“Telling: An Audio Survey of Parkdale,” curated by Phil Anderson and Tara Bursey, gathers site-specific audio clips that relate to spaces across Parkdale. The opening reception and panel discussion (where the public will get the chance to discuss the different works) are on November 7th and November 13th respectively (both at 7 p.m.).
Author Rebecca Upjohn draws attention to a lesser-known story of bravery and kindness with her picture book The Secret of the Village Fool. As part of Holocaust Education Week, she’ll discuss the story of Anton, a Polish man who heroically saved the lives of a Jewish family by hiding them from occupying Nazi forces.
In September, the Transit Investment Strategy Advisory Panel was created to help the provincial government figure out how to implement Metrolinx’s investment strategy. Part of the panel’s role is to consult with the general population on whether Metrolinx’s plans will properly serve commuters. Join them for a public meeting, and have your say in the planning of our regional transit system. RSVP in order to reserve a seat.
Join This Is Not a Reading Series for a celebration of Geoff Berner—songwriter, touring accordionist, and now author. His first novel, Festival Man: Sex, Drink and Accordions, follows the drunken stumbling of band manager Campbell Ouiniette through the Canadian music industry. Abandoned by his top headlining act, he devises a scheme to redeem himself with his girlfriend and his peers. Writer/musician Dave Bidini will be on hand to help launch the book and to discuss its dark, silly, and eye-opening aspects.
Celebrating his 20 years as artistic director for Toronto Dance Theatre, Christopher House presents his newest piece, Eleven Accords, as part of Harbourfront’s NextSteps showcase. Featuring 12 dancers, the show was inspired by and created as a choreographic counterpoint to Music for 18 Musicians, by minimalist composer Steve Reich.
While the Toronto International Film Festival may have shifted into a more relaxed mode, it’s still offering plenty of opportunities to gawk at movie stars—they’re just a little more spread out. Midweek, fans could catch the premieres of Good Kill (Ethan Hawke as a drone pilot), Maps to the Stars (David Cronenberg’s new bit of oddness), The Imitation Game (Benedict Cumberbatch as World War II cryptographer Alan Turing), Jauja (Viggo Mortensen, and we don’t know much else really), Laggies (Sam Rockwell and Keira Knightley in a comedy about people taking their sweet time to grow up), October Gale (Patricia Clarkson and Scott Speedman in a thriller/drama set in a remote cabin), Pawn Sacrifice (about the chess duels between Boris Spassky and Bobby Fischer), The Cobbler (Adam Sandler’s latest) and Escobar (Benicio Del Toro is the famous drug kingpin).
Since its humble beginnings in the back room of Toronto’s Tranzac club back in 2003, Evil Dead The Musical has steadily risen in infamy as a ridiculously fun, tongue-in-cheek, gore-soaked musical experience. From those earliest shows, the musical has gone on to make an off-broadway debut, to win and be nominated for several Dora awards, and to play in dozens of cities around the world, from Montreal and Vancouver to Tokyo and Madrid. It was high time that the show make a triumphant homecoming to a stage in Toronto, and it finally has, at the Randolph Theatre.
It’s not every day that a media tour opens with the injunction not to photograph “the sex blob,” but so began TIFF’s preview of “David Cronenberg: Evolution,” the organization’s first large-scale touring exhibition (for now, it’s stationed at the TIFF Bell Lightbox’s HSBC Gallery). It’s an exhaustive, stunning look at some of the wildest, most perverse creations of a pioneer of the body-horror genre—who also happens to be Canada’s most internationally renowned filmmaker.
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.”
Once a famed Canadian supervillain, Dr. Nefarious has retired to pursue a less evil existence out of the public eye. This new life includes a bed and breakfast, which he has opened with his invisible wife and his henchman, Half-Ape. Of course, with a setup like this, the B&B is guaranteed to get all sorts of normal guests…or not. Join the motley crew of The Nefarious Bed and Breakfast as they bumble through their opening weekend.
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.
Every revolution needs a leader. And though the movement to bring the classic 1980s musical Les Misérables back to Toronto is markedly different than the quest for political accountability and social equality, it has its hero just the same. After the 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.
When we go to the theatre (especially if the plan is to write about the experience), we try to leave everything going on in the world offstage in the lobby. But sometimes, that’s easier said than done. This was the case when we went to see Moss Park just a few hours after the mayor of Toronto had announced that, while he had indeed smoked crack cocaine, he wasn’t going to do anything at all to atone for his misdeeds.
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.
Jamaican-British playwright Debbie Tucker Green isn’t afraid to touch on heavy subjects, bringing them to light with a blunt but poetic voice. Her play dirty butterfly tells the story of three people—two black and one white—living in a poor London neighbourhood. The thin walls of their tenement houses don’t allow for secrets, and so the harsh realities of domestic violence and racial economic divides are exposed. Presented by Bound to Create Theatre, the play features gut-wrenching performances from Kaleb Alexander, Beryl Bain, and Lauren Brotman.
Donald Margulies’ Time Stands Still tackles themes of journalistic morals and the downfalls of success, while exploring the intricacies of love and friendship. Injured in an explosion in the Middle East, photojournalist Sarah and her partner James return home, their relationship changed by her injuries.
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.