If you’ve ever wanted to be hip, you should probably be jumping on this free Introduction to Square Dancing offer, courtesy of the Toronto Triangle Squares. Before you start on the excuses, know that no costume, partner, or previous experience is required. Just show up, learn some steps, eat some snacks, and have fun!
The Scarborough Music Theatre brings Louisa May Alcott’s classic Civil War story to the stage for a short run. Little Women follows the lives and struggles of four young sisters as they grow up while their father is off at war. Directed by Michael Jones, this musical features spirit-lifting and tear-jerking performances by Lauren Lazar, Katie Wise, Carina Cautillo, and Sarah DaCunha.
Those who work in the arts are well acquainted with the balancing act between creative work and life-sustaining day jobs. “Poetic Poverty; Experiments in Living” explores the notion of the starving artist, and why it’s a life so many choose to lead. This two-week show features works by Erin Loree, Stella Cade, Kevin Columbus, and more.
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.
“Photography is truth,” Michel Subor’s young draft-dodger announces in Jean-Luc Godard’s Le Petit Soldat, “And cinema is truth 24 frames per second.” Though that statement is often misattributed to the French filmmaker himself rather than to his character, the sentiment seems to hold true enough for Godard. On the strength of his wide-ranging, by turns playful and socially committed, and equal parts aesthetically and politically revolutionary filmography, one might even say that Godard’s life’s work has been dedicated to elevating the cinema to the esteemed status in which philosophers hold first principles like truth.
That effort to haul the cinema out of its infancy and into a kind of artistic maturity is the subject of TIFF Cinematheque’s newest and fullest retrospective in some time, a two-season programme entitled Godard Forever, which is intended to span the length of the filmmaker’s remarkable, varied career—from the jazz-infused improvisation of Breathless to the Marxist montage of recent work like Film Socialisme. The first half of that retrospective, a fifteen-film programme dedicated to what most consider Godard’s golden age—the period from 1960’s Breathless to 1967’s apocalyptic, decade-capping Weekend—runs this season, highlighting the period in which Godard famously moulded existing genres like Hollywood gangster pictures and musicals into his own unique creations.
It’s 1931 in Berlin, and the Nazis are on the brink of supremacy. But there remains another side to the city—one that’s decadent, permissive, and artistic. And that’s the world we meet when we’re beckoned into the extravagant and sleazy Kit Kat Klub by eccentric Emcee and his troupe of saucy dancers, performing “Willkommen.”
Cabaret’s primary plotline begins with the arrival of American writer Cliff Bradshaw (David Light). Without a real agenda, he’s come to Berlin to work on his novel and teach English. A patron of the Kit Kat Klub, he catches the eye of the star performer Sally Bowles (Kylie McMahon). A natural stunner, Sally is a bubbly young Brit with a powerhouse voice, a dancer’s grace, and a reputation for flitting from man to man like a bumblebee in a flowerbed. It’s not long before she and Cliff fall in love—though the question of whether he’ll be able to satisfy her wild side constantly hangs over their heads. The sweetness lacking in their relationship can be found in the romantic pairing of the boarding house landlord Fraulein Schneider (Adeen Ashton Fogle) and Jewish shop owner Herr Schultz (Don Berns). As appealing as they are, though, these middle-aged lovebirds are just as susceptible to trouble and heartbreak as their younger counterparts.
Time once again for the City of Toronto’s annual cold-weather enticement to get people out to fine dining establishments, the Winterlicious Festival. Over 200 restaurants have signed up to offer lunch and dinner prix-fixe menus over the official two-week period (many of them continue the pricing for longer), and the City’s also arranged for a number of different culinary events as well. For a full listing of the restaurants participating, visit the City’s website.
Ichimaru—once one of Japan’s most famous geishas—left the profession in the 1930s to pursue a career in entertainment. Never really leaving her past life, she became known for adorning herself in the traditional geisha garb when performing in concert or on television. “From Geisha to Diva: The Kimonos of Ichimaru” exhibits several decades’ worth of outfits and personal effects, shedding light on the woman behind the makeup.
Morro and Jasp are clown sisters created and played by Heather Marie Annis and Amy Lee, comedians and Factory Theatre writers-in-residence. In their newest adventure, they fall on hard times and take up acting in hopes of making ends meet. Of Mice and Morro and Jasp sees them attempt to bring the classic John Steinbeck tale to the stage. Will they succeed?
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.
What do you get when you combine Mozart and Atom Egoyan? Così fan tutte, a wryly comedic opera. Also known as The School For Lovers, it sees two couples struggle with issues of faith, desire, and temptation. The Canadian Opera Company welcomes the return of Egoyan, who will be directing this winter season opener.
The word “idiot” was originally used in ancient Greece to describe a person unconcerned with public affairs like politics, but dedicated to following private pursuits. The setting of Robert E. Sherwood’s 1936 romantic comedy Idiot’s Delight, a failing luxury hotel in the Italian Alps called the Hotel Monte Gabriele, initially seems to be full of idiots: newlyweds on their honeymoon, a group of burlesque singers and their manager, a blissfully genial waiter, and a couple of ornery managers sour over the lack of business. And when a spark flies between a beautiful and mysterious Russian and a smooth-talking American showbusinessman, while the other guests dance, drink, eat, and sing, there’s another piece of juicy plot that can be used to distract themselves, and the audience, from the war that’s literally raging outside the hotel windows.
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!
Let’s face it: being a twenty-something can kinda suck. Pumped full of confidence and aspirations, we flee the family nest…and fall flat on our faces. Avenue Q uses songs (written by Robert Lopez and Jeff Marx) and puppetry both to lament and poke fun at this difficult time. Much like Sesame Street, it has a cast made up of human actors who interact with a variety of furry creatures, who themselves have hands up their butts. Think that description is tasteless? This might not be the show for you—these puppets are crude and lewd, and have a taste for alcohol and porn. Don’t say you weren’t warned.
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.
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.
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.
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.
Told through South American music and dance, Arrabal is the story of a young girl desperate to find out what happened to her father after the Argentine military made him disappear when she was just a baby. Her search leads her to the Tango clubs of Buenos Aires, where she discovers both the truth, and herself.
Even though Billy was born deaf, his family strived to raise him the same way they would have a hearing-able child. Tribes sees him learn what it is to hear and be heard when he meets Sylvia, a young woman who is gradually becoming deaf herself. Presented by A Theatrefront Production, Canadian Stage, and Theatre Aquarius, this emotional play stars Stephen Drabicki and Holly Lewis.