Archives for March 2019

Marine Life: a bit watered down

Guest review by David Johnston

Ruby Slippers is presenting Marine Life at the Firehall.

Alen Dominguez, Christine Quintana, and Sebastien Archibald: in over their heads in Marine Life. (Tim Matheson pic)

There are several plays inside Ruby Slippers Theatre’s production of Marine Life. I even enjoyed one of them.

My favorite Marine Life is the screwball romantic comedy. Here, lawyer Rupert (Sebastien Archibald) and activist Sylvia (Christine Quintana) have a highly improbable meet-cute and immediately begin dating. This is followed by lots of fighting and bantering and declarations of love amidst rat-a-tat jokes. She loves the environment! He goes fishing! Can these two crazy kids make it work?!

 [Read more…]

Gross Misconduct: the writer overplays her hand

SpeakEasy Theatre is presenting Gross Misconduct at the Gateway Theatre.

Ian Butcher, Mike Gill, and Scott Bellis engage in Gross Misconduct (Photo by David Cooper)

This play could have been more than it is.

In Meghan Gardiner’s Gross Misconduct, Deke, who’s been in jail for a long time—and who, incredibly, seems to have had a two-bunk cell to himself for years—finds out that he’s got a cellmate all of a sudden: a young guy named Corey who’s scared shitless and won’t shut up. Deke is reading a book in which a woman named Abby recounts how she was raped as an adolescent. [Read more…]

Jesus Christ: The Lost Years. Why?

Monster Theatre is presenting Jesus Christ: The Lost Years at the Havana Theatre.

This undeniably excellent poster is by Kurt Firla. (It’s the Fringe version; ignore the dates.)

There’s nothing seriously wrong with Jesus Christ: The Lost Years. And there are some things that are majorly right. I’m just not super clear on why it exists.

In this hour-long show, writers Ryan Gladstone, Katherine Sanders, and Bruce Horak imagine what Jesus might have been up to between the ages of 13 and 30, during which time he disappears from the historical record. In their telling, Jesus is traumatized when he finds out that Joseph isn’t his biological father and sets off in search of his “real dad”. [Read more…]

Reverberations: intermittent seismic activity

Reverberations, a site-specific work by Brian Linds, is playing at Presentation House.

In Reverberations, Brian Linds explores his family history.

One of the sections in Reverberations, an installation/performance piece by Brian Linds, knocked me out.

In Reverberations, Linds, who has worked primarily as a sound designer for the past several years, explores his family history through five pieces that are all set up in their own spaces in Presentation House. Every unit has a significant sound component. Groups of up to 20 audience members each start in different rooms and move from space to space. [Read more…]

Jesus Freak (or Atheists are Assholes)

Pacific Theatre is presenting Peter Boychuk's Jesus Freak.

Pay particular attention to these two: Katharine Venour and Kaitlin Williams in Jesus Freak. (Photo by Jailin Laine Photography)

There are several plays going on at once in Jesus Freak. One of them is good.

In the story, a liberal family gathers for Easter weekend in their getaway home on one of the Gulf Islands. Susan and Alan’s adult daughter Clara, who is pursuing post-graduate studies in political science in Montreal, comes out as Christian. All hell breaks loose. [Read more…]

The Good Bride: not so good

Solid performance. Delightful set. (Photo of Carolyn Rapansos’s design and Marissa Emma Smith in character by Wendy D Photography)

I took little naps in the blackouts between scenes: when the lights went down, so did my eyelids. That’s because sweet nothing happens for at least the first 85 minutes of The Good Bride’s 100-minute runtime. And I’m not just talking about the dearth of plot; there is no significant accumulation of anything. [Read more…]

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