by Colin Thomas | Jun 24, 2022 | Review
Playwright Jordan Harrison’s Marjorie Prime provides a rewarding and unique theatrical experience. How often do I get to say that? In the first scene, we meet Marjorie and her husband Walter. She’s 85. He might be 30. She has significant memory loss. If he hears...
by Colin Thomas | Jun 19, 2022 | Review
In Antoinette Nwandu’s Pass Over, an urban street corner is also a slave plantation and Egypt — because Moses and Kitch, the two Black friends who are hanging out there, can’t leave. Nwandu is taking inspiration from both the Bible’s Book of Exodus and Samuel...
by Colin Thomas | Jun 18, 2022 | Review
Star power, baby! Stewart Adam McKensy, who plays Lola, the drag queen at the centre of the Arts Club’s mounting of Kinky Boots, has so much of it he’s like a constellation. And McKensy isn’t alone: there are many, many bright lights in director Barbara Tomasic’s...
by Colin Thomas | Jun 17, 2022 | Review
Bard on the Beach in general and director Scott Bellis in particular have a bad habit of obscuring Shakespearean texts by slathering on coarse physical comedy. In Bellis’s production of A Midsummer Night’s Dream, there’s a lot of very enthusiastic slathering. Yes,...
by Colin Thomas | Jun 11, 2022 | Review
I’m rarely this bored in the theatre. During Act 1 of Morag, You’re a Long Time Deid, I reassured myself by mentally repeating, “You have free will. You can leave at intermission.” My companion didn’t want to leave. Act 2 was a bit better. My big problem with...
by Colin Thomas | Jun 5, 2022 | Review
As I’m writing this, Re:Current Theatre’s New Societies is finishing up the last matinée of its run at Vancouver’s rEvolver Festival. The good news is that it’s going to be touring in Ontario this summer. I knew when I booked this show that its short Vancouver run was...
