When’s the last time you attempted to reconceptualize the dimensions of space? If it’s been a while, you might consider checking out a new exhibition called I Thought There Were Limits, which aims to do just that. This particular exhibit is unique in that the artwork forms a relationship with the site itself (in this case, the Justina M. Barnicke Gallery). The work on display is brought to you by curator Julia Abraham (as part of the MVS degree in Curatorial Studies at the University of Toronto). The artists include Karen Henderson, Yam Lau, Gordon Lebredt, Kika Thorne, and Josh Thorpe.
For someone well known for her expressive and awwww-inducing drawings of pugs, U.K.-based illustrator Gemma Correll came to her love of the animal late. “I was always a cat person growing up, so I think the pug was like my gateway dog,” she said at Magic Pony, an art and design shop on Queen West that is currently hosting The Mr. Pickles Fan Club, the first Canadian exhibition of her work.
Spring in Toronto is marked by an influx of bikes on the streets, people returning to our parks, and, of course, the Hot Docs festival.
While the weather has so far not fully cooperated with the first two of those activities, rain and cold weather aren’t a hindrance to catching some world-class documentaries. The festival turns 20 this year, but a quarter-life crisis is nowhere in sight. The largest non-fiction film shindig in North America continues to impress, with 205 documentaries screening over 10 days, including 44 world premieres, and films from 43 countries. It’s a lot, but we’re here to help!
For the 2013 edition of the Scotiabank CONTACT Photography Festival, artistic director Bonnie Rubenstein didn’t choose her exhibits based on the festival’s theme. Instead, she let the exhibits choose the theme.
The city-wide Contact Photography Festival always features a great number of exhibits that are well worth your time, but one you don’t want to miss is “In the Playroom.” This award-winning (and controversial) series from Jonathan Hobin (whose work draws from the darker side of childhood imagination and storytelling) explores the idea of the “impossibility of a protective space, safe from the reach of modern media.” Opening reception is on May 2 from 7 p.m. to 10 p.m.
For the annual InFORMING CONTENT creation laboratory weekend, Volcano Theatre partners with University of Toronto’s Jackman Humanities Institute to combine new theatre ideas with new academic ones. The weekend begins with a public lecture by the institute’s fellows (Friday May 3, 7 p.m.), then the artist participants spend all Saturday and Sunday mornings creating new site specific works based on those themes, which they’ll then present to the public (Sunday May 5, 3–6 p.m.).
Think you know your city? It might just be time to get updated on the people and places in your neighbourhood. Jane’s Walk, the worldwide weekend of walking, is back again for another few days of guided tours all around Toronto. Check out some of the listings (which include history, nature, and culture walks) here so you can plan your epic weekend of walking accordingly.
David Kaufman’s Early Sunday Morning photography exhibit simultaneously celebrates the heritage of Toronto’s architecture, while pleading for its preservation, in the face of gentrification and condo development. The building facades and structures, rich in texture and colour, are each captured at their most beautiful—basking in the light of early morning.
Life x 3 presents the tale of Henry and Sonia, who have to deal with a couple that unexpectedly shows up to dinner a day early. The best part? In this play, you get to see three different versions of the evening’s events. Directed by Andrew Lamb (My Mother’s Lesbian Jewish Wiccan Wedding).
There are few playwrights whose names can double as adjectives (think “Shakespearean,” or “Beckettian”). But Race, now on at Canadian Stage, makes us want to coin a new one of those words. That’s because of the opening scene, where a black lawyer named Henry Brown addresses a white man with the line “You want to tell me about Black folks?” while leaning back in his office chair at the end of a long boardroom table. It’s distinctly Mamettian.
The American playwright David Mamet is known as much for his portrayal of fast-talking, morally ambiguous businessmen as he is for “Mamet speak,” his unique style of verbose, curse-filled, overlapping dialogue or long-winded speeches. His 2010 script Race is no different—in fact, it might be his most Mamettian to date. It certainly doesn’t beat around the bush when it comes to its subject matter (as the title suggests). Discourse surrounding race, privilege, language, and cultural history consumes the entire play.
In A Few Brittle Leaves, when the lights came up on the quiet, conservatively decorated home of the Pie sisters, in the small British township of UpsyDownsyshire, it didn’t take long for this unassuming setting to get a disproportionately loud response from the audience. Applause and laughter erupted when the crowd caught sight of the elderly Pie sisters themselves: Viola, a tall woman dressed in a grey-and-brown sweater and a floor-length skirt, with her mousy hair tucked away on her head; and Penny, a shorter, stouter woman in a purple dress and matching jacket, with a sleek blonde bob.
Edward Roy and Gavin Crawford star as two 50-something spinster sisters in the gender bending A Few Brittle Leaves. Residing in a suburb of London, Viola and Penelope are faced with the inevitability of aging and the question of whether to abandon their search for love. That is, until the new vicar comes to town and turns their world upside down.
David Yee examines life’s interconnectivity in Carried Away on the Crest of a Wave. The play follows an escort in Thailand, a housewife in Utah, and a Catholic priest in India, and how their lives are simultaneously brought together and torn apart by the 2004 Indian Ocean tsunami.
Falsettos, a groundbreaking and Tony Award–winning musical, comes to town for a short run, presented by The Acting Up Stage Company. The story takes us to New York City in 1979, where the Sexual Revolution is hot, AIDS is on the rise, and Marvin, a husband and father, has decided to leave his family for a man. Directed by Robert McQueen and starring Darrin Baker, Sara-Jeanne Hosie, Sarah Gibbons, Michael Levinson, Eric Morin, Stephen Patterson, and Glynis Ranney.
In theatre, it’s one thing to have an idea. It’s another to actually see the idea through. And it’s another thing entirely to see it happen a second time.
“It’s nerve-wracking because we’re not new anymore, so it’s not as easy to get people excited about it as it was last year when it was a new and shiny thing. Like, ‘Are those scrappy kids going to pull it off?'” says Alex Johnson, project director of The Playwright Project, which is about to launch its second edition. By “those scrappy kids,” Johnson is referring to the collective of independent theatre companies that joined forces last year to create The Tennessee Project, a week-long festival that toured a series of Tennessee Williams one-act plays through seven Toronto neighbourhoods. The idea was that each play would perform in a new venue each night, but that those venues would be familiar places like bars, restaurants, or community centres, and the crews would not only perform in neighbourhoods (from North York to Greektown to Roncesvalles), but would volunteer for local projects and organizations as well. It was an ambitious gamble for a bunch of young theatre-makers frustrated by a lack of time and resources to stage their own work. But according to Johnson, it was a resounding success.
A fragile young woman obsessed with an old mechanized box containing an ancient (and possibly deadly) artifact calls upon a clairvoyant, a paranormal investigator, and a parapsychologist to assist in unlocking its secrets. No, it’s not a new AMC series, or an upcoming summer blockbuster—it’s Visitations, the new immersive-theatre experience by The Mission Business, creator of last year’s epic bio-horror theatrical extravaganza, Zed.TO.
As with Zed.TO, the audience is very much at the heart of the action in Visitations, exploring rooms, decoding messages, solving puzzles, and trying to prevent a catastrophe—or perhaps being used to bring one about. The more you bring to the experience, the more fun you’ll have in return.
The Canadian comedy community rightfully regards the members of The Kids in The Hall as homegrown legends, and this weekend, like Hercules and The Hitman before him, Kevin McDonald will be in residency at Toronto’s Comedy Bar. The comedian, who recently did another stint in the writer’s room on Saturday Night Live, is in town to teach a workshop and will guest on some of Comedy Bar’s most popular shows: Catch 23 Improv (Friday May 3, 8 p.m.), Mantown (Friday May 2, 10:30 p.m.), Monkey Toast (Saturday May 4, 8 p.m.), Bad Dog Theatre Presents… (Saturday May 4, 10 p.m.), and Sunday Night Live (Sunday May 5, 9:30 p.m.).