Violinist and scholar Keir GoGwilt presents Wordless Dreams—sonatas and songs without lyrics. Presented by the Canadian Opera Company, the program features GoGwilt’s paraphrase of Schubert’s “Nacht und Träume,” Prokofiev’s first sonata, Milhaud’s second sonata, and transcriptions of Berg’s “Die Nachtigall”, and “Traumgekrönt.”
This month’s Cinema Politica, in partnership with Pride Week Toronto, presesnts Paul Émile d’Entremont’s Last Chance. The film follows the journeys of Trudi, Carlos, Jennifer, Zaki, and Alvaro, who, having fled their native countries because of homophobic violence, seek asylum in Canada. Special guest speakers will follow the screening.
To prepare for Pride Week, TV Trivia Night will be delving into the gay 90s, focusing on the best queer characters and gender-bending shows from the decade. Come alone, or with a team of six, and prepare to face trivia in the form of audio clues, video montages, and more. Not awesome enough? What if drink specials and prizes were added to the mix? We thought so.
Naomi Snieckus and Matt Baram of The National Theatre of the World have created “an actor’s nightmare and a playwright’s dream” with The Script Tease Project. They’ve arranged for celebrated Canadian writers to pen the first two pages of a play, sealing them in an envelope afterwards. Then, on stage in front of an audience, the envelope is opened, the pages read cold, and a completely improvised play is born! A new writer’s work will be featured every night of the showcase.
Canadian indie music label, Arts & Crafts, are celebrating their tenth anniversary. As part of the celebrations, they’re showing a new exhibition from Toronto photographer, Norman Wong. The exhibition features images of various artists over the years including Feist, Kevin Drew, Emily Haines, and many more. You’ll be able to buy a book of photography there and a portion of the proceeds from the event will go to Testicular Cancer Canada and MusiCounts.
If you’ve been paying attention to musical theatre news over the past two years, you know that The Book of Mormon has a passionate and devout following of fans who swear it’s the long-awaited saviour of the artform. The show won nine Tonys in 2011, the cast recording reached number three on the Billboard chart, and tickets for its Broadway run are rare and expensive.
In 1996, Theatre Columbus premiered playwright Michael O’Brien’s “freely adapted” take on the famous Beaumarchais play The Barber of Seville, which was written in 1775. O’Brien’s version mixed in music from the 1816 opera of the same name by Gioachino Rossini, as well as original tunes by composer John Millard. The adaptation also propelled the story forward a couple centuries, with pop culture references galore. With Theatre Columbus co-founder Leah Cherniak at the helm, the musical ended the season with six Dora Award nominations (it won three) and plenty of critical acclaim.
Seventeen years later, Soulpepper Theatre is remounting this zany reimagination of The Barber of Seville, updated once again by O’Brien, Millard, and Cherniak. But, for some reason—the change in decade, or company, or sense of humour—whatever had made the original so magical, has faded, save for a few key performances.