by Colin Thomas | Sep 9, 2019 | Review
Canadian playwright Trina Davies’s The Trophy Hunt feels like an overly deliberate writing exercise in which she plays three variations on the theme of African big-game hunting. (Why Africa? Why not the Canadian North, which would bring things closer to home?)...
by Colin Thomas | Sep 9, 2019 | Review
BikeFace is clean, simple, and it does its job, kind of like a glass of water — or a good bike. In her solo show, writer/performer Natalie Frijia tells us about her cross-Canada cycling trip. The travelogue includes elements you’d probably anticipate: mishaps (like...
by Colin Thomas | Sep 9, 2019 | Review
About an hour into this 90-minute show, I checked my watch and my companion leaned over to whisper, “Time has slowed.” As in Amélie the movie, sweet nothing happens in Amélie the musical — well, nothing interesting. Amélie is a shy young Parisienne and, for a lot of...
by Colin Thomas | Sep 9, 2019 | Review
Oddly, I found The Legend of White Woman Creek both hypnotic and boring. Katie Hartman, who wrote the piece with partner Nick Ryan, who’s running the lights, performs solo. Starting out as an academic who specializes in the paranormal, she summons the ghost of...
by Colin Thomas | Sep 9, 2019 | Review
Playwright Lili Robinson has some great instincts. Mx, Robinson’s exploration of her combined African and white heritage, starts with a monologue from Mz. Nancy (Alisha Davidson looking gorgeously imposing in a red sequined dress, scarlet-and-gold headscarf, and...
