ontario never fails to impress. While I’d love to see them use their secondary stage a bit more to really challenge their audiences with intimate counter-programming, their mainstage blockbusters at the beautiful Spriet theatre reflect diversity of tone and style within the “must sell well” demands of maintaining such a […]
Though Karen Kain, Christopher Stowell, & Robert Binet’s choreography (after Erik Bruhn, Lev Ivanov, and Marius Petipa) is challenging and technical throughout the whole of the National Ballet’s overall excellent update of Swan Lake, the indoor passages lag with slow storytelling and traditional bow breaks that pause the action and break the fourth wall. It’s […]