by Colin Thomas | Nov 14, 2020 | Review
Michele Riml’s script is a screwball comedy. But director Mindy Parfitt’s production is lacking a screwball: Amy Rutherford is miscast. The Amaryllis is about the sometimes comically fucked up relationship between adult siblings Lucy and Jeremy. Lucy is...
by Colin Thomas | Oct 19, 2020 | Review
Allan Morgan is a big ol’ homo. That’s a big part of why his solo show I Walked the Line is such a glorious celebration of resilience, compassion, and belonging. In September of 2014, the lights went down for the last time on Morgan’s triumphant portrayal of Prospero...
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 | Nov 24, 2019 | Review
Fado: The Saddest Music in the World is an odd title for a play that evokes so little feeling. The problem is the script. In playwright Elaine Ávila’s story, a young Portuguese Canadian woman named Luisa travels to Lisbon with her widowed mom, Rosida. Luisa,...
by Colin Thomas | Nov 15, 2018 | Review
God save good art from simplistic politics. Donna Spencer has adapted Henrik Ibsen’s An Enemy of the People, which premiered in 1882, to create The Enemy—and by “adapted” I mean “shrunk”. In Ibsen’s story, Dr. Stockmann, the medical officer for a new spa in southern...
