Review: Dark Heart (Thought For Food)

Photo of Genevieve Adam and Michael Iliadis by John GundyDark Heart is a “brave new world of a show” playing on the Toronto stage

Dark Heart, a Thought For Food production now playing at the Assembly Theatre, is a prequel to an earlier work by playwright Genevieve Adam, Deceitful Above All Things, which is set in the same world of colonial New France. I haven’t seen it, but now I’m more than intrigued — this nuanced, captivating show inhabits a world worth visiting and revisiting.

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Review: Le Dire de Di (Théatre Français and Théatre la Catapulte)

Photo of Marie-Eve Fontaine in Le Dire de DiThéatre Français and Théatre la Catapulte presents Le Dire de Di playing in Toronto

It’s not about what you remember or why you remember, in Théatre Français and Théatre la Catapulte‘s Le Dire de Di playing at the Berkeley Street Theatre, it’s the weight of those memories that make them real.

Taking a poetic journey into nature, society, and science, Le Dire de Di finds itself bogged down by words despite an incredible performance.

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Review: Declarations (Canadian Stage)

Canadian Stage presents the latest production by Jordan Tannahill at the Berkeley in Toronto

Jordan Tannahill, the mastermind behind Botticelli in the Fire & Sunday in Sodom, returns to Canadian Stage with Declarations — a unique and certainly unusual multidisciplinary exploration of memories, the here and now, and what will transpire. It’s an introspective look at mortality, that of Tannahill’s own, his mother’s and of mankind.

This performance combines a non-linear script presented in an almost spoken word manner with improvised movements that are made up on the spot, meaning no two performances will be alike. What transpires on stage is surreal, metaphoric, and entirely up for interpretation.

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Review: The Eve of St. George (Transcendance Project)

Photo of The Eve of St. George by Alvin CollantesTranscendance Project revives its immersive dance-theatre take on Dracula in Toronto

You may have heard of Sleep No More, the genre-defining immersive theatre adaptation of Shakespeare’s Macbeth by UK company Punchdrunk. While the show is wildly successful in New York (playing since 2011) and Shanghai (opened in 2016), it’s unlikely a production will ever open in Toronto due to the show’s complexity and cost. But luckily for us, local contemporary dance company Transcendance Project may have created the next best thing.

The Eve of St. George, an immersive dance-theatre adaptation of Bram Stoker’s Dracula, is taking over four floors of The Great Hall for five performances over three nights, inviting guests to don masks and become anonymous voyeurs; giving them free reign to explore their way through the show’s dark, mysterious, and sexy world. Continue reading Review: The Eve of St. George (Transcendance Project)

Review: Krapp’s Last Tape (Theatre Passe Muraille)

This one-man show is “haunting” and “resonating”, at the Theatre Passe Muraille in Toronto

Krapp’s Last Tape is a short play by Samuel Beckett about an old man looking back on a life lived alone and less-than-well. It isn’t the sort of thing you want to watch by yourself after being cancelled on twice, but that was my situation this past weekend. My friends missed out though, because Theatre Passe Muraille’s production makes for a spectacular and deeply intimate show.

Without a doubt, this is the best use of the Passe-Muraille’s Backspace that I’ve seen. Normally, the shows I see there come from small production companies that would want for a larger performance space if it were available to them. Here, Krapp’s Last Tape makes great use of the backspace’s intimacy. Continue reading Review: Krapp’s Last Tape (Theatre Passe Muraille)