Attention, lovers of all things. Really, all things! The Leslieville Flea is returning, just in time to help you get a jump on holiday shopping. It offers antiques, vintage pieces, records, and handcrafted items—all under one roof. Onward to shopping! Also, if you check out its blog, you can see some of the neat stuff people have managed to find at past editions.
Celiac sufferers and gluten avoiders of the world: heaven on earth has arrived. The Gluten Free Garage is a pop-up marketplace that delivers exactly what its name promises: a whole lot of gluten-free food. What to expect: 60 vendors, many food trucks, a children’s art studio, and food sampling! There really isn’t a better time to try a gluten-free style of living.
Ever wanted to be part of a live comedy taping (so you can tell all your friends, “Hey, that laugh was mine!”)? Well, now you can. Lady Tapes will be putting on a special show, where the performances will be taped for posterity. The night will feature funny feminist comedians Jess Beaulieu, Catherine McCormick, and Natalie Norman. Check out one of Jess Beaulieu’s past performances here.
The name “Mesopotamia” derives from a Greek term meaning “land between the rivers.” The Royal Ontario Museum’s latest major exhibit, which opens on June 22, takes this literally, as visitors flow between painted representations of the Tigris and Euphrates rivers on the floor.
Presented by the British Museum and rounded out with pieces from institutions in Chicago, Detroit, and Philadelphia, “Mesopotamia: Inventing Our World” covers 3,000 years of human development in the cradle of urban civilization. Most of the 170 artifacts on display have never been shown in Canada.
When it was originally unveiled at the Victoria and Albert Museum in London (England, not Ontario), the “David Bowie Is” exhibition shattered attendance records, selling over 42,000 advance tickets. Now that the show has come to Toronto, it’s easy to see why it was so successful. Composed of over 300 objects from David Bowie’s personal archive, spanning his entire career, the exhibit is arranged and presented as a completely immersive experience, enveloping visitors in a kaleidoscopic visual and aural landscape that would be overwhelming if it weren’t so brilliantly arranged and intelligently guided.
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.
“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.).
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.
Campbell House Museum is artfully decorated for A Room Of One’s Own‘s nightly pre-show reception. Always elegant, the various rooms have cozy fires going, and books and letters are arranged for audience perusal. (We later heard many of these materials were sourced specifically for the show by star and producer Naomi Wright, who exhaustively researched her role as Virigina Woolf.)
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.
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.
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.
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.
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.
Feeling nostalgic for your childhood? Alligator Pie brings the children’s poems of Dennis Lee (who also, you might recall, wrote the Fraggle Rock theme) to life on the stage. This Dora Award–winning production promises music, tons of imagination, and overall good fun for the whole family. Above, you can watch Lee recite the title poem at a previous edition of Word on the Street.
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.