S. Bear Bergman has great faith in the power of theatre to make change, and has been putting his money where his mouth is on that one for some time. A writer, performer, and lecturer, Bear works full time as an artist and cultural worker and loves to see as much live performance as possible – making this a fantastic gig for him.
Find a kid-friendly theatre experience at The Munsch Bunch in Toronto
Kid Plus One is Mooney on Theatre’s series reviewing children’s and young adult shows with our actual children. We’ll pay special attention to topics of interest to parents and caregivers: suitability of theme, how engaging the show is, how tolerant of childish commotions, and so on to help you choose the best shows for your young audience members.
The first thing I need to tell you about The Munsch Bunch is that my wriggly almost-three-year-old sat through the entire 65 minutes and said only two things: “There’s someone else in the box!” and “The moose is going to kiss her!” Other than that, he sat rapt for the entire time, watching wide eyed as the Robert Munsch storybook series came to life. For my little chatterbox, that’s no small feat.
Cirque Eloize puts on a fun-filled acrobatic display in iD currently playing at Toronto’s Sony Centre
Upon leaving iD at the Sony Center this evening, I ran into an acquaintance who had also just emerged. “What’d you think?” she asked. On the spot, I replied: “Very pretty, lots of fun, and zero cultural appropriation – my favorite kind of circus.” Upon a little more reflection, I find I can comfortably stand by my off-the-cuff assessment.
iD, the newest production from Cirque Eloize, is an “urban” styled performance designed to feature modern acrobatics like breakdance, trampoline, double dutch jumprope and stunt bike alongside more classic expressions of the form like silks and hand-to-hand tumbling.
Sneak peak at the latest stage in the The Mission Business’s end of the world: ByoRetreat, running November 2nd and 3rd
As we near the end of the (fake) long, slow (faux) buildup to the (fictional) end of the world – parentheses brought to you by Hurricane Sandy – it has rarely been such fun to follow along. I was lucky enough to see the Toronto Fringe show of ByoLogyc: Where You Become New, and made it in for an early BRX virus screening at Nuit Blanche this year, ducking protestors and reassuring my small son that we were still seeing a show, even if it didn’t look like it. For extra fun, I’ve been participating in the VIP (Versatile Intern Program), watching things unfold behind the scenes.
Sieber steals the show (with style and class) in Toronto’s latest Mirvish theatre installment, La Cage aux Folles
Here I will admit: there can never be too many La Cage aux Folles revivals for me. I greeted the news of its spot in the Mirvish season with a somewhat undignified noise, and when the time came to bid for shows to review here at Mooney On Theatre, you can bet I was waving my hand wildly in classic keener style. La Cage is, in my opinion, a truly great musical and I love it like an old friend.
But you know sometimes, how your beloved old friend takes up with someone you really don’t think is that good for her? Someone who diminishes her in some basic, ineluctable way? Sorry, George Hamilton, but I think maybe you and my sweet La Cage should go your separate ways.
Toronto audiences have more opportunity to discover the Canadian Opera Company with their latest exciting production of Die Fledermaus
Not since Robert LePage flooded the orchestra pit restaging Nightingale at the COC have I heard such a buzz about a new production as I have about Christopher Alden’s new Die Fledermaus. It’s not difficult to see the similarities. Of course LePage is rather in a class by himself when it comes to creating a landscape, but Alden’s Fledermaus has a freshness to it, full of whimsy and wit. Both productions offer a sensual theatrical experience even apart from the music, and both have an undeniable broad appeal.
