by Colin Thomas | Feb 22, 2020 | Review
There’s about half of a very good play here and 100% of an excellent cast. In Pot Kettle Black, playwright Bill Marchant exploits the old characters-get-drunk-and-confessional/confrontational cliché. This approach has always struck me as a shortcut that gives...
by Colin Thomas | Feb 21, 2020 | Review
It’s a tribute to the power of God’s Lake that, after the applause had died down, the audience sat quietly in the theatre for so long that stage manager Jethelo Espaldon Cabilete felt compelled to tell us that the show was over. We knew that God’s Lake was over, of...
by Colin Thomas | Feb 20, 2020 | Review
Why is it so hard to develop a decent script? Show after show goes up in which the script is a mess. That’s certainly the case with Talking Sex on Sunday. Sara-Jeanne Hosie wrote the book and lyrics for this musical and Shawn Macdonald acted as dramaturg. They start...
by Colin Thomas | Feb 15, 2020 | Review
I ran into a pal at intermission who floated a genius idea: cast Steel Magnolias with drag queens. Playwright Robert Harling is gay after all and the characters in Steel Magnolias feel very much like women as imagined by a gay man. In the play, we’re in small-town...
by Colin Thomas | Feb 15, 2020 | Review
There’s nothing wrong with Beep. Designed by Australia’s Windmill Theatre for kids who are two to seven years old, it’s a simple story — told with puppets — about an outsider who is welcomed into village life. A furry little guy named Mort, who looks a lot like a...
