Pearle Harbour’s Chautauqua: a haven in troubling times

Pearle Harbour sings a song in Chautauqua, with her accompanist, Mr. Gantry.

Pearle Harbour prepares to take flight in Chautauqua.

Pearle Harbour’s Chautauquais like a revival meeting for liberals—and a lot of us could use reviving these days.

Chautauquas were a kind of tent meeting popular in the late nineteenth and early twentieth centuries that offered a combination of entertainment and inspirational lectures—sort of like Tony Robbins, but with a band.

In her chautauqua, Toronto drag queen Pearle Harbour invites us into a little cotton tent that seats 40. Her hairstyle and trimly tailored jacket refer to the period around WWII but, in her tent, Pearle offers refuge from current sources of anxiety. She fleetingly refers to ice caps melting. She knows what it’s like when “the only light in your life is the screen in your pocket.”

And she offers solace in the form of communion. The venue and the size of the gathering are already intimate. Pearle asks us all to breathe with her and, near the top of her show, she personally greets every member of the audience. As a theatregoer, I’ve never spent so much time gazing directly into a performer’s eyes. [Read more…]

The Events will keep you riveted

Pi Theatre is presenting The Events as part of the PuSh Festival

Douglas Ennenberg and Luisa Jojic pour themselves into The Events.

I suspect that, on some level, many liberal Westerners are experiencing a more or less perpetual state of grief and dread. Donald Trump is in the White House. Institutions including the press and democracy itself are being eroded. On the political right wing and on the left—where we once looked for allies—tribalism is in vogue.

What’s a liberal to do? In a way, that’s the central question in playwright David Greig’s The Events. [Read more…]

Peter Dickinson’s Long Division is trapped in its head

Pi Theatre is presenting Peter Dickinson's Long Division at the Gateway.

Lauchlin Johnson’s set for Long Division is a beauty.

There should be laws—similar to child labour laws—that prevent the overworking of metaphors.

Playwright Peter Dickinson buries the heart of his play, Long Division, beneath a series of monologues that declare and develop the metaphor of mathematics so academically that almost all of the extended speeches feel more like lectures than stories. [Read more…]