Robert Burley: The Disappearance of Darkness

View of Building 7 and 11 from the roof of Building 9 at Kodak Canada. Photo by Robert Burley.

View of Building 7 and 11 from the roof of Building 9 at Kodak Canada. Photo by Robert Burley.

  • Ryerson Image Centre (33 Gould Street)
  • 6 p.m.

As film processing becomes a thing of the past, the manufacturing plants and industrial darkrooms it once required have become inevitably obsolete. With a certain sense of irony, one photographer has travelled across the world to document these abandoned buildings. “Robert Burley: The Disappearance of Darkness” both commemorates a vanishing medium and celebrates a newer one. Check out the exhibit during the opening reception, or any time before April 13.

Details: Robert Burley: The Disappearance of Darkness

Dark Lady: The Musical

  • Theatre Glendon (2275 Bayview Avenue)
  • 7 p.m.

Glendon College presents the second stage production to come out of its newly formed drama club, Lionheart Productions Coeur de Lion. Written by Justin Ruttan, Dark Lady: The Musical is a fantastic romp through the life of a drag performer, set to the music of Cher. More than just a theatrical glitterbomb, the story sees the protagonist grapple with loss, love, and self-discovery.

Details: Dark Lady: The Musical

Fermenting for Dummies

  • Marni's Food Studio & Lifestyle Shop (510 Eglinton Avenue West)
  • 7:30 p.m.

Guess what? The word “fermenting” doesn’t always mean “wine.” Now that we’ve dashed those hopes, allow us to tell you about a cool event that aims to get you healthier (rather than hungover). Marni Wasserman’s Fermenting for Dummies workshop covers everything from how fermented foods affect your digestion to how you can incorporate these ingredients into your daily life. You’ll also get to sample some tasty snacks and purchase her book on the topic, if you’re so inclined.

Details: Fermenting for Dummies

Flesh and Other Fragments of Love: A Rocky Production

Nicole Underhay and Maria del Mar in Flesh and Other Fragments of Love. Photo by Cylla von Tiedemann.

Nicole Underhay and Maria del Mar in Flesh and Other Fragments of Love. Photo by Cylla von Tiedemann.

  • Tarragon Theatre (30 Bridgman Avenue)
  • 8 p.m.

In Tarragon Theatre’s current mainstage production, Flesh and Other Fragments of Love, there are both a marriage and a body on the rocks, and the prognosis isn’t good for either of them. While the human figure appears pale, cold, and lifeless, the marriage is slightly more alive, and the play chronicles its last dying breaths. Surprisingly, though, the young female cadaver is by far the more interesting of the two.

Details: Flesh and Other Fragments of Love: A Rocky Production

Ongoing…

The Guggenheim Comes to the AGO

20131126-AGO The Great Upheaval- Masterpieces from the Guggenheim Collection-2168- Photo_by_Corbin_Smith
  • Art Gallery of Ontario (317 Dundas Street West)
  • All day

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.

Details: The Guggenheim Comes to the AGO

Toronto Design Offsite Festival

  • All day

A week-long visual art and design bonanza taking place at venues across the city, the Toronto Design Offsite Festival features exhibitions, screenings, parties, talks, and tours—all of which showcase “the best in Canadian design.” It’s a not-for-profit festival, so most of the programming is free; you’ll want to check out the festival schedule for a full list of events, locations, and participating artists, companies, and galleries.

Details: Toronto Design Offsite Festival

Go Hear the People Sing in Les Misérables

Ramin Karimloo will make you weep, or at least want to give him a hug, as Jean Valjean in Les Miserables. Photo by Matthew Murphy.

Ramin Karimloo will make you weep, or at least want to give him a hug, as Jean Valjean in Les Miserables. Photo by Matthew Murphy.

  • Princess of Wales Theatre (300 King Street West)
  • 1:30 p.m., 7:30 p.m.

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.

Details: Go Hear the People Sing in Les Misérables

The Way Back to Thursday

Rob Kempson and Astrid Van Wieren star in The Way Back to Thursday. Photo by Michael Cooper.

Rob Kempson and Astrid Van Wieren star in The Way Back to Thursday. Photo by Michael Cooper.

  • Theatre Passe Muraille Mainspace (16 Ryerson Avenue)
  • 7:30 p.m.

Cameron and his grandmother share a special tradition: every Thursday night, they escape into the golden age of film together. A musical about unconditional love, The Way Back to Thursday takes us through the changes in this relationship as Cameron grows older and more distant.

Details: The Way Back to Thursday

Getting to the Pith! of Play (and a Play)

Left to right, Amy Matysio, Ron Pederson, and Daniela Vlaskalic. Photo by Farrah Avivia.

Left to right, Amy Matysio, Ron Pederson, and Daniela Vlaskalic. Photo by Farrah Avivia.

  • Theatre Passe Muraille Backspace (16 Ryerson Avenue)
  • 7:30 p.m.

You can surmise a couple of things from the title of Stewart Lemoine’s play, receiving its Toronto debut 18 years after its Edmonton premiere. Like The Exquisite Hour, which producing company the Theatre Department launched with in 2012, Pith! is not much more than a hour—brevity being the soul of wit, after all. Pithy does in part mean concise, but “pith”? Well, it can mean “the essence,” and this play is concerned with getting to the essence of play, and by extension, a play.

Jack Vail (Ron Pederson) is a sailor and adventurer who, on a whim, decides to see what sort of adventures can be had in Providence, Rhode Island, in the summer of 1931. He’s just disembarked from a long sea voyage, and craves more genteel company, which he decides he’ll find at a Sunday church service and social. His attention is quickly drawn to a woman in mourning cloth and to her slightly less subdued companion, whom he finds sobbing over a plate of pie outside after the service. She introduces herself as Ms. Nancy Kimble (Amy Matysio), and shares the sad tale of her employer Mrs. Virginia Tillford (Daniela Vlaskalic), who has held out hope for a decade that her husband will return from a trip to South America, where he vanished.

Details: Getting to the Pith! of Play (and a Play)

Heartbeat of Home

  • Ed Mirvish Theatre (244 Victoria Avenue)
  • 2 p.m., 8 p.m.

The producers of Riverdance have spawned yet another on-stage extravaganza. With a talented cast of 38, Heartbeat of Home is a high-energy show, combining Irish, Latin, and Afro-Cuban music and dance. Torontonians get the honour of seeing the production’s North American debut—take it in before it’s gone!

Details: Heartbeat of Home

The Keith Richards One Woman Show

Deanna Jones stars in The Keith Richards One Woman Show. Photo by Lauren Garbutt Photography.

Deanna Jones stars in The Keith Richards One Woman Show. Photo by Lauren Garbutt Photography.

  • Fixt Point Studio (1550 Queen Street West)
  • 8 p.m.

With a minimalistic set, some vintage guitars, and a rock n’ roll soundtrack, Deanna Jones takes on the persona of one of music’s most notorious figures. Humourous and introspective, The Keith Richards One Woman Show leads audiences through the highs and lows of the Rolling Stones guitarist’s often ridiculous life.

Details: The Keith Richards One Woman Show

London Road

  • Bluma Appel Theatre (27 Front Street East)
  • 8 p.m.

In 2006, the quiet town of Ipswich, England, was turned upside down by the discovery of five dead women. During this time, playwright Alecky Blythe recorded extensive interviews with the nearby residents. Set to music, these audio clips form the script to London Road, a raw piece of theatre illustrating tragedy’s ability to fortify a community.

Details: London Road

Once On This Island

Chris Sams and Jewelle Blackman star in Once On This Island. Image courtesy of Acting Up Stage Company.

Chris Sams and Jewelle Blackman star in Once On This Island. Image courtesy of Acting Up Stage Company.

  • Daniels Spectrum (585 Dundas Street East)
  • 8 p.m.

The Acting Up Stage Company brings the French Antilles to Toronto audiences with its new musical, Once On This Island. Set to an exuberant Caribbean score, we see the gods test the dark-skinned Ti Moune by sending her on a quest after she falls in love with a higher-class, light-skinned man.

Details: Once On This Island

The Ugly One Plays Both Faces Well

Naomi Wright and Hardee T. Lineham discuss the drastic facial reconfiguration of David Jansen's Lette in Theatre Smash's production of The Ugly One. Photo by James Heaslip.

Naomi Wright and Hardee T. Lineham discuss the drastic facial reconfiguration of David Jansen's Lette in Theatre Smash's production of The Ugly One. Photo by James Heaslip.

  • Tarragon Theatre (30 Bridgman Avenue)
  • 8 p.m.

German theatre has gone over really well in Toronto in recent years. Playwright Roland Schimmelpfennig’s contribution to Volcano Theatre’s Africa project was widely praised, and twinwerks//zwillingswerk’s production of Felicia Zeller’s Kaspar and the Sea of Houses earned the company an outstanding production award at the 2011 SummerWorks (and a trip back to 2012′s festival). Now, Theatre Smash returns with Marius von Mayenburg’s The Ugly One, a clever slice of absurdism that works well on several levels. There’s light humour when the titular character discovers that everyone finds his face repugnant, and darker tones when his new, beautiful face becomes coveted obsessively by those around him.

Details: The Ugly One Plays Both Faces Well

The Wedding Singer Evokes ’80s (and Sandler) Nostalgia

Isaac Bell as Robbie and Ashley Gibson as Julia. Photo by Scott Gorman.

Isaac Bell as Robbie and Ashley Gibson as Julia. Photo by Scott Gorman.

  • Hart House Theatre (7 Hart House Circle)
  • 8 p.m.

It seems like the 1980s are an odd, distant time here in the middle of the second decade of the 21st century. It also feels like it’s been almost as long since Adam Sandler was making good comedies, instead of recent dreck like the Grown-Ups films or Jack & Jill. Films like The Wedding Singer and Happy Gilmour were sweet (and only slightly profane) comedies where the screw-up always gets the girl.

Hart House Theatre’s production of The Wedding Singer is set a year shy of 30 years ago in Ridgefield, New Jersey, and trades on the nostalgia for a film that was already trading on nostalgia with neon lighting (plenty of purple wash), retro fashion, and familiar songs—the ones created for the film, anyway. (Classics like “You Spin Me Right Round” and “Love Stinks” would have made the licensing astronomical.) The 2006 musical adaptation came up with some similar (and period) sounding numbers that, in some cases, actually improve on the original. It also streamlined some of the characters: for instance, the most memorable supporting characters in the film, sleazeball Sammy (Matt Pilipiak) and keyboardist George (Scott Farley), are now both Robbie’s best friends and bandmates.

The musical also does a better job of balancing out Robbie (Isaac Bell) and Julia’s (Ashley Gibson) scenes, as she gets some songs to sing too, instead of being just a love interest. Julia’s scenes with her cousin Holly (Romina Cortina) and her mother won’t pass film’s Bechdel test, but then the boys only talk about women as well—save for a few throwaway lines about their band and an act-two number where Julia’s jerk fiancé Glen (Howard Davis) tries to sell Robbie on the world of finance.

The ensemble is spirited and, despite some persistent sound tech issues relating to the body mics, the show sounds all right too. Of course, a show likes this succeeds on the charisma of its leads and character roles: Bell, Gibson, and especially Farley are all likeable and on-point with their comedic timing. The book dutifully checks off all the memorable moments (and lines) that people are likely to recall from the film, which is, we suppose, sort of the point. You’re more likely to leave the theatre humming one of the songs from the pre-show or intermission music than from the score, but you probably will leave humming rather than grumbling.

Details: The Wedding Singer Evokes ’80s (and Sandler) Nostalgia