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AN IDEAL HUSBAND: I’D MARRY IT

AN IDEAL HUSBAND: I’D MARRY IT

Because theatre has so many moving parts, several of which are moving actors, who come complete with independent sensibilities, stylistic adventure in the theatre is a dangerous game: if you don’t get all those moving parts coordinated, the show will crash in...

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INNER ELDER: AGES WELL

INNER ELDER: AGES WELL

The pay-off is great. A solo show — and memoir — written and performed by Michelle Thrush, who’s Cree, Inner Elder is about the artist’s journey towards self-realization as an Indigenous woman. Raised mostly by her dad, Thrush felt an absence where she wanted her...

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Meeting: Could it have been an email?

Meeting: Could it have been an email?

It’s very well intentioned, maybe even moderately helpful — and a total wank. In Meeting, playwright Katherine Gauthier invites us to observe a meeting of Co-Dependents and Sex and Love Addicts Anonymous, but what she shows us is completely unrealistic — more about...

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HERE WE GO: GO

HERE WE GO: GO

Here we go. Where to start? I watched this production three times over a 25-hour period. Here We Go is a short one-act (in three parts) by British playwright Caryl Churchill — about 45 minutes in total. Churchill is one of the smartest playwrights I’ve encountered,...

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CASEY AND DIANA: MAYBE YOU HAD TO BE THERE

CASEY AND DIANA: MAYBE YOU HAD TO BE THERE

A strange thing is happening to what is, to me, recent gay history: it’s being made holy. I’m thinking of director Joe Mantello’s TV version of playwright Mart Crowley’s 1968 script, The Boys in the Band, for instance. Mantello’s interpretation is an endless parade of...

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DANCE NATION: A FRACTURED STATE

DANCE NATION: A FRACTURED STATE

The Search Party’s production of Dance Nation didn’t leave any residue, it didn’t leave a mark on me, which is disappointing. In an essential way, the world of Clare Barron’s script is a perfect fit for the themes she sets out to explore. She introduces us to a group...

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