I’m loving the availability of Hannah Moscovitch plays in Toronto right now. I saw Bunny at the Tarragon last week and enjoyed it – it certainly spurred a heated debate afterwards, so that’s always a sign of an intellectual winner – and have a date with Candace to see Things A Young Wife Ought to Know… since, well, she’s getting married and she OUGHT TO KNOW. Jeffrey, the Patron Services manager at Streetcar Crowsnest, said it was absolutely amazing, his “favourite show so far”, so now I’m doubly intrigued (update: terrific choice, she absolutely loved it, said that she had forgotten how much she enjoys theatre and that this rekindled something in her. Success. One down, a few to go…).
Also made a mental note to check out Bloom at Buddies (update: I loved it, found myself completely absorbed in the lead storyteller, and the set was fantastic with a particularly awesome manhole cover gobo that nailed the ambiance for me).
Near-April showers bring May flowers, and I think spring may have sprung, so we’ll see what the blooms bring.
Factory Theatre commissioned a terrific work by Kat Sandler, great aerobics for the brain, who somehow managed to pull off the near impossible task of making an audience laugh – guffaw, even! – while watching a piece about gun violence. In Canada. In 2018. In downtown Toronto. She’s basically a genius. Take a listen to some of the opening bits here.
Oh!, and I basically danced home after listening to Musica Nuda yesterday. This woman is a rock star. They both are. I hope to see more of this kind of magic. And this kind, too. It’s good shit. Like Farrah Fawcett hair.
Theatre lovers living on a dime take heed – Factory Theatre has launched their Toonie Tuesday preview extravaganza. Now there’s seriously no excuse to not go and enjoy these amazing Canadian productions.
Last night Mom and I saw David Yee’s “Acquiesce”, a play about a young man who must go and bury the father he barely knew in Hong Kong, and all the emotional turmoil that the experience brings up. I really enjoyed the performances, and for Mom and I it was good catharsis, as it deals with issues of abuse (Mom’s father, though a “good man”, was physically and verbally abusive to his family), the anger that comes from abandonment (I know my dad, but I don’t know my dad. I’ve seen him a handful of times in my life. My memories of him include a pizza and ice cream trip when I was a child and him being really angry at me for putting on nail polish before falling asleep and trying to kill everyone in the house with poisonous vapours) and the frictions that arise from straddling two vastly different cultures your entire life.
I have to give a giant thumbs up to the crew, who put together a fantastic modern, functional set, eerie musical interludes and terrific props and effects. Wonderfully done.
Playing now until March 13th at the Factory, this beautifully uncluttered production of David French’s play left me in tears. Kawa Ada (whom I’ve already encountered this season in Bombay Black) is just breathtaking, as is his partner, the wonderful Mayko Nguyen, plus a remarkable supporting musical role by Ania Soul. Run folks. Run. The Globe and Mail reviewer loved it so much he bought himself a second ticket.