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Written by Catherine Kustanczy
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Tuesday, 18 November 2008 16:28 |
Kick Theatre is probably the best name Christine Horne and Melee Hutton could’ve chosen for their company. Miss Julie: Sheh’Mah, Kick’s premiere production, packs an emotional wallop. Based on the 1888 August Strindberg play and updated by First Nations playwright Tara Beagan, the 110-minute work, now on at the Theatre Centre through November 29th, is a painful exploration of the intersections between love, lust, and racism.
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Last Updated ( Tuesday, 18 November 2008 16:31 )
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Written by Catherine Kustanczy
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Wednesday, 05 November 2008 17:45 |
Marshal Pynkoski is passionate about art, especially ballet and opera. The Co-Artistic Director of the acclaimed Opera Atelier speaks with exuberance, even as he excoriates Prime Minister Stephen Harper’s electioneering comments about culture. “To what extent are things elite?” he asks. “I grew up in Scarborough, and because of my parents’ religious background, they decided we needed a musical background, that we must play an instrument. Is that elite? We all played musical instruments, so we could play in church or a plaza if there was an evangelical meeting. That’s where it began, but my mother’s thing was to get an education, to play an instrument, because neither of them played.”
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Last Updated ( Wednesday, 05 November 2008 17:48 )
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Written by Catherine Kustanczy
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Monday, 03 November 2008 17:29 |
A Chorus Line is the ultimate backstage musical. Detailing the ups and downs of a group of young dancers auditioning for parts in a Broadway chorus line, the 1975 piece is known for its heady mix of music and soliloquy-style contemplations. Conceived and originally choreographed and directed by Broadway legend Michael Bennett, and with music by Marvin Hamlisch, the multi-award-winning musical has been seen in numerous revivals and touring productions since its opening, and was adapted into film in 1985. The latest touring version, now on at the Canon Theatre, is filled with stellar dancing, but director Bob Avian has let the pace sag considerably, which is problematic in terms of sustaining energy and interest, much less establishing empathy with the characters.
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Last Updated ( Monday, 03 November 2008 17:31 )
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Written by John Gould
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Wednesday, 29 October 2008 15:06 |
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This year’s British drawing room farce at St. Jacob’s Country Playhouse is a collaboration by Ray Cooney and Tony Hilton called One for the Pot. The title sounds like a tea party. However, it is actually a seething cauldron of class consciousness and mistaken identity that steeps into hilarity. Mill owner Jonathan Hardcastle, has ten thousand Pounds to give to Billy Hickory Wood (Steve Ross) who is the only known surviving child of a former business partner. The other children were a collection of spend thrifts who bled their father dry. The catch is that the gift will only be made if Billy Hickory Wood is the only surviving child. To prove this legally, Hardcastle advertises for others to come forward. The plan starts to unravel as succession of look-alike Hickory Woods arrive from the most surprising places. Apparently Jonathan Hardcastle’s former business partner has “been around.” The plot becomes a race to buy off, or otherwise get rid of, the rival contenders in order to get the contract signed with the right “child.” This exercise proves to be just as difficult as it is to get the right person to sign on the dotted line. Most of the characters do not have a clue about the arrival of more than one Hickory Wood.
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Last Updated ( Thursday, 30 October 2008 15:07 )
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