Choreographers Ofilio Portillo and Apolonia Velasquez share a sneak peek of their newest work Arkemy, with a special lunch-time showcase. Creators of the Gadfly Street Dance Company, they create pieces that are an exhilarating combination of hip hop, jazz, classical, and contemporary movement.
Rarely Pure Theatre brings Shakespeare’s As You Like It to the Storefront Theatre, one of the city’s new alternative presentation spaces. The company gives the story, which sees love and friendship complicated by sexual tension and gender confusion, a distinctly Canadian twist by moving the action to a wintery wonderland.
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.
What do you do when your fast food chain loses popularity amongst the 30-year-old crowd? This is the dilemma Funny Burger faces in Fast Food Follies. Its solution: hire a Parkdale hipster and a fancy “sandwich artist” to revamp the restaurant’s image. Loaded guns, cyborg lawyers, explosive diarrhea, and general madness ensue in this long-form sketch comedy serial.
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.
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.
Not content to keep it tucked away in the fall, last night the Toronto International Film Festival revealed its slate for Canada’s Top 10, the upcoming ten-day mini-festival devoted to the year’s best in Canadian filmmaking. Artistic Director Cameron Bailey joined Canadian programmer Steve Gravestock and comedian Steve Patterson to unveil the feature and short lineups, in addition to announcing a number of related talks.
Ali Eisner is already known for being a puppeteer, composer, and performer. Now she adds another line to her resumé with her debut photography exhibit, “Favourite Things.” As one might expect, each photo in the show depicts a cherished moment, person, or item in her life—you’ll find shots of everything from travelling and architecture, to puppets and musicians such as Kathleen Edwards, Ron Sexsmith, and Serena Ryder.
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.
What happens when your common household plant develops a taste for blood? Well, naturally it turns into a feisty, R&B-singing beast vying for global domination. Or at least that’s what happens in the cult classic sci-fi spoof, Little Shop of Horrors. Check out this off-Broadway hit at the Lower Ossington Theatre during its three week run.
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.
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.