by Colin Thomas | May 21, 2017 | Review
After watching playwright John Patrick Shanley’s Outside Mullingar, it’s as if you can smell the spring leaves more keenly on your way home from the theatre. You’re more hopeful and awake. And you want to kiss somebody. In the story, we meet 42-year-old Anthony...
by Colin Thomas | May 20, 2017 | Review
Just entering the theatre for the premiere performance of Children of God, you could tell what a monumental opening this was going to be. Corey Payette’s new musical speaks from the heart to one of the most important subjects facing all inhabitants of the territory...
by Colin Thomas | Apr 27, 2017 | Review
The Piano Teacher is honest, smart, moving, and exquisitely performed. Sometimes, when people write about artistic expression, they bullshit. I’m thinking about Stephen Sachs’s play Bakersfield Mist, for instance. In that script, an art expert almost has a literal...
by Colin Thomas | Mar 31, 2017 | Review
Redpatch doesn’t work—at least it doesn’t work for me. I’m a white guy and Redpatch deals with the experience of a Métis soldier during WWI, so some might feel inclined to dismiss my criticism. But the company invited me to review the show, so here goes. Raes Calvert...
by Colin Thomas | Mar 30, 2017 | Review
There are gaping holes in director Kim Collier’s production of Angels in America, Part One: Millennium Approaches, but it’s still worth seeing. When you first encounter Ken MacKenzie’s set, it’s stunning. The walls of the Stanley Theatre segue into the set itself, in...
by Colin Thomas | Mar 16, 2017 | Review
Making theatre is like making music in a group: for either activity to really work, none of the elements can be out of tune or off-rhythm. In Belfast Girls, several components coordinate nicely. Others don’t. Playwright Jaki McCarrick starts with a fascinating...
