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clean irene & dirty maxine written and performed by Anna Chatterton and Evalyn Parry, directed by Karin Randoja. Presented by Independent Auntie Productions. Aug 14 and 16 at 6:30 pm, Aug 15 at 8 pm. Rating: NNNN
anna chatterton and evalyn Parry play two wickedly funny, clown-like girl guide figures who lead us carefully through an alphabetical necrology of obsessive women to show us how they met their deaths. This mock cautionary tale features great physicality, smart social satire and snappy, spot-on performances, especially by Chatterton, who can change moods with astonishing ease. (Parry, for her part, has an incredibly nimble mug.) Karin Randoja directs with such a sensitive eye and ear that we never lose track or get tired of the show's ongoing entertaining lesson. Call this show A for Awesome.
EXCESS UNWANTED GROWTH by David Owen, directed by Rebecca Benson. Presented by Animus Theatre. Aug 15 at 11 pm, Aug 16 at 9:30 pm. Rating: NN
david owen's play about two loser roommates ( Brendan Gall and Kyle Horton ) whose unwashed dishes rise up and become a sentient being is little more than a sophomoric sketch with philosophical pretensions. It's not clear whether Owen's satirizing consumerism or making some statement about environmental waste. The addition of a character in the final quarter (who, in a bizarre sequence, talks about herself in the third person) merely confuses things. Good performances, though, by the harried Horton and Aaron Willis as the opportunistic creature.
Go-Go beach book and lyrics by John Wimbs Jr., music by Michael Shaieb and Brent Lord, directed by Daryl Cloran. Presented by Jonathan Schwartz and PopTeen Productions. Aug 16 at 11 pm, Aug 17 at 8 pm. Rating: NNNN
this musical spoof of those 1960s Frankie Avalon/Annette Funicello films proves irresistibly entertaining because of its obvious affection for both the genre's silly plots and the bodacious, pretty young things acting them out. The songs, a nice pastiche of 60s staples, include a terrific novelty ditty about the formula for love and a duet about conformity that takes on different levels as it progresses. The script - we only get the first act - is derivative and cheesy, yet clever enough to hint at the troubling social implications of a world where nonconformity and fierce intelligence are mocked. Fine performances, especially by Juan Chioran as a slimy, boozing, lecherous movie producer.
Needs some tweaking, but if the rettro Hairspray did so well, why not this?
CORDIALLY ENTERTAINING EMILY CHESLEY written by the company, directed by Cole Lewis. Presented by Suitcase in Point. Aug 15 at 9:30 pm, Aug 16 at 3:30 pm, Aug 17 at 6:30 pm. Rating: NN
this look at a fictional canadian heroine neglected by our history books even though she played a big role in many key 20th-century events and movements needs a much sharper focus. Full of forced whimsy, it doesn't know what it wants to say or be, and its humour tends to be one-note. But Deanna Jones as the feisty Chesley is a dynamo, and the scenes are generally well staged. A waste of some obvious talent. HELEN by Yannis Ritsos, translated by Gwendolyn MacEwen and Nikos Tsingos, adapted Jeannette Lambermont and directed by Lambermont and Ellen-Ray Hennessy. Presented by DDT Inc. Aug 16 at 2 pm, Aug 17 at 5 pm. Rating: NN
a powerful opening stage picture of an aged Helen of Troy ( Diana Leblanc ) wafting above her younger, earlier selves gives way to a dull poetry reading for five voices with some circus routines (why?) and dry ice. It's hard to find any point of entry to this piece, which by its nature suffers from a lack of momentum and tension. Still, there are some good line readings in the chorus of women, particularly by Athena Lamarre and d'bi young .
INCARNATE by Claire Laville, directed by Morgan McDougall-Milne. Presented by Completely Competent. Aug 14 at 8 pm, Aug 17 at 3:30 pm. Rating: N
there's a tiny speck of an idea in this naive script about how we live our lives, but like El Mariachi Loco, this is an indulgent show about the difficulties of writing.
THIS WAY FOR THE GAS, LADIES AND GENTLEMEN by Tadeusz Borowski, directed by Alex Poch-Goldin. Presented by Planet 88. Aug 14 at 9:30 pm, Aug 16 at 8 pm, Aug 17 at 2 pm. Rating: NNN
tom barnett delivers a riveting performance full of loathing and bitter irony as Tadeusz Borowski , a Polish poet interned at Auschwitz first as a slave labourer and then a medical orderly whose absurd job it was to try to lower the mortality rate of the camp. Culled from letters he wrote his girlfriend, Borowski's descriptions of his years there are vivid, his horror mounting as he realizes the enormity of what's happening. The problem with this kind of show is how to dramatically shape the material, and director Alex Poch-Goldin hasn't found a satisfying solution, although the production itself has a stark power. THE LOVER by Harold Pinter, directed by Levon Haftvan. Presented by Lemaz. Aug 15 at 6:30 pm, Aug 16 at 5 pm. Rating: NNN
harold pinter's enigmatic 1962 script about the sexual fantasies of a man and woman holds up nicely, seducing us with its fascinating insights into human desire. The play needs a better sense of rhythm, though, from director Levon Haftvan , and Lara Kelly (get her some voice lessons!) needs to add more nuance to her line-readings. One note: since much of the production team is Iranian, why not cast Iranians as Pinter's starchy Brit leads? That would be something to watch.
my angel, my lover, my whore by Stan Rogal, directed by Adam Nashman. Presented by Bald Ego and Bulletproof Theatre. Aug 14 at 11 pm, Aug 16 at 12:30 pm. Rating: NN
stan rogal's examination of wo men's conflicting ideas about romance and sexuality feels repetitive and not quite thought out. His satiric targets (the Harlequinesque romance novel) and his theatrical techniques (lip-synching to cheesy romantic songs to underscore a scene's irony) have been done to death before, but there's a clean look to Adam Nashman 's production.
BORDERS written and performed by Liz Pounsett, directed by Andrew Gillespie. Presented by Blue Coat. Aug 14 at 5 pm, Aug 15 at 8 pm, Aug 16 at 11 pm, Aug 17 at 9:30 pm. Rating: NN
liz pounsett has a mischievous stage presence and knows how to physically inhabit her many characters. But her jokey, indulgent, directionless script about Canadians going down to NYC after 9/11 proves she's a much better actor (we'll forgive the occasional dropped line) than writer. There are huge gaps in logic, and apart from the obvious clichéd differences between Canadians and Americans, few honest insights.
BARBAROUS IN BEAUTY with poetry by Gerard Manley Hopkins, directed by Eda Holmes. Presented by Carrion Comfort. Aug 14 at 6:30 pm, Aug 16 at 9:30 pm. Rating: NNN
this piece, apparently written by Kate Lynch (there's no writer or adapter credit), feels more like a workshop than a finished work. Lynch tells us the poetry of Gerard Manley Hopkins recently helped her during "painful times" - an experience she and director Eda Holmes shared - and then proceeds to read and analyze a few poems. A renowned voice teacher, Lynch gives luscious readings, laps up Hopkins's alliterative verse and finds drama in punctuation. But for a piece that claims to be personal, there's a lack of heart here, and little is added by the movement of long-limbed dancer Owen Montague .
THE DERSHOWITZ PROTOCOL by Robert Fothergill, directed by Mark Cassidy. Presented by DMT. Aug 16 at 3:30 pm, Aug 17 at 8 pm. Rating: NNN
robert fothergill arouses our blood lust in this timely examination of whether torture is ever necessary in the face of perceived political terrorism. He builds tension nicely, gives us three clearly defined characters (well performed) each with goals, and Mark Cassidy 's production is clean and evocative. Yes, it's powerful and disturbing, but doesn't it all feel too manipulative? el mariachi loco written and performed by Jorge Gidi. Presented by the Escape Artists. Aug 14 at 8 pm, Aug 15 at 6:30 pm, Aug 16 at 12:30 pm. Rating: NN
writer jorge gidi plays a screen- writer of silly Latin-themed movies who's on deadline and suffering from writer's block when a couple of his past characters come alive to taunt him. The scratchy-voiced Gidi has lots of energy, but it's hard to care about his protagonist's dilemma, because - apart from his ridiculous attempts at script-doctoring - we know next to nothing about the guy. A little scene where he conducts a Matrix-like fight with his fingers stands out, but overall the show, painfully in need of a director, comes across as derivative (Purple Rose Of Cairo, anyone?) and unfunny.
GIVING IT UP by Hannah Moscovitch, directed by Rebecca Brown. Presented by Absit Omen. Aug 14 at 11 pm, Aug 15 at 9:30 pm, Aug 16 at 3:30 pm. Rating: NN
hannah moscovitch displays some facility with dialogue in this script about the lives of three sexually awakening young people over the course of three consecutive summers. But director Rebecca Brown doesn't help shape the telling of this banal and confusing coming-of-age story. The show never drowns, it just ends up treading water.
mad dog racing written and performed by Marty Burt, directed by Christian Murray. Presented by Fat Morgan. Aug 14 at 9:30 pm, Aug 15-17 at 5 pm. Rating: NNN
haligonian marty burt brings a dark, cynical, gift-of-the-gab East Coast charm to this seemingly autobiographical tale about his directionless life and what he's learned in the school of hard knocks. There's a low-tech, low-rent feel to the piece, and Burt occasionally loses direction - both in the pace of the performance and in the script itself. He also fails to fully explore the work's emotional centre. But his various anecdotes, nonchalantly tossed off, begin to connect by the end, and Burt's frustrated slacker persona has an underdog charm.
POP CULTURE PRINCESS written and performed by Elizabeth Whitney. Aug 8-10. No more performances. Rating: NNN
dolled up at the outset as a living Barbie, Elizabeth Whitney reaches into a bag of goodies that includes an inflatable doll, her old adolescent diaries and lots of thoughtful insights about gender, marriage and compulsory heterosexuality. She's got a chirpy voice and a great sense of play, and although her show-and-tell-all piece contains some great one-liners, it bogs down with too much telling and not enough showing.
ungeziefer [vermin] adapted from Kafka's The Metamorphosis, directed by Natasha Mytnowych. Presented by companytheatrecrisis. Aug 15 at 11 pm, Aug 16 at 8 pm, Aug 17 at 3:30 pm. Rating: NNNNN
Young director Natasha Mytnowych works miracles with this theatrically bold adaptation of Franz Kafka 's The Metamorphosis. Using shifting narrators to create a sense of claustrophobia and horror, she gets sensitive, nuanced performances from her young actors, particularly Daniel Karasik as a fragile Gregor Samsa and Lindsey Clark as his sister, played here with a hint of sadism. Clark also plays the violin, which is combined with the use of masks, unusual props and a screen to create a strong production that could communicate in any language. Not to be missed.
the undertaker by Gregory McGrade, directed by Sarah Armstrong. Presented by Good Line Theatre. Aug 16 at 2 pm, Aug 17 at 6:30 pm. Rating: NN
A woman and her brother fight over money, the past and their father in a 1951 King Township farm in Gregory McGrade 's well-meaning and carefully plotted two-hander. A stronger director than Sarah Armstrong is needed to reign in Rebecca Davey 's shrill, one-note performance as the sister, but McGrade's loser of a brother grows on you as the play progresses.
Factory Mainspace DUE PROCESS by T. Berto, directed by Sam Hancock. Presented by Interzone and Pencil-Neck. Aug 14 at 9:30 pm, Aug 15 at 6 pm, Aug 16 at 11 pm. Rating: NNN
at a time of heightened - and frightening - homeland security, a female attorney questions a detained Middle Eastern man about his background, beliefs and possible links to terrorist groups. T. Berto 's script is sometimes glib and ends melodramatically, but he keeps the dramatic tension high in this strongly acted two-hander directed by Sam Hancock , with Jorge Nef as the initially silent captive and the striking Kelly Bolt as his inquisitor.
FIRST YOU'RE BORN by Line Knutzon, directed by Brendan Healy. Presented by Collective Architecture. Aug 14 at 11 pm, Aug 16 at 9:30 pm. Rating: NNNN
danish playwright line knutzon's look at an apartment building of clownish characters searching for love might be too whimsical for some tastes, but director Brendan Healy and a first-rate cast - clothed in 50s flower, polka-dot and diamond prints - rocket the production to the moon. Never slipping out of the show's heightened style, the company offers a delightful, absurdist romantic comedy that suggests you should never carry (emotional) baggage from one relationship to another.
HEMLOCK by Stephanie Alexander. Presented by the .berf. Company. Aug 15 at 4 pm, Aug 16 at 6 pm, Aug 17 at 5:30 pm. Rating: NN
the quirky figures in stephanie Alexander 's Nova Scotia town are prime-time Fox TV material: a minister with a sexual yen, separated young lovers and a lustful 14-year-old. The addition of Shark, a figure that functions as both conscience and tempter for the humans, contributes little to a script that's sometimes far-fetched. However, the production does feature several fine performances from a troupe of National Theatre School students and grads, including Benjamin Johnson as the reverend's questioning son.
IDIOT written and directed by Marion de Vries. Presented by left hand productions. Aug 15 at 9:30 pm, Aug 16 at 8 pm, Aug 17 at 3:30 pm. Rating: NNN
intent on committing suicide, a teenage woman shows up at school to find that a classmate has done just that. In the story that follows, Michelle Latimer gives an engaging and believable voice to the self-deprecating teen, explaining her "bad girl" history, revealing a tragic past and finding some hope for the future. Writer/director Marion de Vries 's script has lots of dramatically satisfying moments, though its climax doesn't have the desired impact.
MEETING PLAYCE by Trevor Schwellnus, directed by Bea Pizano. Presented by Aluna and meeting playce collective. Aug 16 at 2:30 pm, Aug 17 at 12:30 pm. Rating: NNN
Inspired by the writings of julio Cortázar, Meeting Playce looks at the disconnected nature of relationships in big-city Toronto and the influence of the media on our lives. While the revelations are predictable, the energetic cast - notably Yashoda Ranganathan , Allison Rees-Cummings and Kevin Rees-Cummings - create dozens of characters and literally throw themselves into Allison's visceral choreography, which physicalizes the intentionally disjointed text in clever ways.
WHEELWRIGHT: A COSMIC DOCUMENTARY written and directed by Peter Reitzel. Presented by Canadia dell'Arte. Aug 15 at 11 pm, Aug 17 at 2 pm. Rating: NNNN
the most ambitious show I've seen in this year's SummerWorks, Wheelwright creates its own world - an isolated community whose economy and social structure are based on salt - while examining power politics, the role of women, gay issues and how change comes about. The narrative isn't always clear, but the visuals (by writer/director Peter Reitzel ) are so striking and the whole presentation done with such committed gusto by the company that you can't help but be entranced and entertained.
SHOOTING PENGUINS by Ryan McVittie, directed by Kimberly Purtell. Presented by Straw Dogs. Aug 14 at 8 pm, Aug 16 at 4:30 pm, Aug 17 at 9:30 pm. Rating: NNN
a troubled couple is plunged into a world of ominous yet comic figures when they mistakenly pick up the wrong suitcase. Lighter in tone than his other scripts, Ryan McVittie 's show is smartly directed by Kimberly Purtell and features fine ensemble work, notably by McVittie and Rick Howland as a vaudevillian pair of mobsters and Scott McCord as an inscrutable, Walter Brennan-voiced character called the Cowboy.
the ugly duchess by Janet Munsil, directed by Britt Small. Presented by Intrepid. Aug 16 at 12:30 pm, Aug 17 at 7:30 pm. Rating: NNNN
paul terry delivers a nuanced performance as the notoriously ugly 14th-century Tyrol ruler Margaret Maultasch. Although it could be more artfully structured, Janet Munsil 's fine script opens up a fascinating world of politics, religion, sex, beauty and illness, including a look at the Black Death. Britt Small stitches together a gleaming production with evocative light and shadow.
THE wedding POOL written and directed by Amiel Gladstone. Presented by Theatre SKAM. Aug 14 at 6 pm, Aug 15 at 8 pm. Rating: NNNN
whatever theatre skam touches seems to turn to theatrical gold. In their latest, three friends agree to a pool where the first person to be wed gets the prize money. With clever shifts in time, place and possibility - and an ever-inventive use of various kinds of lighting - the crackerjack ensemble ( Sarah Manninen , Lucas Myers , Matthew Payne and Camille Stubel ), directed by author Amiel Gladstone , offer smart takes on love, funerals, sex and the threat of telephones in this completely engaging piece.
Factory Studio ABLE. by A. Shay Hahn, directed by Karla Faulconbridge. Presented by madcrafthabit. Aug 14 at 6:30 pm, Aug 15 at 8 pm, Aug 16 at 5 pm. Rating: NNN
kate (karyn dwyer) returns to her small-town Ontario birthplace and discovers that both her best friend, Ruth ( Kirstin Hinton ), and the town itself have changed - and not in ways she can understand. A. Shay Hahn 's script mines the women's relationship using strong dialogue and powerful feelings. Directed with a sure hand by Karla Faulconbridge , the actors develop a believable chemistry and tension that keeps us guessing about how their city mouse/country mouse relationship will end up.
BLOOD, FAITH AND FLOODWATERs by Emma C. Roberts, directed by Ruth Madoc-Jones. Presented by Bang! Aug 14 at 11 pm, Aug 15 at 9:30 pm, Aug 16 at 8 pm. Rating: NNNN
a 17th-century nun, condemned as a heretic, conjures up a pair of outlaw women from earlier times, a pagan philosopher and an Elizabethan pirate, to help her decide whether she should recant her thoughts and deeds. The ending is questionable, but a superb trio of actors - Philippa Domville , Viv Moore and Mackenzie Muldoon - and Ruth Madoc-Jones 's taut, inventive direction create engrossing characters who appeal to the heart and to the mind.
CHASING KRINKO'S written and directed by Jenny Young. Presented by Donikers Daily. Aug 16 at 12:30 pm, Aug 17 at 6:30 pm. Rating: NN
though there's some good writing and performing in this clown-based tale of a pair of circus kids who try to return to their roots, the direction by author Jenny Young is sometimes awkward. Most importantly, this kind of show requires chemistry between the central performers. Claire Calnan and Michael Challenor - who have some lovely individual moments - don't generate that all-important spark.
FILIAL by David Yee, directed by Nina Aquino. Presented by Fu-GEN. Aug 15 at 11 pm, Aug 16 at 9:30 pm. Rating: NNN
an angry, gun-toting son gives his father 15 minutes to explain why the older man has fucked him up in this prism-like tale by David Yee . Each variation on the theme offers a different road that the scenario might take. Under Nina Aquino 's fine direction, Richard Lee and In-Surp Choi present a myriad of personalities and tones in the roles of son and father, playing comedy, tragedy and melodrama with equal finesse.
THE GEORGIAN EXPEDITION (MARK III) by Paul Thompson, John Jarvis, Bruce Beaton, Wes Berger, Christopher Morris and Jonathan Garfinkle, directed by Thompson. Presented by Cha-Cha Collective. Aug 14 at 5 pm, Aug 16 at 6:30 pm, Aug 17 at 9:30 pm. Rating: NNN
director paul thompson and five other Canadian theatre artists spent four weeks in the Republic of Georgia creating a collective show, and the result is a series of vibrant episodes, strongly sung a cappella melodies and surprises about what the script claims is the Shangri-La of theatre. Finger puppets, hairy hats, recollections of Stalin, sensual women and lots of vodka fuel an energetic show that always entertains.
THE HURRICANE PROJECT by Jennifer Fawcett, directed by Shari Hollett. Presented by Red Engine. Aug 15 at 6:30 pm, Aug 17 at 2 pm. Rating: NNNN
jennifer fawcett's nuanced, poet ic piece about the collision of several lives and loves takes a while to sort out the relationships among the various characters. By the end, though, it resonates as a tension-filled, thoughtful examination of bad things - including an approaching storm - and how we try to avoid or ignore them. Shari Hollett directs with a keen eye to shifting time and moods, and most of the cast create striking characters.
JAMAICA MAN written and performed by John Blackwood, directed by Kyra Harper. Presented by Blackwood Arts. Aug 14 at 9:30 pm, Aug 15 at 5 pm, Aug 17 at 8 pm. Rating: NNN
writer/performer john blackwood takes us on a memory-filled trip to Jamaica, his boyhood home, populating the show with some engaging characters, history and social commentary. With a touch of rum, music and ganja, he and director Kyra Harper lightly paint a world where pleasures and tensions exist side by side and both are accepted as part of life.
PRESENT TENSE by Michael Rubenfeld, directed by Nicole Stamp. Presented by Absit Omen. Aug 16 at 3:30 pm, Aug 17 at 5 pm. Rating: NNN
in a restaurant, an estranged husband and wife try to salve their current pains while they recall moments of a happier past. Michael Rubenfeld 's sharply written script, directed with panache by Nicole Stamp , allows actors Richard Zeppieri and Tamara Hickey to mine the material's surface and subtextual emotions, while Salvatore Migliore 's multiple characters offer good support to the couple and their dizzying shifts of tone. THE SAVAGE LILY by Kimberley Orton, directed by Colin Viebrock. Presented by Wild Girl and Loudskirts. Aug 14 at 8 pm, Aug 16 at 11 pm, Aug 17 at 3:30 pm. Rating: NN
the appearance of a wild girl who emerges from the forest in 1731 France begins a nature/nurture debate among the upper classes. While Kimberley Orton 's script deals with fascinating material, it emerges as a series of repetitious episodes involving talking heads who never connect emotionally with the audience, despite the actors' committed work under Colin Viebrock 's direction. Not even the Brechtian, sideshow-circus frame resonates dramatically.
THE SERPENT OF THE NILE: A BELLY DANCER'S TALE by Laurie Fyffe, directed by Caroline Azar. Presented by Cleopatra Conspiracy. Aug 16 at 5 pm, Aug 17 at 12:30 pm. Rating: NNN
a scottish belly dancer meets a fabled Egyptian courtesan in this often poetic and witty script, which treats the audience to sinuous dancing (choreographed by Roula Said ) as well as sensitive narrative. It's flawed by a climax that feels extraneous to the relationship between the characters, but there's lots of thoughtful material and a strong interaction, under Caroline Azar 's direction, between Laurie Fyffe 's contemporary dancer and Judy Reynolds 's historic figure.
POSTER CHILD written and performed by Chris Leavins. Presented by Redhead. Aug 14 at 5 pm, Aug 16 at 7 pm, Aug 17 at 8:30 pm. Rating: NNNN
chris leavins's one-man show about a solo piece he wrote and performed in California is part exposé of the way society glamourizes serious topics, part stand-up routine and part conscious manipulation of what theatre audiences believe to be true. I won't give the clever hook away, but I promise that this shaggy-dog story is entertaining and sometimes biting. Though Leavins's sense of humour won't be to everyone's taste, his delivery of deadpan dark comedy under Shari Hollett 's direction is unfailingly accurate.
PRACTICALLY PERFECT written/performed by Christina Jol, directed by Kirsten Johnson. Presented by Dodo Collective. Aug 15 at 5 pm, Aug 17 at 4:30 pm. Rating: NN
exacting nanny mary poppins is surely everyone's idea of the accomplished, flawless children's home companion. Writer/actor Christina Jol has the smart idea of gradually showing the cracks in the character's polished armour. However, her performance needs greater variety in the telling - both more tangy, sugary spice and more tart vinegar - to give the character a heart and to show the desires she's hidden even from herself.
ROGUES OF URFA written and performed by Araxi Arslanian, directed by Brenton Bentz. Presented by 30 Ghosts. Aug 16 at 1:30 pm, Aug 17 at 6:30 pm. Rating: NNN
a powerful performer and smart writer, Araxi Arslanian blends two tales of survival - that of her Armenian grandfather during the first world war and the subsequent attempted genocide by the Turks, and her own story as a health-troubled young woman in the 80s. Both material and performance, though, could use more nuanced, varied handling. The show is full of climaxes, all hit with equal weight, so it soon develops an unrelenting sameness no matter what's being presented.
UNLUCKY by David Bateman, directed by Kim Blackwell. Presented by Black Well Theatre. Aug 14-15 at 7 pm, Aug 16 at 3:30 pm. Rating: NNN
a math teacher and mother who has lost one of her three triplets turns to the dependable world of numbers to bring order to her life. Bateman 's script rambles and tries to cover too many topics without developing them, but Imali Perera 's fiery and sometimes funny performance under Kim Blackwell 's persuasive direction grabs the audience and doesn't let go.
A MODEST PROPOSAL by Miguel McKenzie and Matthew Hunt, directed by Hunt. Presented by Mayhem Productions at St Mary's Catholic Elementary School (meet at Factory Theatre). Aug 14-17 at 8 pm. Rating: NNN
set very effectively in a real schoolyard, where we watch the action unfold inches away through a chain-link fence, A Modest Proposal successfully tackles the difficult subject of crime and urban youth. Yurij Kis plays a white middle-class man seething with anger who's done something violent toward a group of youths. There's a cool groove to the show (including some smart choreography), and writers Miguel McKenzie and Matthew Hunt don't pull their punches, although the work is too crammed with themes. Fine performances and an excellent use of space make a memorable show.
WHAT THE THUNDER SAID by bluemouth inc. Aug 7-13. No more performances. Rating: NNNN
this powerful show by site-specific troupe bluemouth inc takes us (by bus, blindfolded and hurtling through the unknown) to an undisclosed location, where we see evocative, suggestive scenes unfold with bold theatricality and heartbreaking beauty. There's an Eastern feel to the music, a subtle undertow to a show that on the surface seems to be about the price of gung-ho American values like competition and winning. Unforgettable, with some of the best use of movement I've seen in a play.