Olivia Chow presents a free screening of NCR: Not Criminally Responsible, a film by Torontonian Emmy award-winner John Kastner. The story follows the struggles of Sean Clifton, whose mental-health disorder led to him stab a young woman. After years in mental institutions, he aims to get his old life back, despite his victim’s fear that he’ll hurt her again.
Want to make music for a living, but can’t stomach the idea of being the stereotypical starving artist? It doesn’t have to be that way. There are many revenue streams available to business-smart artists, including licensing, royalties, streaming, and direct-to-fan solutions. But how does it all work? Join MusicOntario’s Making a Living Making Music workshop to find out. Rodney Murphy (SOCAN), Andrew Karis (ACTRA RACS), Benji Rogers (PledgeMusic), and a representative from Coalition Music make up the event’s panel of industry experts.
The Ocean Wise Chowder Chowdown, presented by the Vancouver Aquarium, is making its return to Toronto. In support of sustainable seafood, 13 Toronto chefs—and their chowder recipes—will be going head to head in hopes of being crowned the Chowder Champion. Attendees will be able to taste all of these creations, which will be paired with a variety of local beers, before voting for their favourites.
After a successful run at this year’s SummerWorks Festival, the cast of Iceland reunites for a special one-night performance. The play—starring Christine Horne, Kawa Ada, and Claire Calnan—focuses on an immigrant escort, a businessman, and a rental evictee whose lives become entangled, their connections laid out against the bleakness of the banking crisis.
If the name Shakespeare Bash’d sounds familiar, it’s for good reason. For two years in a row, the collective creative effort founded by James Wallis and producer Rob Kraszewski has been upending the way local audiences experience the Bard’s work. In 2012, Shakespeare Bash’d’s Fringe Festival staging of The Taming of the Shrew, at Mirvish Village’s Victory Café, earned citywide praise.
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.
Comedian David Dineen-Porter was recently voted “Best Male Stand-Up” in NOW Magazine‘s annual Best of Toronto readers’ poll, surprising many people familiar with his eccentric and outlandish style. Many comedians consider him one of Toronto’s most original talents, but peer recognition doesn’t always translate into popular appeal. That said, Dineen-Porter and Tom Henry, co-hosts and co-producers of the monthly Don’t Get Bored of Us and Leave show at The Ossington, garnered considerable attention in the U.S. at the Bridgetown Comedy Festival this past summer.
We spoke with Dineen-Porter about his and Henry’s upcoming anniversary show, how he’s pranked his co-host and the audience in the past, and what to expect on Tuesday (the only sure bet is cake).
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.
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.
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.
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.