announcement. Autel @ FOOT Sounding The Inner Ear of Performance, University of Toronto

I'm extremely excited to share that my audio installation Autel has been selected to be a part of the annual Festival of Original Theatre (FOOT) at the University of Toronto's Drama Centre which runs Feb 2-5. This is the 25th anniversary of the conference, coinciding with the 50th anniversary of the Drama Centre @ U of T.

This year's theme is "Sounding The Inner Ear of Performance" so my Autel piece, which I first showed at RADA in London, and subsequently at the Gas Station Arts Centre in Winnipeg is a great fit. 

So much of my own directing and creative work has focused on the power of sound as an active character in the theatrical experience, and I am honoured to have my work included among these amazing thinkers and creators. 

For more about the conference (you can still register) check out their website. 

More about Autel:
Autel is a performance installation piece first shown at the Royal Academy of Dramatic Art in London, March 2012, and subsequently shown at the Gas Station Arts Centre in Winnipeg from October to December 2012. It invites the viewer to experience their own ritual of identity, and examine this mask as they look at others, also performing a ritual of identity. The viewer should, after the experience, begin to question the authenticity of their own public identity, and those they encounter, along with the authenticity of the experiences they have for the remainder of the performances. What are they seeing? How are they responding? Are they responding in a specific way that they believe is correct, or that is for the benefit of others?

Inspired by the work of playwright Jean Genet and composed of a collage of his words and those of Antonin Artaud, Autel is an auditory experience which challenges social constructs of identity and the way we interact with art. 

project. Auditions for commonplacetheatre's 2017 Season

I'm extremely excited to share that I will be directing a new play by Crystal Wood called Grief Circus for commonplacetheatre's 2017 season, which marks the company's Toronto debut. 

I'm particularly excited, as I had the great pleasure of directing a short reading of Grief Circus a few years ago for Sarasvati FemFest. I loved the script then, and was thrilled to be offered to direct a full production now. 

We are holding auditions for all 3 plays that make up the season on Jan 14, 15, 16. 

For Grief Circus specifically, I am looking to cast the following roles. Actors of all backgrounds are encouraged to audition. 

Leah - female, plays 15-20
Jessie - female, plays 17-20
Carol - female, plays mid 40's
Charlie - male, 21
Reporter - male, 40's

For more about commonplacetheatre, the season, and to book your time visit their website.

review. The Damage Done by George F. Walker @ Canadian Rep Theatre

17 years on from their last play, and an ocean of encounters in between, Tina and Bobby are back. Meeting in their park, their latest encounter has a spark underlying waiting to ignite from the very moment. The sense that the pair aren't comfortable together, but can't bear to be apart lurks beneath their conversations as little drips of their history and what transpired in these 17 years come to us. 

Under Ken Gass' direction, the story ebbs and flows beautifully as the pair race into their united truths, then throw on the breaks, only to find themselves racing again. The taut timing Gass elicits from the script speaks to his inherent understanding of Walker's style. The piece is superbly performed by Wes Berger and Sarah Murphy-Dyson; at first, Berger's Bobby feels a bit stiff, however as the play runs forward, we see that this stiffness was intentional, as he remains guarded against the truth that neither will speak. Murphy-Dyson offers a powerhouse performance, demonstrating an immense specificity in what might in a lesser actor edge toward melodrama. The pair spar verbally and at times physically with great intensity and nuance for the 75 minute script. 

My only qualm would be that Walker gives us just a touch too much exposition, particularly related to people we don't see. The true strength of the script is that it is just two people, doing things to one another incessantly, both intentionally and unintentionally; and we don't need anything else. 

The Damage Done runs until Dec 11 at Canadian Rep Theatre. 

review. The Watershed by Annabel Soutar @ Tarragon / Crow's / Porte Parole

As a lover of theatre, I have to admit that I have mixed feelings about verbatim plays. On one hand, I find they are an amazing way to explore contemporary and political stories that feels real and connected, unlike purely dramatic fiction which can come across as issue-based, single-sided, and staid. On the other hand, I struggle with issues of ethics in the story (eg: including the conversation where someone asked not to be included, or highlighting as a plot point the refusal of those with opposing opinions to participate). That said, I found Soutar's script to deftly avoid many of these potential roadblocks, to create a fast-paced and engaging story about something extremely important -- water. 

The performers of this re-mounted production were uniformly outstanding, most of whom played multiple tracks of parts with quick change timings that would make a stage manager faint. Juliet Fox's outstanding modular set demonstrated both utility, and an overwhelming sense of the fragility of our current situation portrayed through the play, by situating the actors on a set completely constructed of pallets. 

There were definitely bumpy moments for me, from a dramaturgical perspective, including the inclusion of former Prime Minister Harper as a character (though great comic relief) and quite a lot of same-idea pushing businesspeople and politicians -- I felt the script might have benefited from a tightening to focus on what I found the most compelling, the story of the 3 little girls. Hearing the interview questions asked of adults "just doing their job" from the mouths of intelligent young children was jarring, and demanded we pay attention to what and how we answer. An excellent production and script overall, I just felt that this broadening of scope potentially missed the opportunity to really hit home by asking us real and difficult questions. Most adults have been in that position -- where a young person you love and care for asks you a question about something that even you don't understand in the world. When this happens, we are compelled to answer and yet know that there are no words that can answer their unending "why". This was the power of The Watershed, in my opinion. Young voices asking WHY. 

The Watershed runs to Oct 30 at Tarragon in association with Crow's Theatre & Porte Parole. 

review. How To Build a House Museum - Theaster Gates @ AGO- Art Gallery of Ontario

Unlike a lot of solo shows one expects to find at a gallery of the reputation of the AGO, the work of Theaster Gates is considerably more ephemeral, more disruptive, more inherently political. In asking his question, "how do we determine whose house to commemorate" and conflating this with the House Music movement, Gates demands that the viewer acknowledge our own limited purview of who "deserves" to be recognized. 

Upon entering the main space, the music (which is at a quite loud volume) pierces the air, and draws you toward the Reel House, a tribute to Chicago musician and pioneer Frankie Knuckles. The joyful and energetic music creates a safe space, one where it is okay to relax and engage personally with the artwork, and contrary to many much more sterile and silent gallery experiences.

Surrounding the Reel House are several canvases with geometric shapes in primary colours. At first glance they appear to reference modernist painting, however upon further view into other rooms, you learn that these are visual representations of scientific charts which show statistics of black households in the period surrounding emancipation. Progress is the key underlying message, and this meters our response to Gates' initial question.

The final space, Progress Palace, is the culmination of these ideals. It is a separated room to enter, where a new group of sounds fill the darkened, purple-lit space. The large physical installation  Houseberg creates fascinating reflection patterns on the wall as it turns slowly. The projected images cycle in tandem with the music which emanates from a skeleton of a DJ booth, playing the video House Heads Liberation Training, with dancers and singers in un-practiced sound and movement. This deconstruction of a nightclub space is wonderful to experience solo -- the absence of other people in the space highlights the potential that occurs when these forms intersect. The theatrical nature of the potential within this constructed (or deconstructed?) space is captivating. 

Gates exhibition as a whole is absolutely work seeing -- runs until October 30th at the AGO.  

review. Complete Works -- Richard II @ TheaterFestival Basel, Forced Entertainment (live stream)

UK company Forced Entertainment have, in recent years, leveraged technology far more creatively than many companies, and with a populist twist. Rather than the flashy (and pricey!) live stream performances to Cineplexes around the world a la West End and NT Productions, Forced have been providing their performances via free of charge live stream. This, of course, works fittingly with the durational nature of their work -- I can't imagine a Cineplex giving up 24 hours in one of their cinemas. But the result is that this highly unique work can make its way to North American audiences. The feed of their Complete Works -- a Table Top storytelling performance of the Complete Works of Shakespeare -- is available until September 9th streaming from TheaterFestival Basel in Switzerland at this link. 

So...what is it? Well, lets delve in to their Richard II for a sampling. Told with a single performer in a storytelling format, Richard II employs the use of every day objects one might find at a bar to create the characters of the story of the ineffective English King who gave up his throne to Henry Bollingbroke. It sounds, in premise, silly -- how can a bottle of Ballantyne's represent an English King? How can tiny salt shakers represent his ill advised friends, Bushy, Baggot, and Greene? Well in the hands of a truly captivating storyteller, able to whittle down the story to the key plot points and perspectives while imbuing these seemingly arbitrary objects with the emotions of the story, it is truly successful. 

The objects begin feeling ordinary, but quickly enjoy significance. It is a demonstration of the power of semiotics in storytelling -- that objects  we present on stage are steeped with meaning because we GIVE them meaning simply by touching them in this lit space. And the objects take on the power of the story so beautifully that by time the play ends, and Bollingbroke stands over Richard's body -- one alcohol bottle standing up, the other tipped over -- we feel the tragedy of this fallen King with such force, almost more so than we would seeing actors on a stage. 

I STRONGLY recommend trying one out over the next few days. 

review. All My Sons @ Stratford Festival

The recent conversion of the Tom Patterson theatre to an in the round venue was perhaps the most perfect decision to frame this outstanding production of Miller's All My Sons, directed by the inimitable Martha Henry. The logistics of the playing space are such that the audience feel situated just over the next fence, or peering in from a nearby treehouse on this neighbourhood, the effect of which is to create an intimacy with the characters which might be lost in a larger and more traditional proscenium space. What is most notable, however, is the mindful pace with which the story progresses; never feeling slow, the story seeps like air slowly leaving a tire, until suddenly it is all out, and crisis hits. 

Lucy Peacock delivers a heartbreaking performance as Mother (Kate) Keller, her every choice so beautifully and naturally evoked that one forgets for a moment you are watching an actor, and not just peering in on real life. She is holds the cast rooted, and around her the ensemble weave a spellbinding picture of this neighbourhood and these people. Of particular note are Tim Campbell and Sarah Afful, who take the roles of the young lovers to a new height. With such nuanced performances, I can't wait to see each of them continue to grow as performers and take on more roles. 

Absolutely stunning work. The 3 acts flew by, and left us winded, gasping for air. Please see this play. 

review. Macbeth @ Stratford Festival

Antoni Cimolino gives us a sumptuous feast in his 2016 production of Macbeth on the Festival stage. Stunning costumes and set, complimented by outstanding set design, and quite possibly the best manifestation of the Wyrd sisters one could imagine, he teases out the dark energy in the play beautifully to keep the audience attentive through the ancient story of lust for power. 

The pacing is generally quite good, and some of the set changes (into the feast!) are so magical as to elicit a gasp from even the most hardened audience members, myself included. So it is unfortunate when mid-scene, some of the work and timing grows a bit slow. There are moments where the physical choices and actions are separated into silence from the text, and I felt this served to undermine the otherwise blistering energy and momentum of the production. 

What was most delightful, however, as the depth of performances by some of the secondary characters; the MacDuffs were both outstanding, and David Collins managed to make the relatively small character of Ross one of the most memorable of the evening. I also truly enjoyed the menace elicited in the language simply through the presence of children in the space! There were drawbacks, however, with some cast members lacking clarity in the thoughts of the text, which rendered it audibly muddled. Krystin Pellerin's Lady Macbeth was unfortunately static; she began in a place of desire for fame, which was heightened and a touch obsessive, which left her nowhere to go upon being haunted.

Overall, a wonderfully magical production done on a scale most of us could only imagine. 

review. Chase Scenes 1-58 @ Summerworks Festival

Upon entering the space, you know you are in for something different. Arranged with 4 blocks of audience facing one inward alley performance space, with an aisle between and space all around the perimeter, the walls are covered in white and six video screens loom overhead. The show kicks off with a burst of energy and suspense, in its opening moments merging sound, video, and live action. What ensues is another 57 scenes which are gleaned from Hollywood chase scenes. The combination of live video feed and live action serves to deconstruct some of the more iconic images that this conjures up, to great effect, including wind machines and assistants fixing hairdos. 

The show took me a few scenes to really settle in to, but once the scenes began to pace and shape our experience as the audience, I really got into it. There was a unique balance of humour and more serious technical prowess as the performers moved through the scenes at a breakneck pace. 

I did find that not all scenes were equal; those which really aimed to deconstruct the traditional view of what we see on film were the most successful from my view, as were those which dealt with nightmares. Some, however, felt like filler, and could have benefitted from a swipe of the dramaturgical pen, if you will. 

I absolutely must mention the feat of technical engineering involved in the live mixing of 2 live cameras and a static pre-recorded video feed. While the technology didn't always cooperate at the performance I saw, it was nonetheless powerful in terms of the contribution to storytelling. 

Not without flaws, Chase Scenes are definitely worth seeing. 

Facebook Event: https://www.facebook.com/events/1018058811583055/
Summerworks Page: http://summerworks.ca/2016/artists/chase-scenes-1-58/

thoughts. being female

My daughter is a bright, energetic, fiery 12 year old. She loves reading and building things, and most of all, soccer. She's pretty good at it, too, and currently plays with an academy team in the SAAC league in Ontario (that's an academy league) and has been identified by the Vancouver Whitecaps pre-residency stream as a kid who has some potential in training with them in Vancouver and Winnipeg (that's the only professional womens' team in Canada). Her academy is predominantly a boys' academy, although they do have a few girls. We selected it for her because a) she likes the challenges of playing in a boys' league where the play is more aggressive and faster and b) because her coaches are exceptional. She regularly contributes as a strong member of her team, rising to the pressure of the game, and is learning and growing to the expectations of her coaches. 

So today, when she was playing alongside 1 other girl on an otherwise all-boys team, against an all boys team, i was a little taken aback at the comments of some of the parents from the opposing team. A boy on their team who was a fair bit bigger than all the others, was running toward the net. Our defender, the other girl on the team, was running him down, and stopping his ability to make a shot with excellent tenacity, was slapped by him as he ran. Rightly so, the ref awarded a card to the boy, and our girl kept on playing. Shortly afterward, two parents from the opposing team stated, out loud, their opinion that "girls shouldn't be playing with boys". Another mom from our team (of one of the boys) loudly opined that she was glad our team had the two girls, as they were strong members of the team, stronger than some of the boys. 

Here's the thing: whether the other player was a girl or a boy (or an alien) in that scenario would not have made the unsportsmanlike conduct of the other player okay. So to loudly opine on the subject as if this had held some bearing over the ref's decision is disrespectful to the ref, and also to the strong and tenacious young women working their butts off on the field. Making the issue about the player's gender, rather than the other player's transgression is petty and false. 

This happens all over the place. An acquaintance of mine who runs an (amazing) tech startup recently shared an experience of being told that she should get a man, or someone more "conventionally attractive" to pitch her project to investors to be more successful. 

Why do people do this? They are intimidated. And that, to be frank, is cowardly. Let your skills show your strength, and let those compete with others. Feeling the need to call down others' work in order to justify your own inadequacy is weak and faulty, and isn't going to get you anywhere. 

So to all the women out there, young and old, who hear these things every day as you are out there being fabulous and strong-willed, just know that it is worth it. They are intimidated by you because of your strength of will. It is easier for them to say you shouldn't do something than for them to improve their own performance. Just remember that, and keep on. 

review. Just A Sliver of the Room and Astronomical Landscapes @ Angell Gallery

I made the trek across Toronto this Saturday to take in the current exhibitions at the Angell Gallery, and could not be happier I did. Arriving at the gallery, it is definitely not a space you'd suspect; tucked in the back corner of a business mini-mall, the outside of the gallery is unassuming, which amplified the drama of the first set of pieces, Steve Driscoll's Just A Sliver of the Room even more. 

Taking a fairly large and open space, Driscoll's vibrant and reflective landscapes jump out against the white walls. Their positioning around the space however, is what is most dramatic. Not only are the paintings themselves steeped in an ecstatic energy, but they are presented in a space filled with black water, which the viewer crosses on a board walk constructed across the space. The resulting immersion in this space which is both bright and dark as well as endlessly reflective has a fantastic result. 

Steve Driscoll

Flashes of Silence, 2016

Urethane on board

You move through this space into the second gallery where Dan Hudson's Astronomical Landscapes take the focus. Each of these long and wide lenticular photographs have a magical quality to them. Every perspective in the room offers a new version of each image, so that the viewer is truly transfixed.  The changeable nature of the world around us is present and comforting in the photographs. 

Dan Hudson

Queen Louise, 2015

Lenticular photograph

Leaving this space and walking back across the board walk, one is struck by the new perspective offered, and the reflection of the bright colours in the black water gains new significance. 

Overall both collections are excellent, however it is in tandem that they have the most notable power over our recollection of space and time.

Here's the thing

In the grand scheme of things in this world, I like to think I am reasonably laid back. I am perfectly happy to hold my opinions to myself when people's choices and actions are out of line with what I think are right, so long as they are not causing harm to one another. But the one area where I refuse to sit back is when it comes to others telling someone about their experiences. Here's the thing: We all have our experiences and our ideas, and what we think about the world comes from those things. Some people have had really comfortable, easy experiences, and some have not. Some people have had experiences that align with the first impression you might get of them, and some have not. 

If you want to get under my skin, tell someone about who they are, for them. Don't let them speak for themselves, or (oh forbid!) ask them about their experiences. Please, pigeonhole them and make assumptions -- especially if this is something you get upset with others for doing to you. This is ideal. 

Because above all, feminism is about telling others about their experiences so that you can be right and unchallenged. 

OH WAIT. It isn't. At the end of the day, the one thing we can do for one another, that will help this world be a better place, is to listen. We can listen to what people have to say, and ask questions. We can let them ask questions of us, and share their experience. Assumptions will get you nowhere. So please, for the love of pineapples and red wine, practice what you preach. Listen. Ask questions. And don't assume you know someone or where they come from. Remember that what someone looks like doesn't guarantee the past they have grown up with, or the family they come from. 

Much love.

review. Indigenous Dance Double Bill @ Native Earth Performing Arts

Toronto's Native Earth Performing Arts have embarked on a new journey, presenting a double bill of dance-based works as a departure from their traditionally theatre-based productions. The show consisted of two hour-long performances which differed quite considerably. 

The first piece, Luu hlotitxw: Spirit Transforming was a traditionally based performance set initially to drum beats and traditional singing. It morphed into the use of video and soundscapes, along with a highly theatrical usage of masks to tell a story of a young man who loses his way, and finds it again through reconnecting with tradition. While the story is captivating, and the choice to weave in the 3 methods of storytelling is interesting to watch, unfortunately the 3 languages of storytelling felt disjointed from one another, so it felt like there was a bit of guess work from the audience. That said, there were some beautiful moments of realization and surprise for the audience, so it is certainly a piece I would love to see continue to be refined. 

Karina Iraola in NGS (Native Girl Syndrome) - Credit Marc J Chalifoux

The second piece, NGS (Native Girl Syndrome) contrasted considerably. It was performed by two young women in a space littered with garbage and the contents of their carts. An abrasive and somewhat contradictory soundscape played counter balance to the images of these women who were sad and lonely, clearly isolated. As the piece progressed, there were some stunning images they created with the objects around them. In particular, as one dancer rolled across the floor in beautiful choreography, covered in a large clear plastic sheet, it was difficult not to have images of young womens' bodies being pulled from the river in my home town of Winnipeg. The work was challenging to watch, but highly necessary. My only qualm is dramaturgical; I felt the piece could have shortened just slightly, to increase its impact. 

news. Our Sister Duchess to read at the Carol Shields Festival of New Works

I am very excited to announce that my adaptation of John Webster's The Duchess of Malfi, called Our Sister Duchess, will have its first public reading at the Carol Shields Festival of New Works in Winnipeg May 14th. 

“Adapted from Webster’s The Duchess of Malfi, this new piece is a feminist re-focus of the play on the injustice of the her persecution. Our Sister Duchess is a victim of obsession and misogynistic rage manifest within her family in a world contemporary to ours, consumed by technology, image, and reputation. ”

The reading is presented by Theatre By The River, and will be directed by Heidi Malazdrewicz.  Casting announcements, along with the schedule for the festival will follow shortly. Watch my blog, or www.theatrebytheriver.com for more information. For details on the Carol Shields Festival which will also feature readings of new work by Ginny Collins and Kevin Klassen, please visit http://www.pte.mb.ca/about/shields_festival.htm

review. Chimerica by Lucy Kirkwood @ Canadian Stage Company/Royal Manitoba Theatre Centre

Chimerica, Lucy Kirkwood's sprawling epic play, spans two countries, countless characters, and a single-minded obsession; finding the man from the famous photograph. Under Chris Abraham's detailed direction, what could be a terribly episodic and hard to follow 3 hour extravaganza, was instead a tightly woven slingshot toward a surprise conclusion. 

The cast, several of whom perform a multitude of characters, are all equally enjoyable, however Paul Sun-Hyung is absolutely memorable with his nuanced and understated work. The dual-pronged approach of a stunning flashy set on a revolve. and seemingly endless projections help create  countless unique spaces, all of which tie back to a consistency in style and feeling, which is a truly notable achievement. 

The only drawback for me is the script itself; some of the dialogue lacks the crackle one would hope for, and instead particularly the reporter characters come across as stereotypical (no fault of the actors, who embody and bring these to life beautifully). I think that because Kirkwood spans so many places and times, with so many characters, the unfortunate result is that some characters lose the opportunity to be fully developed -- we only see them fleetingly, and the overall impact is to see a large number of people at only a glance. In part, I wondered about whether this, too, may have been intentional. In an age where we "interact" so fleetingly via facebook interactions, not truly engaging with other humans, perhaps this is the social media mediated "light" version of human interaction, which contrasts with the deeper relationship that the journalist and his Chinese contact develop.

review. The Crackwalker by Judith Thompson @ Factory Theatre (Toronto)

Waawaate Fobister in The Crackwalker, photo by Joseph Michael Photography

The Crackwalker is an iconic piece of Canadian theatre, and undoubtedly one of the most familiar to audiences and students across the country. Countless drama students approach monologues from the play, embracing its surreal imagery and meticulous text. For many, Thompson may be the first introduction to a non-realistic style, given how bombarded and overwhelmed theatre students tend to be with TV and Films (AKA Naturalism) before they come to study. 

Factory's Naked season present a new production of the play directed by the playwright herself. Now I have seen many productions of Thompson's work, and read everything she has written, and I can't say that I have ever heard a production that so clearly understood the rhythm, pace, and cadence of each character. One of the biggest challenges performing or directing her writing is the specificity of the language, and the fact that it is almost indecipherable on first read. Why are there capitals? Why does that sentence just trail off? Why does it feel like this character never stops to breathe? Under Thompson's direction, the characters' voices were astoundingly clear, and their natural rhythms unbelievably innate. 

The production also benefitted physically; Thompson re-wrote some aspects, including the addition of The Crackwalker present throughout many of the scenes, playing an almost trickster role, facilitating some of the violent acts through surreal staging, and speaking many of his lines in Ojibway. This addition, while it absolutely worked in several scenes -- including the stunning and consistently shocking oven scene -- however at times his presence was distracting. That said, the further I come from the performance, the more I wonder whether that distraction was intentional? I'll never know, of course, but I do love to wonder. 

The production runs for just a few more days, and I strongly recommend you see this energetic and talented young cast tackle a truly important piece of theatre. 

me on the RADA website...

Was browsing some news on the RADA website the other day, and started poking around to see what's new when I stumbled upon a quote from me promoting the program!

“The Course helped to refine my approach as a theatre practitioner, while widening my scope for theatrical discourse and inspiration to create work. It encourages the intertwining of the creative and the academic, resulting in thought provoking and unique theatre. Most importantly, the course taught me to risk, to dare to create something new, to have an opinion and express it through my art”

review. YOUARENOWHERE @ 3LD Studio (New York)

Andrew Schneider's YOUARENOWHERE is not your run of the mill theatrical experience. It is a merger of text and movement, technology and humanity, and conversation with existential interrogation. The play immediately immerses the audience in its world, demanding that we believe the truth of this place and time as we think we know it, and simultaneously challenges that notion of knowing.  We, the audience, are Heiddegerian beings flung forward from the very moment Schneider enters the performance space, and for days afterward. What are we experiencing? What is missing? Why aren't we more concerned about these gaps? 

Even the title evokes this questioning. You-Are-Nowhere? or You-Are-Now-Here? Both are relevant and appropriate and yet neither is quite right. This piece exists in the space between those two interpretations of its title, it seems. Here is a brief preview. Get tickets. This runs in NYC until April 10 after which it transfers to the Lift festival in London, which I have heard is sold out. 

review. Jitters @ Soulpepper Toronto

The recent Soulpepper re-mount of their revival production of David French's Jitters punched well above my expectations. I attended expecting a little nostalgia in a period-staged production, however was very surprised when the key ideas of the play -- those of Canadian artists' inherently self-deprecating natures, and of the idea that only those who leave are truly stars -- resonated as incredibly contemporary and relevant. These are still conversations that we have, and problems that we face, although I would suggest that these feelings are much more prominent now in the regions than in Toronto. Toronto artists (and to some extent, Montreal artists) have grown in to the confidence in their own work that does not need outside approval. Regional artists and companies, in my experience, are less so, depending on the validation of a director, actor, or first production elsewhere to be confident. This is changing, but I couldn't help but wonder how this play in today's world would have resonated differently for a regional audience. In Toronto, it played as a funny and honest homage to our past. Elsewhere it might look all too familiar to the present. 

All this aside, the production is wonderfully performed and staged, and absolutely hilarious. So go see it!

review. Alvin Ailey American Dance Theatre @ Sony Centre Toronto

I have long coveted the seemingly superhuman strength of dancers in Alvin Ailey's company, since first seeing photographs of their work when still a student. Having not seen them before, I jumped at the chance to see them when they toured recently to Toronto. The company certainly lived up to their reputation. Performing a mix of 4 pieces -- two older, and two very recent -- the programme and performances demonstrated the history as well as the future of this dynamic company. Contrary to many classical companies, wherein the large group dancing are so highly synchronized, that they merge into a single body, this company's strength is that it is a collection of individuals dancing together, but not in perfect harmony. 

When moving into solo work, this individualism and personal artistry shines even further. The storytelling through movement was compelling, and carried itself to the back of the Sony Centre. 

Most notable within the programme was the second to last piece, Exodus, which was a recent addition to the repertoire (in 2015). Working with a piece of custom and highly contemporary house music, the story and choreography merged beautifully with the music, to reach a stunning climax. 

Should you have the chance, I strongly recommend you see the company.