When was the last time you discussed fossils in a bar? (Insert age joke here.) Now, thanks to the ROM Out and About program, you can do just that with actual museum experts. Assistant curators David Rudkin and Kevin Seymour will play host for the evening, which will include a fossils and evolution trivia battle.
Get out your black lipstick, corsets, and chokers! Liisa Ladouceur, music journalist and author of Encyclopedia Gothica and How to Kill a Vampire, presents a lecture on what she knows best: the Origins and Evolution of Goth Music. Using her Goth Band Family Tree, she’ll trace the genre’s progression and ties to industrial, 1970′s punk, metal, new wave, and even folk.
Provocateur is part zombie apocalypse story, part spy thriller, and all improvised. Following an epidemic that has wiped out most of North America, the ruined Canadian and American governments find themselves facing a Soviet conspiracy. Complete with heavy Russian accents, Alice Moran, Roger Bainbridge, Adam Cawley, Conor Holler, Dan Jeannotte, Carmine Lucarelli, Lindsay Mullan, Briana Templeton, and Gavin Williams round out the cast of this witty improv comedy.
Bingo: it’s not just for octogenarians anymore! Punk Rock Bingo is shaking things up by adding a punk soundtrack to an already stellar game. There will be great prizes, drink specials, and an appearance by punk-rock drag queen Jenna Syde. Since punks aren’t always about anarchy and destruction, proceeds from the event will be donated to a variety of local charities.
Rue Morgue Magazine presents a special 35mm screening of Ken Russell’s The Lair of the White Worm. Celebrating its 25th anniversary, this Bram Stoker adaptation follows an archeology student on assignment in a small English village. He eventually finds himself on a quest to hunt down and slay the fabled d’Ampton “worm” in order to save the local townspeople. Naturally, strange and horrifying events ensue. Like always, audience members will be treated to a slew of prizes from a variety of sponsors.
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.
Virginia Woolf once remarked that “on or about December 1910, human character changed.” Whether it actually did is debatable, but the curators of “The Great Upheaval: Masterpieces from the Guggenheim Collection 1910–1918” use that year to start their exhibition of works from a tumultuous decade of innovation in European fine art.
“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.).
Get into the spirit of the season with the help of Christmas in the Park at Colborne Lodge. The public is invited to tour the High Park founders’ home, which has been dressed up in festive Victorian decor. Era-appropriate foods and drinks will be provided to conjure the atmosphere of a 19th-century Christmas.
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.
The old adage “appearances can be deceiving” rings true in Promise Productions’ new musical, Pieces of Me. Though Pamela and Parker seem to have a perfect marriage, trouble brews just below the surface. Parker works to solidify a happy future with his wife, not knowing that Pamela is restless, and harbouring a secret that could destroy everything. Written and directed by Deon Denton, the play stars the Shahi Teruko (Canada’s Got Talent), and recording artist Sheldon Neil.
The world is a shockingly small place; just being in it will inevitably, repeatedly, and involuntarily bring you face to face with people you’d rather not meet more than once. In the case of Linda Griffiths’ new play Heaven Above Heaven Below, the wedding of a mutual friend reunites two nameless characters, He and She, twenty years after a short-lived fling resulted in She getting an abortion (which Griffiths detailed in her 1991 hit The Darling Family, to which this is the real-time sequel). The premise is enough to make anyone swear off large gatherings with undisclosed guest lists.
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 Alumnae Theatre Company presents its inaugural FireWorks theatre showcase. Akin to the New Ideas Festival, this series features plays created in-house by local artists. Three pieces will be staged during the three-week run: Theory by Norman Yeung, Gloria’s Guy by Joan Burrows, and Measure of the World by Shirley Barrie. For those who want more than just stage productions, there will also be several roundtable discussions and playwright talks to attend.
The Unit 102 Actors Company brings Shakespeare’s tale of power and corruption to life with its production of Julius Caesar. Taking place in 44 B.C., the play follows the events surrounding Caesar’s assassination. First performed as early as 1599, many of the story’s central issues are still relevant today.
Tarragon Theatre presents ten days of innovative onstage creations as part of Play Reading Week. The showcase will debut new works from members of the 2013 Playwrights Unit, and many of the plays will go on to be developed further in Tarragon’s WorkSpace program and mounted as full productions in future seasons. A different burgeoning playwright will find him or herself in the spotlight each night. On the roster are Kate Cayley, Anna Chatterton, Jordi Mand, Amy Lee Lavoie, Maria Milisavljevic, Jessica Anderson, Adam Paolozza, Diane Flacks, Marilo Nuñez, and Gord Rand.
Winners and Losers is a play by Marcus Youssef and James Long based on a game of the same name the two theatre artists sometimes play. They pick a person, place, or thing, and debate whether it’s a “winner” or a “loser.” But it probably wouldn’t be fair to pick their director (and Crow’s Theatre artistic director) Chris Abraham as a topic, particularly since he was recently declared the winner of the Siminovitch Prize, Canadian theatre’s most prestigious (not to mention lucrative) honour.
The plot of Joan MacLeod’s The Valley, on now at Tarragon Theatre, is unfortunately all too familiar: an 18-year-old recent college drop-out experiences his first psychotic episode on Vancouver’s SkyTrain. The exhausted police officer called to the scene arrests him for causing a public disturbance, spurring debate over whether or not he used excessive force in the process. A Toronto audience only has to think of Sammy Yatim’s shooting this August to be reminded how common these situations are. A perceived threat to public safety coupled with the absence of a solid understanding of mental illness can—and often does—lead to violence.
Toronto theatre audiences have seen a number of adaptations of Strindberg’s Miss Julie in the past few years. The original now seems dated, but Miss Julie: She’Mah, a Canadian-targeted adaptation by playwright Tara Beagan, ratcheted up the tension by giving Miss Julie residential-school-educated servants. Canadian Stage’s somewhat less effective Miss Julie: Freedom Summer used American race politics. But British playwright Patrick Marber’s 2003 adaptation, After Miss Julie, zeroes in on sexual politics and baseline class separations, all against the backdrop of a British country home at the close of World War II. Red One Theatre’s Canadian premiere plays up the danger and slow-burning tension expertly, with three experienced cast members: Claire Armstrong in the title role, and Christopher Morris and Amy Keating as Julie’s father’s servants.
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.