by Colin Thomas | May 31, 2018 | Review
Bloody. Good. In Macbeth Muet, two actors from the Montreal company La Fille du Laitier tell the story of Macbethin about 45 minutes. Although they don’t do it wordlessly, as advertised, they do it without speaking. (At various points, the performers hold up cards,...
by Colin Thomas | May 25, 2018 | Review
You know that expression about shooting fish in a barrel? Reviewing The Only Good Indian is like trying to shoot a fish in the ocean from an airplane. At least in the performance I witnessed, The Only Good Indian is hard to get a bead on. Jivesh Parasram, Tom Arthur...
by Colin Thomas | May 24, 2018 | Review
Geologic Formations is a show about embodiment, but it is rarely viscerally embodied. In Geologic Formations, mia susan amir explores the multigenerational psychological and physical effects of trauma. Her saba (grandfather) survived the Bialystok Ghetto in Poland...
by Colin Thomas | May 18, 2018 | Review
Corey Payette and his collaborators are reinventing the story of Canada—in ways that respect First Nations and women. It’s thrilling. In last year’s musical, Children of God, Payette took on the residential school system. He wrote, directed, and composed that piece,...
by Colin Thomas | May 17, 2018 | Review
This production of Mamma Mia! is selling the show so hard you’d think it was the last used car on the lot. Mamma Mia! is a ridiculous—but extremely amiable—jukebox musical. Catherine Johnson, who wrote the book, has strung a bunch of hit songs by ABBA into an unlikely...
