Take a look at what I’ve seen so far this month:
The most intensely Canadian play you are likely to see, Yukonstyle is not sentimental or didactic; it is a deep gaze into the soul of Canada. And it’s not just for Canadians. It’s being staged this year not only in Montreal and Toronto, but also in Paris, Brussels, Innsbruck and Heidelberg. Packed with Canadian context but devoid of cliché, Yukonstyle would be compelling fiction, yet much of the content is taken from too-soon-forgotten news reports and too-readily-dismissed police investigations. Over the past two decades, 600 native women in Canada have disappeared or been murdered.
On a cold Yukon night, with the gruesome details of the Robert Pickton trial unfolding on television, a rebellious and entitled white anglo teenage girl hitchhikes into the lives of a Japanese immigrant and her roommate who is tormented by questions about his native mother who disappeared from Vancouver when he was two.
English language premiere runs until October 27th.
Based on the 1870 erotic novel Venus in Furs by Austrian writer Leopold von Sacher-Masoch, from whose name is derived the word “masochist”, David Ives’ 2010 play Venus in Fur is a sex-charged gender politics comedy bridging the 19th and 21st centuries. It’s like Oleanna meets Pygmalion meets Dan Savage meets bell hooks. Closing October 27th.
Read my full review at http://www.postcity.com/Eat-Shop-Do/Do/October-2013/Theatre-Review-Venus-In-Fur/
Daniel MacIvor’s latest play continues at Tarragon Theatre until October 27th. When a couple of very different brothers learn their mother has died, they have to find a way to deal with each other, and her dog. You can tell it’s a comedy because the death comes at the beginning rather than at the end.
Read my full review at http://www.postcity.com/Eat-Shop-Do/Do/October-2013/Theatre-Review-The-Best-Brothers/
Les Misérables! Again? Isn’t that so 25 years ago? And yet, themes from Victor Hugo’s epic story — the Law versus the People, the 99 per cent versus the powers that be — continue to be reflected in the news. Do you see a parallel between the barricade in Les Mis and the G20 barricade? Do you hear the people sing, “Idle No More?” Even if not, the music keeps the audience coming back. Canada’s Iranian-born Ramin Karimloo as Jean Valjean is worth the price of admission.
This gritty new rendition of the world’s longest-running musical, with physicality in the performances evoking, more than previous productions, the brutality of the epoch and the story, has no gigantic Lazy Susan rotating the set and actors, which was a pivotal feature of the previous productions. Now the performers are the spectacle.