by Colin Thomas | Jan 31, 2020 | Review
A handful of times during Tanya El Khoury’s sound installation Gardens Speak, I had to slow myself down, to stop, to let the gravity of the information I was receiving land, and to honestly consider my response to it. That means that Gardens Speak was doing its job. ...
by Colin Thomas | Jan 30, 2020 | Review
There’s something sublime about farce when it’s well done and this Arts Club production of Noises Off is very well done. In Michael Frayn’s 1982 farce, a hapless company of English actors rehearses and then performs … a farce. In Nothing On, the...
by Colin Thomas | Jan 25, 2020 | Review
Old Stock: A Refugee Love Story is equal parts outraged and outrageous, compassionate and hilarious — klezmer concert and play. It’s a fictionalized account of the marriage of playwright Hannah Moscovitch’s great grandparents, Chaim and Chaya, who met in Halifax in...
by Colin Thomas | Jan 23, 2020 | Review
Unikkaaqtuat, which is billed as a circus, is a sincere and generous gift from the rich traditions of several northern peoples. From my southern settler perspective, some of the show is gorgeous and some of it is boring. In its framing device, Levy, a young Indigenous...
by Colin Thomas | Jan 19, 2020 | Review
It’s kind of a shapeless bag of jewels, but it’s still a bag of jewels. In House and Home, playwright Jenn Griffin has created a fantastically dark and funny absurdist world. It’s set in Vancouver — about a week and a half from now. Housing is bruisingly expensive....
by Colin Thomas | Jan 19, 2020 | Review
Playwright and solo performer Maki Yi means well with Gramma and it starts off promisingly, but it quickly becomes very boring. Gramma is based on the relationship that Korean-Canadian Yi had with her first Canadian landlady, a demanding 90-year-old woman who allowed...
