All posts by Nadaa Hyder

Review: No Exit by Jean Paul Sartre (Art and Lies Productions)

Sartre’s No Exit by Arts and Lies Productions delves into existentialism at Theatre Passe Muraille in Toronto

Last night in the Theatre Passe Muraille Backspace I saw No Exit by Jean-Paul Sartre. With little plot development and a main focus on character development, there are three characters whom we get to know very well. This is my kind of play – I personally love this structure and loved the show last night. No Exit is one of Sartre’s more well-known writings, and although I am not familiar with the original – this rendition was enjoyable and got the message across boldly.

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Review: Convergence (Pivotal Motion Dance Theatre)

Convergence at the Winchester Street Theatre is an interesting show with eight different dance sequences. Since working for Mooney on Theatre I have seen many dance shows and have grown to really appreciate great dance performances. Even though I could not relate to the subject matter, I was certainly able to appreciate the talented dancers and choreographers that brought this show together.
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Review: FLUENCY Tribal Crackling Wind (DanceWorks)

FLUENCY Tribal Crackling Wind is a show choreographed by Peter Chin which combines dance, documentary, lecture and talk show interviews in one show. It is driven by Chin’s social experiment of trying to become a Nicaraguan, and it touches on the issues that he has experienced in the process. This may sound like a haphazard structure for a performance, but in fact it helps provide a plethora of information to an otherwise uninformative dance performance.Chin, of Indonesian descent, was born in Jamaica and immigrated to Canada at a young age. He explains that throughout his life he has always felt like a foreigner. In this show we are taken on his journey of trying to become a Nicaraguan.

Review: Name in Vain (Decalogue Two)

At the Tarragon Theatre I watched Name in Vain (Decalogue Two) in their Extra Studio Space.  We follow the interaction of five monks working in their monastery. As they have made a vow of silence, we watch them interact with each other with no spoken words.

There is no music -for obvious reasons- and so the only sound is that of birds, rain, and the occasional grunt from one of the monks. Although there is potential for an interesting concept, the lack of words and minimal sound makes this play quite dull in my opinion.
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