Maighdlin is a Vancouverite turned Torontonian who graduated the summer of 2015 from Randolph Academy as a singer, actor and dancer. She first came across the idea while watching The Wizard of Oz movie for the 50th time, when she was about 3 years old. She is the co-founder and co-artistic director of NonExistent Theatre, a new theatre company that challenges conventional casting and provides opportunities to emerging artists. while also attending the University of Toronto. Oh, and she ran into Bernadette Peters in a coffee shop once.
Waiting in Line, presented by Honest Arts Production Company, as part of the Toronto Fringe Festival, is a show consisting of various vignettes that explore the effects of the welfare system in Ireland. The piece is enhanced using intricate projected backdrops on simple white walls. While all aspects of this show, from the subject matter to the technology to the characters themselves, are intriguing, I felt the show lacked consistency in how it linked these elements together.
Life Records, by Beefman Jones Productions, is a one-woman show performed by Rhiannon Archer as part of the Toronto Fringe Festival. Part stand-up comedy and part confessional, the show is an exploration of how the music we listen to affects our lives, in which Archer delves into stories from her own life as comedic and eclectic examples.
When the lights come up on a simple wooden bench in the Factory Theatre, Red Betty’s production of Rukmini’s Gold, as part of the Toronto Fringe Festival, promised to show us a story about “where we come from and where we are going”. In the hour and a half after that, the story was told with a delicacy and charm that kept me leaning forward in my seat.
When the lights come up on a simple wooden bench in the Factory Theatre, Red Betty’s production of