Throughout history, witches have typically been depicted as ugly women with evil powers. Not to mention, they’re usually found preying on children, riding brooms, and donning black cloaks and pointed hats. But is this accurate? Just in time for Halloween, “Witch” has materialized to challenge our previously held notions on the topic. The art exhibition includes pieces from over 20 artists that explore the history and concept of the witch.
Whether you participate in the Zombie Walk, have elaborate Halloween costume ideas, or just want to prepare a disguise for the inevitable zombie apocalypse, you’ll want to attend the Zombie and Monster Makeup Workshop. Presented by Complections College of Makeup Art and Design, the course—which covers basic to extreme makeup techniques—will be led by special makeup effects artists/instructors Stuart Conran (Shaun of the Dead, Hellraiser) and Ryan Louagie (Evil Dead: The Musical, Monster Warriors).
It’s the time of year when everyone’s interest turns to darker topics. Robert Douglas, author of The Shadow of Dracula and the Great War and The Gothic from Lenin to Bin Laden aims to put an educational spin on things with his discussion of Gothic Culture in History. Drawing on his background as a historian, he’ll provide and in-depth look at the links between Gothic practices and key events throughout the years.
Dr. Mike Daley is a York University professor, musician, and popular music expert. Naturally then, he knows a few things about David Bowie’s impact on pop culture. Join him for a fun and interesting Thought Exchange discussion about the artist, his career, and, of course, the AGO’s “David Bowie Is” exhibit. Advance registration is recommended. Call (416) 395-5639 to reserve your spot.
Soulpepper Theatre’s production of Farther West begins with an arresting image—a lithe young woman and a much older, much wider man lie naked next to each other on a bare cot. The woman, we learn, is May Buchanan, who traveled across Canada in the 1870s and 1880s as a prostitute, and then as a brothel owner. She begins to tell her story as she shoves her john off her and gets dressed.
This Is Not a Reading Series presents an evening full of talented females for the launch of a new book, EAT IT. Written by women, the book features a collection of pieces about food and its relationships with love, power, and social obligation. Drop by to take in performances by author Jessica Westhead, comic Sara Hennessey, and playwright Jessica Moss. There will also be a dance party with DJs Alexandra Molotkow and Chandler Levack.
What’s the trickiest part of volunteering to play a Toronto G20 detainee during the current remount of You Should Have Stayed Home? Donning the plastic zip-tie handcuffs used on those who wound up at the Eastern Avenue Detention Centre three years ago. If you lack nimble fingers, or have a tendency to wear things the wrong way, ask one of your fellow detainees to fix the strips so that they’ll stay on during the performance, and won’t require a pair of scissors for removal.
On stage now at the Panasonic Theatre are 85 tiny pieces of artwork. Beautifully detailed, textured, colourful, and startlingly evocative, these creations are intensely mesmerizing—even when hanging lifeless on a display wall, their toothless mouths gaping open.
When they get hands stuck up their asses, though, it’s an entirely different story.
To celebrate its 50th anniversary, Mirvish Productions announced an expanded season last month that includes the following: Chicago, starring Elvis Stojko; this year’s Toronto Fringe hit The Musical of Musicals, the Musical!; and Puppet Up: Uncensored, which began a short engagement in Toronto last night. Billed as “a live, outrageous, comedy, variety show for adults only,” the show elicited genuine childlike enthusiasm from audience members. They had likely grown up watching Jim Henson’s beloved puppets on the The Muppet Show and Fraggle Rock (or in the more sinister Labyrinth and The Dark Crystal). But Puppet Up: Uncensored is a very different from your average puppet show. Co-created by Brian Henson (Jim’s son) and comedian Patrick Bristow under the Henson Alternative label, these puppets are weird, foul-mouthed, and dirty. Kermit, Miss Piggy, and Fozzie would be appalled.
In keeping with play’s basement-bar motif, your program for Bob Kills Theatre’s production of Pulitzer-winning playwright John Patrick Shanley’s Savage in Limbo comes in a drink-menu format. The venue, a newly renovated basement hall called The Downstage (previously used by the Playwright Project and other independent companies), has undergone considerable changes, and now boasts blacked-out walls, more lighting, and an actual (albeit small) stage. But most of Savage Limbo, described by Shanley as a “concert play,” is set in the round on broken-down beer-box flooring that’s supposed to suggest a neighbourhood watering hole. There, a motley assortment of dreamers and malcontents are trying to change their lives.
The name “Mesopotamia” derives from a Greek term meaning “land between the rivers.” The Royal Ontario Museum’s latest major exhibit, which opens on June 22, takes this literally, as visitors flow between painted representations of the Tigris and Euphrates rivers on the floor.
Presented by the British Museum and rounded out with pieces from institutions in Chicago, Detroit, and Philadelphia, “Mesopotamia: Inventing Our World” covers 3,000 years of human development in the cradle of urban civilization. Most of the 170 artifacts on display have never been shown in Canada.
When it was originally unveiled at the Victoria and Albert Museum in London (England, not Ontario), the “David Bowie Is” exhibition shattered attendance records, selling over 42,000 advance tickets. Now that the show has come to Toronto, it’s easy to see why it was so successful. Composed of over 300 objects from David Bowie’s personal archive, spanning his entire career, the exhibit is arranged and presented as a completely immersive experience, enveloping visitors in a kaleidoscopic visual and aural landscape that would be overwhelming if it weren’t so brilliantly arranged and intelligently guided.
With the gala hangovers and celluloid-induced eye strain from the 2013 edition of the Toronto International Film Festival just beginning to fade away, film addicts who are already starting to feel the itch have another movie extravaganza to check out: the Toronto After Dark Film Festival. Now in its eighth year, TAD is a celebration of everything frightening, disturbing, challenging, and gloriously bloody. While the primary focus of the fest is on horror films, there will also be generous offerings of speculative fiction, unusual action movies, and cult flicks.
Like the company’s recent triumph, Angels in America, Soulpepper’s newest show, The Norman Conquests, requires multiple trips to the theatre—or a hearty constitution for a full day of marathon attendance. Unlike Angels in America, the three instalments of The Norman Conquests—Table Manners, Living Together, and Round and Round the Garden—are comic in nature and small in scope, with each instalment taking place in a different part of a couple’s house. Written by prolific British playwright Alan Ayckbourn, the three-part series features veteran members of the Soulpepper ensemble, and can be “enjoyed individually or in any combination.”
Improv comedy performers from across North America will converge on Toronto for nine days during the Big City Improv Festival, including special celebrity performers like MADtv alumni Phil Lamarr and Jeff Richards. Also on the bill is recent Canadian Comedy Award winner MANTOWN, which will perform an improv set on opening night. Local acts include Burns and Gallo, winners of the Big City TKO competition, and Mark Little and Kyle Dooley, who impressed us during last month’s Just For Laughs 42 festival.
Ai Weiwei is a 56-year-old artist confined to his home in Beijing for creating work critical of the Chinese government and Chinese culture. There are video cameras outside his house, his phone lines are tapped, his blog was deleted, his Shanghai studio was destroyed in 2010 by authorities, and his passport was confiscated in 2011. To this day, he’s unable to leave his country. Even so, Ai Weiwei has had a large presence in Toronto over the past few months.
This past June, he did a performance piece with artist Laurie Anderson during the Luminato Festival, using Skype. His Zodiac Heads have been installed, temporarily, in the reflecting pool in front of City Hall. At this year’s Nuit Blanche, a large-scale version of his sculpture of bicycles, Forever, will take over Nathan Phillips Square. And beginning August 17, the Art Gallery of Ontario is displaying “Ai Weiwei: According to What?”, a retrospective of the work he produced before and after the Chinese government’s crackdown on his activities helped him find new international acclaim.
Kaha:wi Dance Theatre brings a unique First Nations creation story to the stage with A Story Before Time. The Onkwehonwe narrative—which embodies the beliefs, symbols, and dreams of its people—is conveyed through dance, theatre, and a blend of traditional and contemporary music. It incorporates both Mohawk and Cayuga languages.
Fans of the seminal 1968 horror-film classic, Night of the Living Dead, will delight in Night of the Living Dead Live, a new theatrical production of the story. Despite a weak second act, it’s a fun black-and-white romp with some inventive deaths—and even a chipper musical number.
The punchiest distillation of Claire Denis’s film style might well be in 2002’s Vendredi soir, a sublime romance in its own right and a highlight of Objects of Desire: The Cinema of Claire Denis, TIFF Cinematheque’s upcoming retrospective of the celebrated French auteur’s work.
Every revolution needs a leader. And though the movement to bring the classic 1980s musical Les Miserables back to Toronto is markedly different than the quest for political accountability and social equality, it has its hero just the same. After Wednesday night’s official opening performance at the Princess of Wales Theatre, the audience likely would have followed London-based, Richmond Hill-raised performer Ramin Karimloo (as the story’s golden-hearted protagonist, Jean Valjean) anywhere he would lead.
The great vaudevillian performer and comedian W.C. Fields is believed to have coined the infamous showbiz axiom, “Never work with animals or children.” Others in the entertainment industry have adopted the rule, because of the unpredictability of toddlers and beasts on stage. But in his recent play The Best Brothers, Daniel MacIvor embraces both of these snubbed theatrical minorities—even if the dog only appears for a brief moment and the two adult characters only act like feuding minors. And surprisingly, there’s little unpredictability in it.