by Colin Thomas | May 24, 2018 | Review
Geologic Formations is a show about embodiment, but it is rarely viscerally embodied. In Geologic Formations, mia susan amir explores the multigenerational psychological and physical effects of trauma. Her saba (grandfather) survived the Bialystok Ghetto in Poland...
by Colin Thomas | May 18, 2018 | Review
Corey Payette and his collaborators are reinventing the story of Canada—in ways that respect First Nations and women. It’s thrilling. In last year’s musical, Children of God, Payette took on the residential school system. He wrote, directed, and composed that piece,...
by Colin Thomas | May 17, 2018 | Review
This production of Mamma Mia! is selling the show so hard you’d think it was the last used car on the lot. Mamma Mia! is a ridiculous—but extremely amiable—jukebox musical. Catherine Johnson, who wrote the book, has strung a bunch of hit songs by ABBA into an unlikely...
by Colin Thomas | May 13, 2018 | Review
This play is vulgar. I’m going to start off with a major spoiler and I’m going to keep dropping spoilers because there’s no way to say what I want to say about Wet without doing so. In Wet, playwright David James Brock tells the story of Burns, a Canadian soldier who...
by Colin Thomas | May 12, 2018 | Review
Tolkien feels like academic Christian fanfiction. If that’s your thing, by all means go for it—all three acts and almost three hours of it. In his new script, playwright Ron Reed explores the friendship between J.R.R. Tolkien (The Hobbit, The Lord of the Rings) and...
by Colin Thomas | May 10, 2018 | Review
There’s only so far you can go on style and good intentions. Bears looks fantastic and its political heart is in the right place. But the script is badly built, so it gets boring. Sheldon Elter, who plays Floyd, narrates his character’s journey in the third person....
