by Colin Thomas | Sep 6, 2024 | Review
I wasn’t dazzled, but I was absolutely never bored. Everybody Knows held me, so that’s a win. In her solo show, Rita Sheena dances to the recorded songs of Leonard Cohen, as they’re performed by the Swedish duo First Aid Kit. The implicit narrative moves from struggle...
by Colin Thomas | Sep 6, 2024 | Review
You’d think Charla Hathaway’s autobiographical solo show about becoming a sex worker at 55 would be surprising or audacious, but it’s not; it’s mundanely instructive. Hathaway makes legitimate points, the central one being about the importance of women claiming their...
by Colin Thomas | Aug 10, 2024 | Review
This production is so much better than it was when I saw it on its second night way back in June — and that’s a triumph for the actors. I returned to this show primarily because I wanted to see Camille Legg’s Viola. Just before Twelfth Night opened at Bard on the...
by Colin Thomas | Jul 30, 2024 | Review
This production is so unlikely and, in many ways, so successful. In her adaptation, writer and director Estelle Shook uses the Chekhov farces The Bear and The Proposal to explore the historical relationships between Indigenous and settler characters in the North...
by Colin Thomas | Jul 19, 2024 | Review
Measure for Measure is about brutal sexual coercion. But, in his adaptation, director Jivesh Parasram frames the play as broad comedy — and he thinks he’s doing abuse survivors a favour. In the story, Duke Vincenzio is concerned about the number of brothels in Vienna...
