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.
People have been blown away by this show, raving about it. When I was leaving the theatre I could hear people all around me saying how amazing they thought it was. I felt like maybe I was missing something. I thought the show was interesting, and there were some very cool things about it, but amazing is not the word that leapt to mind.
Workshops are great; I think of them as theatre that you get to participate in. In this one, participants (myself included) performed by working with scripts in a professional studio.
The minute you walk into the building you’re in this show. The theatre has been transformed into a synagogue (including announcements of community achievements and weddings on the hallway bulletin board) and the show is a Charedi (Ultra Orthodox) wedding. The audience are guests at the wedding (okay, paying guests, but guests nonetheless).
Okay. So, it’s taken me a long time to write a review of Canadian Opera Company’s production of Carmen. I’m pretty sure that it’s because I really really really wanted to like it, but, well, I was kind of underwhelmed.
This week is Comedy Week for Haiti, basically folks will be making you laugh, and the money you spend on said laughter will go to the International Committee of the Red Cross Haiti Fund.
