Gian has been a contributor to MoT since June 2013. Other than a couple of theatre history electives in university, Gian’s main theatre experiences date back to his childhood days when he would accompany his parents to shows at the Elgin Theatre or Princess of Wales Theatre. His fondest memory is seeing Les Mis as a child and being in awe of the larger-than-life costumes and musical numbers. When seeing a show, he loves pieces that come from a sincere place of truth – that tell a heartfelt story. During the day, he’s a Toronto Copywriter and Search Marketing Specialist. You can connect with him on both LinkedIn and Twitter. Twitter: @gian_verano
Comedians Berni Stapleton and Amy House take the Tarragon Theatre Stage in Toronto
How many Newfoundland comedians does it take to entertain a Toronto audience? Well, apparently the answer is two. Taking a hilarious look back at their careers and their 35-year long friendship, comedy veterans Berni Stapleton and Amy House performed their sketch revue show, Berni and Amy Rises Up: The Importance of Being Foolish, to a packed house of eager spectators Wednesday night.
This dynamic duo dished out an eclectic brand of off-the-cuff comedy complete with the dirtiest of limericks and Shakespearean soliloquies thrown in for good measure.
Time is many things. It’s fluid. It’s infinite. And it’s the one thing we all wish we had more of. A Wake for Lost Time, playing as part of this year’s Summerworks Festival Live Art series, is a non-stop, multi-disciplinary performance that explores the question: what is time really worth?
The material consists of approximately 2.5 hours’ worth of various vignettes, which are looped over and over throughout a 24-hour period. It’s an interesting experiment that studies how the physical and mental state of an actor can completely dictate the method and mood of how a narrative unfolds.
One of the best things about SummerWorks is the chance to experience various types of theatre for a reasonable admission price. Even better, is the fact that there are quite a few double bills on this year’s playbill. That’s right, two shows for the price of one. I had the chance to see Desiccated and LIGHT AT THE END OF THE TUNNEL 2.0 Saturday afternoon.
And although both productions shared the same ticket, they could not have been any more different.
Conceptually, I found the premise intriguing: to explore “the idea of audiences not seeing dancers as relatable but rather as highly skilled technicians who can do things with their bodies that most people can’t”.
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Exploring the notions of relationships and what it means to meaningfully connect with another soul, 