Jess is an East coast transplant to Toronto who stumbled into her love of theatre via her social media gig at Ballyhoo Push Pin Media, and stumbled into review writing via an open call to cover the 2015 Fringe Festival for MoT. In addition to writing for MoT, she also blogs about dating, white supremacy, fat politics, theatre, graphic design, and sex at thejessgillis.blogspot.com. She’s a self-taught freelance graphic designer by trade, and a visual artist by passion. She sells and displays her wares at jessgillis.com. She’s passionate about laughter, anti-oppression, sex workers’ rights, body positivity, vegan food, cycling, good TV, and swimming. If you want to follow her foodie, nail art, and pet sitting posts, you can follow her on Instagram and Twitter @TheJessGillis
The Toronto Sketch Comedy Festival – AKA “Comedy Christmas” – is on from March 3 – 13, 2016. It’s the “main event” in a group of other festivals: The Best of the Fest Encore Show (June); and Sketch ComAgeddon (October).
This year’s lineup includes over 70 troupes from across North America, promising to make audiences laugh at three Toronto venues: The Theatre Centre, Comedy Bar and Randolph Theatre. Twitter users can follow the action using the #TOSketchFest16 hashtag.
We spoke to Julianne Snepsts, co-founder and managing producer of the The Toronto Sketch Comedy Festival a few questions about the festival, and what audiences can expect to experience.
Contempt, now on the Toronto stage, is “impressive on many levels”
When I heard about the subject matter of Contempt, on now at The Storefront Theatre, I immediately knew I had see it. The premise – a woman hiring someone to have sex with her disabled, virgin, adult son – is one close to the heart of a sex workers’ rights activist like me.
So, once again this week, I went in to a theatre with high hopes. However, given the other representations of sex work I’ve seen in both film and theatre, I was very cautious with my optimism. I was right to be cautious, but I was also very satisfied by the end.
Venus’ Daughter is near-perfect theatre, now gracing the Toronto stage
I have a confession: I’m always a bit afraid after a show, because I know I have to write a review, and as a writer, I’m always a bit afraid I won’t find the right words. After seeing Obsidian Theatre Company’sVenus’ Daughter tonight at The Theatre Centre, I’m a few notches below terrified.
After all, how does one even begin to describe seeing what may quite possibly be the most incredible piece of theatre in their personal theatre-going experience? Venus’ Daughter – a play about the intersections of history, objectification, pop culture, self-love, and the way women’s bodies are viewed – may be that play for me.
Audio-based endurance performance plays at the FADO Performance Art Centre in Toronto
Monomyths is an ambitious, experimental, and multi-part event. Part 1 (of 3), consisting of of 5 stages, is happening from February 3rd – 7th at The Theatre Centre as part of the Progress Festival. It endeavours to be a sort of feminist re-imagining and disruption of Joseph Campbell’s “The Hero With a Thousand Faces,” a seminal work that’s influenced and shaped the myth of the archetypal hero. With regards to Part 1, Stage 1, which I saw last night, I have good news and bad news.
I’ll try my best to encapsulate the myriad layers of themes and emotions I experienced tonight, namely forced immigration, sadness, theatre, violence, humour, and the resilience of women.
The Toronto Sketch Comedy Festival – AKA “Comedy Christmas” – is on from March 3 – 13, 2016. It’s the “main event” in a group of other festivals: The Best of the Fest Encore Show (June); and Sketch ComAgeddon (October).
Contempt, now on the Toronto stage, is “impressive on many levels”
Venus’ Daughter is near-perfect theatre, now gracing the Toronto stage
Audio-based endurance performance plays at the FADO Performance Art Centre in Toronto
“Honest, raw” one-woman show plays on the Toronto stage