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...
by Colin Thomas | Jan 9, 2020 | Review
Two of the three characters in Infinity claim that they can hear time. I listened very closely, but I couldn’t hear the play’s heartbeat. Hannah Moscovitch’s script is emotionally alienating and its ambitious themes are underdeveloped. But I enjoyed it — because the...
