Dance Matters presents a mixed program of contemporary dance in Toronto

Series 3 – Into the Fire presented by Dance Matters at the Pia Bouman School brings together a mixed programme of highly physical and mostly contemporary dance works. The final series of the season features a mix of eerie yet quirky creatures, a sensual yet combative duet and a fiery flamenco collaboration between a dancer, vocalist, and musicians.

Fadeout, created and performed by Anne-Flore de Rochambeau of Montreal opens the show. A bar of light in the centre of the stage only highlights the lower half of the dancer’s body, anything above the bar disappears in the pitch black space. The dancer-turned-creature, fidgets with her hands against her legs, noticeably uncomfortable while teasing to dip below the bar of light. The soundscape blends the sounds of birds chirping with different echos and rattles bringing you into this other world.

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Soulpepper presents a new production of Michael Frayn’s Tony-winning play in Toronto

“Math is sense. That’s what sense is.” So says Kawa Ada as Werner Heisenberg, a somewhat unwanted visitor to the home of his former mentor Niels Bohr (Diego Matamoros) and his wife Margrethe (Kyra Harper), in Soulpepper’s production of Michael Frayn’s Tony-winning Copenhagen. Frayn’s sophisticated, devastating play imagines the basis of a secretive meeting between Heisenberg and Bohr in German-occupied Denmark in 1941. Heisenberg, one of Bohr’s protégés, has a question to ask the older, more cautious physicist, which may prove a turning point to the war. The half-Jewish Bohr is apprehensive as to which of Heisenberg’s dealings with the Nazis are for show, and which carry the potential for true, civilization-ending harm.

Existing in a suspended purgatory, long after the deaths of all three, they dissect in free-wheeling debate what may have happened, writing endless drafts akin to Bohr’s constantly-updating papers. It’s a kind of physicist’s No Exit, where they are most perfectly able to torture each other about the morality – or lack thereof – of using nuclear power to form weapons, an issue that has regrettably become timely once again.

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Amy Lee Lavoie’s new play in Toronto feels like a #MeToo era response to Mamet’s Oleanna

It’s been almost thirty years since David Mamet unleashed Oleanna on the theatre world. Amidst the burgeoning #MeToo movement, I’ve recently wondered what a female playwright might do with a similar set-up. And here, presented by Leroy Street Theatre, is Amy Lee Lavoie’s C’mon, Angie! right on cue! 

In the early ’90s, Mamet warned against the potential dangers of political correctness gone awry, though he came uncomfortably close to vilifying his female character. Lavoie shows considerably more emotional and intellectual restraint. In what feels like a companion piece to Oleanna, she manages to flip the script without showing contempt for either character. Taking that play’s he said/she said scenario out of academia and placing it in a cramped bedroom after a sexual encounter, the story posits that political correctness is no more insidious than the white male entitlement it challenges. Continue reading Review: C’mon, Angie! (Leroy Street Theatre) →

Dreamwalker Dance Company’s current presentation All of our Dreaming, dramaturged by Sarah Chase opens with an intimate performance in the antechamber of the theatre of Grace Theatre Centre. The audience sat in a semi-circle on the floor, cushions, and camp stools enclosing company founder and artistic director Andrea Nann as she delivered In a Landscape, a solo choreographed by Peggy Baker that comes across as highly personal. This modern dance piece is accompanied by a rippling piano piece of the same name by John Cage. The walls and ceilings are draped with back-lit sheets, upon which were projected stencils of flowers and patterns (designed by Elysha Poirier), heightening the cocoon-like feel of the space. The experience, characterized by impossibly supple and graceful gestures by Nann, set the tone for the performances that followed on themes of nature, transformation and spiritual discovery. Continue reading Review: All of our Dreaming (Dreamwalker Dance Company) →

Canadian premiere of punk rock memory play brings noise to Toronto

Four Chords and a Gun is a performance that we hear before we see. Fitting, considering it takes us behind the scenes of the iconic punk rock band the Ramones. After a rousing drum solo and some brief narration by sometime band member Marky Ramone (played by James Smith), we get to business. At least as much as a group of angry, self-medicating punks from Queens can.

The play is penned by comedian and actor John Ross Bowie, best known from roles on TV shows The Big Bang Theory and Speechless. This may cause trepidation for non-lovers of sitcoms, but untethered of television’s formulaic structure, Bowie proves himself a capable storyteller. He weaves a passionate, sharp, and informative account of the band, focusing on their trials and tribulations around recording the 1980 album End of the Century with flamboyant gun-toting producer Phil Spector.

Continue reading Review: Four Chords and a Gun (Starvox Entertainment) →