All posts by Megan Mooney

Megan loves being in the thick of all things theatre, but her ultimate goal is to promote theatre to the world of non-theatre people. It was the same when she was the theatre writer for blogTO, or the Fringe Correspondent for CBC Radio One‘s Here and Now, as it is as the founder of Mooney on Theatre. Her basic belief is that there is theatre/performance out there for everyone to love, they just need to find it. This is not to be confused with the idea that everyone should love theatre for theatre’s sake, in fact, as obsessed as she is with theatre, even *she* doesn’t love all types of theatre.

Review: Iphigenia and The Furies (On Taurian Land) – Saga Collectif

Photo of Virgilia Griffith, Thomas Olajide, and Augusto Bitter in Iphigenia and The Furies

Funny, touching, thought-provoking. This Iphigenia adaptation has it all

Before I go to a show, I try to stick to the tidbits of information someone might get when glancing around to make a decision. I don’t go in-depth into press releases and research. The whole point of Mooney on Theatre is to try to see shows the way someone who is not completely steeped in the theatre world would. This is one of the ways I do it.

I’m not sure exactly what I expected from Iphigenia and The Furies (On Taurian Land) presented by Saga Collectif, but I do know it wasn’t this piece full of laughter and joy. It was a delightful surprise.

Continue reading Review: Iphigenia and The Furies (On Taurian Land) – Saga Collectif

What Makes an MoT Fringe Rave (includes a list of all Rave Reviews)

Graphic saying "MoT is Raving"

How come Mooney on Theatre doesn’t have a star rating system? What the heck is a Rave Review? What makes a show a Rave anyway?

People have been asking, we’ve been answering individually, but it’s time for a big group answer.

There’s also a big list of all our Rave Reviews down a the bottom in case you’ve been looking for something like that.

Continue reading What Makes an MoT Fringe Rave (includes a list of all Rave Reviews)

Daily Picks from our Raves at the Toronto Fringe 2018 (July 11th)

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By the time we get into the second week of the Toronto Fringe Festival I’m always stunned by how fast time moves. By the time you are reading this most shows will only have two or three performances left. How can that even be?!?

Well, to help you decide what to see, every day we’re featuring three of our rave reviews from our long list of the reviews of each show. And today is no different. Keep reading to see what we have picked out for you today.

Continue reading Daily Picks from our Raves at the Toronto Fringe 2018 (July 11th)

Daily Picks from Raves at the 2018 Toronto Fringe (July 8th)

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Well folks, we’re 5 days into the Toronto Fringe Festival. Mooney on Theatre has published 154 reviews so far (6 more to come today) and 32 of those are Raves. That’s a lot of rave reviews! I think we can safely say the 30th Toronto Fringe Festival is a pretty exciting one!

We’ve been featuring three of our Rave reviews each day, and today is no differet. So read on to see what we have in store for you today.

Continue reading Daily Picks from Raves at the 2018 Toronto Fringe (July 8th)

Wounds To the Face – Toronto Fringe 2018 Press Release

Photo of Abigail Carey in Wounds to the Face

From Press Release

QUESTIONS OF IDENTITY AND POWER EXPLORED IN WOUNDS TO THE FACE,
DIRECTED BY MATJASH MROZEWSKI
What is a face? What does it mean to “lose face”? And what if it was literal? Theatre of Catastrophe founder – and enfant terrible of contemporary British theatre – Howard Barker explores these questions of identity and power in the poetic, violent and, at times, humorous Wounds to the Face, presented by Randolph College for the Performing Arts at the Toronto Fringe Festival, July 4-15, 2018. Wounds to the Face is directed by Matjash Mrozewski.
Mrozewski, who is a multiple Dora Award nominee, brings a unique background comprising 20 years in dance and the last five years immersed in text, to his work on Wounds to the Face, paying equal attention to text, design and the physical body in space. “Barker’s work is not easy – for the audience or the actors – but it stretches our imaginative capacity,” says Mrozewski. “Barker’s text is so muscular and precise, I want the audience to experience that without distraction. The command his characters have of their language is thrilling; we should all be alive again to the power of carefully chosen words and articulate, powerful expression.
He continues, “As with all of my work, there will be a theatrical lift. I want to invite the audience into this strange and disturbing world to witness a range of human behaviour that shocks, disturbs and delights.”
Considered one of the major writers of modern European theatre, yet largely unknown in his home country of Britain, Howard Barker is known for plays that fearlessly explore power, sexuality and human motivation. Like a taut piece of chamber music, Wounds to the Face weaves themes and variations dealing with how we perceive ourselves and those around us. While touching on myriad subjects–beauty, decay, disguise, vanity, injury and propaganda–this play moves beyond how we read and, in turn, wish to be read by others, and examines how we choose to move through life. To accept or defy? With cruelty and wit, Howard Barker sets his characters in a time of upheaval, and we witness their struggles to dominate or conciliate.
The cast features a troupe of emerging artists who are all in their final year of training at the Randolph College for the Performing Arts. On working with a group of emerging artists, Mrozewski says, “Randolph College is going in lots of exciting directions in terms of its programming and this work is a bold choice. Howard Barker’s imagination and language challenge the actors and the audience in a way that few playwrights do. For these young actors, his plays are an immense gift in terms of text and dramatic possibilities.”
Randolph College in association with The Toronto Fringe Festival presents Wounds to the Face by Howard Barker, directed by Matjash Mrozewski, and featuring: Angelica Bonacini (Italy), Abigail Carey (Nova Scotia), Hope Clarkin (Ontario), Amanda Coochey (Quebec), Rachel Fehr (Saslatchewan), Kayla Ironside (Ontario), Nikki Kuehnel (New Brunswick), Diana Lavelle (Ontario), Adriana Longo (Ontario), Lee-Orr Orbach (Ontario), Catherine Ouimet (Quebec), Justin P. Douglas (Ontario), Talia-Marina Street (Ontario), and Arthur Yip (Ontario).
An amateur production presented by the Randolph College in community partnership with the Toronto Fringe Festival.
Performances: July 6 at 3 p.m., July 8 at 9:15 p.m., July 9 at 2:45 p.m., July 11 at 8:45 p.m., July 12 at 7 p.m., July 13 at 4 p.m., July 15 at 12 p.m.
Randolph Centre for the Arts — Annex Theatre, 730 Bathurst Street, Toronto
Please note that there is absolutely no latecomer seating.
Tickets: $13 ($11 + $2 service charge) – ON SALE JUNE 7
If available, at-the-door tickets will be sold at the Annex Theatre starting one hour prior to show time, cash sales only, limit of 4/person
Purchase online: fringetoronto.com
By Phone: 416-966-1062
In Person: During the festival at Fringe Festival Box Office, Scadding Court – 707 Dundas Street West.
ABOUT THE RANDOLPH COLLEGE FOR THE PERFORMING ARTS
Since 1992, the Randolph College for the Performing Arts has transformed aspiring artists into multi-talented performers through a rigorous training program that integrates the core disciplines of acting for stage, film and TV; voice; and dance, taught by a pre-eminent faculty of entertainment industry professionals. Faculty and alumni have appeared on Broadway, West End-London, Toronto, Stratford Festival, and Shaw Festival stages, as well as U.S. Tours and in feature films and TV series; worked with Disney, Cirque du Soleil, Vancouver Opera, Globe Theatre, Citadel Theatre, Neptune Theatre, Rainbow Stage, and Charlottetown Festival; and distinguished themselves as singer-songwriters, playwrights, music directors, directors, choreographers, producer, and arts entrepreneurs. www.randolphacollege.ca

Photo of Abigail Carey by Aleksandar Antonijevic