It’s tempting to criticize Peter Hinton’s new adaptation of Alice in Wonderland for its emptiness. There is no real story, no great moral, no particular meaning, not even a coherent character to invest in beyond Tara Rosling’s cute but fairly blank-slate Alice. That feels like a flaw of the production but, let’s just be honest, […]
Is it better for a show to announce it’s ending as far in as advance as it can so fans have time to come to terms with their impending loss? Or should a show employ a rip-the-bandage-off kind of approach when it comes to series finales? Penny Dreadful decided to blindside viewers, not announcing the […]
No one really goes to the circus anymore. It feels outdated. The acrobats, the animals and the amazement are a thing of the past. People prefer the theatre because they only think of circus in its original form dating back to the turn of the century. This is slowly in the process of changing thanks […]
The power of silence in theatre is impressive. There is often no need for music when the emotions felt on stage are strong enough to relay to the audience. But this can be difficult to do when there is only one actor on stage. This is no challenge for Molly Vevers in her performance of […]
Set in Newfoundland in 1985, director Jillian Keiley’s production of Shakespeare’s irresistible pastoral is simple, lighthearted and creative. A bare stage gets its sense of place from the actors (designer Bretta Gerecke‘s comical ’80s costuming, accents of varying effectiveness) and the audience. The crowd is armed with grab bags full of participatory aids like bleating […]
“Battle of the Bastards,” the most recent episode in the sixth season of Game of Thrones, has me thinking about fathers. Well, not fathers, specifically (the word “bastard” implies the absence of fathers, usually, although in the case of our particular bastards, it’s mothers who are the mystery), but loved ones, family members, usually parents […]
Self-assured though with no emotional investment, Phillip Ridley’s Karagula is messy, tame sci-fi. Despite deft touches on the production side (read: design), the work never clinches the operatic status it desires. On another planet, a milkshake-drinking society that habitually sacrifices its Prom King and Queen is in crisis; intercut with this we see (unclear where […]
What we learn of the Romani is limited but what is limited in the LIFT Festival’s Open For Everything is probed deeply in dance rather than storytelling, a bracing experience when done well. Constanza Macras’ dance company has made a piece that celebrates and explains the ‘last nomadic tribe in Europe’, the Romani. While light […]