Instead of admonishing teens for their dependance on gadgets, FabSpaces promotes the use of gadgets as creative tools. With this goal in mind, it brings its Remix the City workshop to the Toronto Public Library. Kids aged 10 to 17 will pick up useful technical skills while learning how to make and remix their own videos using tablets and smartphones. Devices will be provided, but participants are encouraged to bring their own if they have them.
There’s no denying it: social media will continue to exist (and take over our lives) whether we like it or not. A new book, Friend. Follow. Text., illustrates this through a collection of funny and poignant short stories inspired by life online. The launch party will feature two-minute readings from contributors Zoe Whittall, Jessica Westhead, Marcy Rogers, Trevor Corkum, and Sonal Champsee, with music provided by DJ duo Hussy & Pants.
Need more crime and mystery in your life? (Ok, maybe just mystery.) Join the Crime Writers of Canada—an association representing mystery and true-crime writers—for a thrilling reading event with some of its featured authors. Rosemary McCracken, Sharon A Crawford, and Nate Hendley will each read a selection of their work, before opening up the floor to audience questions and comments. To register in advance, call 416-396-8890.
The main attraction at VAZA-LAUNCH is a launch (and author talk) for Sarah Liss’ Army of Lovers, a book that explores the life of Toronto gay activist Will Munro. It collects stories from people who knew Munro, including Owen Pallett, Bruce LaBruce, and Joel Gibb. In the tradition of Munro’s party-organizing lifestyle, the launch will also include a concert with performances by Peaches and Light Fires.
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.
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.
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.
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.
You might expect a show called We Can Be Heroes to be a send-up of superhero films, but Second City’s new mainstage production is actually a celebration of minor, everyday acts of heroism ranging from giving advice to a bullied child to managing not to be a jackass at your friend’s wedding.
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.
Local playwright Laura Cockburn-Tulk has written two new one-act plays that Glasswater Theatre is premiering together as Prayers For the New World. The double header will have a limited run at the Berkeley Street Theatre. In the first play, Confessions, a Soviet-era spy discovers that she can communicate across space and time with an accused Salem witch while the two are imprisoned; in the second play, Gone Home, the mysterious death of a child tests a family’s bond during the the Second World War.
This event originally stated that one of the plays is titled Communion, but the correct title is Confessions. We regret the error.
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.
Sunparlour Players, a Torontonian folk-rock institution, is taking over the Dakota Tavern every Wednesday in October and November to debut some new songs and bring new life to the older ones. To keep things fresh, they’ll be joined onstage by a different guest act every week.