It’s all about the Fringe and TSM

July in Toronto is pretty much about the Fringe and TSM.

The Fringe runs June 30th to July 12th and there are 123 shows across 27 venues plus free events. Obviously for a critic that’s overwhelming. Right now I have ten shows booked, including anything that looks vaguely opera related. So:

  • Minimum at Factory Theatre… the Premier of Ontario living in Hamilton on minimum wage.
  • You Choose at Tarragon… an improvised murder mystery from the Howland company
  • God Save the Sodomites at Native Earth… is anyone in Sodom worth saving?
  • Sinner at Theatre Passe Muraille… breaking up with white Jesus
  • Songs for Moby Dick at Theatre Passe Muraille… operatic epic about a whale
  • Night Journey at the Arts and letter Club…studying The Odyssey
  • Brava at Soulpepper… Yannick Gosselin celebrates divas
  • Potato Potato Saves the World at Soulpepper… can a sketch comedy troupe save the world?
  • Ooga Chaka at Soulpepper… two prehistoric cave painters invent art
  • Catching a Cheese Pervert at Soulpepper… Canada’s most prominent anti-vegan influencer searches for the cheese pervert in her hometown
There’s tons more of course and I may add some shows based on word of mouth later but interests and logistics (no-one wants to do shows at Tarragon and Soulpepper on the same day!) came up with this as a starting point. Continue reading

Medusa intrigues but doesn’t entirely convince

Medusa, by Erin Shields, opened on Wednesday night at Soulpepper. It’s a really interesting piece brimming with ideas but I wasn’t completely convinced it worked. If I’d seen it at a workshop my reaction would have been very positive but also a feeling that there was still work to do. I wish I was smart enough to know what that might be!

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Carmen on the planet of the Amazons

So last night at the Tranzac, as part of Against the Grain’s Opera Pub, Queen Hezumuryango and Ryan Nauta did a version of the “Seguidilla” from Bizet’s Carmen but with the roles reversed. It was the Pride Edition after all. Turns out it’s not the first time I’ve heard Carmen gender bent. Not so long ago I heard Korin Thomas-Smith sing the “Habanera”.

So what, I asked myself, would a completely gender bent Carmen look like and would it work. Set it in some female led society and i think you can swap all the roles pretty easily. Michaele would be sort of like Werther; a bit of a mummy’s boy. Escamilla would still be a bullfighter. A cowfighter would be silly! The rest of the characters work with minimal adjustment I think. And for once it woudn’t be the soprano who got the chop.

BTW, the rest of Opera Pub was pretty good too with even more gender bending as Ryan also sang “Quondo men vo”. There was a really nice account by Queen of “Printemps qui commence” from Saint-Saëns’ The Barber of Gaza Samson et Dalila. There was Mozart and art song and lots of musical theatre numbers. And Greg Finney got in some G&S (try stopping him!).

And that’s a wrap on Opera Pub for 2025/26 but it will be back at the Tranzac in the Fall.

Echoes of the Underworld is immersive and engaging

Echoes of the Underworld, from choreographer Emily Cheung, poet Diana Tso and the Little Pear Garden Dance Company, transforms Campbell House into the Underworld where souls (i.e. us) are guided in small groups through different rooms of Campbell House for a very “in your face” encounter with ghosts, demons and other restless spirits.

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siofra lacks horror and doesn’t have much else to offer

 síofra, by Natalia Bushnik and Kathleen Welch, is Act II of the ‘Dark Mother Trilogy’, a series of three horror-theatre plays exploring fertility and motherhood through the folklore of three different countries: Romania (SAMCA), Ireland (síofra), and Germany (spilleHOLLE). It’s presented by Spindle Collective at the diminutive Red Sandcastle Theatre. I didn’t see SAMCA but it got good reviews so I was well prepared to give siofra a shot. Frankly I was quite disappointed and I shall attempt to explain why.

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Parélios is an ethereally gorgeous journey to nowhere

Parélios; music by Cecilia Livingston, words by Duncan McFarlane, opened at Theatre Passe Muraille on Friday as part of Opera 5’s Toronto Opera Festival. It’s an intensely cerebral and very, very beautiful work but it’s unrelenting and quite dark. Basically a group of refugees; perhaps fleeing some environmental catastrophe, are on a journey to who knows where. They have survived the winter but the summer brings no real relief. It’s a bit like Cormac McCarthy’s The Road but vastly more intellectual and poetic.

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A very grand Beethoven’s Ninth from the TSO

My review of Thursday night’s performance at Roy Thomson Hall of Beethoven’s Ninth Symphony conducted by Gustavo Gimeno with soloists, the TSO and the Toronto Mendelssohn Choir is now up at Bachtrack. It’s Beethoven in the grand manner and very enjoyable. It’s playingg again Friday, Saturday, Sunday with a singalong livestream at Sankofa Square on Friday.

Photo credit: Alan Cabral… courtesy of the Toronto Symphony Orchestra

#bachtrack

Waiting for Marilyn

By the Word Productions premiered Franca Miraglia’s American Devotion in the Studio at Crow’s Theatre on Thursday. The playwright imagines what might have happened if Arthur Miller and Marilyn Monroe had invited Norman Mailer and his wife over for dinner or drinks at their Connecticut farmhouse.

In American Devotion Mailer shows up at the Millers having engineered a drinks invitation but leaving his wife behind. He has a cunning plan to use Miller’s upcoming appearance before the House Unamerican Activities Committee to their mutual advantage; Miller will be spared jail and Mailer will get the publicity his flagging career desperately needs. If Marilyn can be persuaded to cooperate.

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