The ROM’s Dr. Sarah Fee knows that there’s more to fashion than what we see in magazines. Join her for a lecture on The Textile Trades of East Africa and Madagascar, and learn about how Asian textiles made their way to the East African interior, and why.
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.
You might not know it, but you could be that person in your office: the one driving everybody crazy with constant coughing and sniffling. Do them—but especially yourself—a favour by attending Marni Wasserman’s Immune Boosting Workshop. A nutritionist and health strategist, she’ll discuss how your immune system gets compromised and which foods can help keep you in good health. There will be snacks to sample, and you’ll leave with a bunch of tips on how to get more nourishment in your life.
Little Terrors enters its third year of screening short horror films with Volume 24: Vicious Cycle. On the program are seven gory, terrifying pieces, some of which were featured at Blood in the Snow Film Festival. If you’re brave enough, go check out Olaf Svenson’s L’étranger, Jay Clarke’s Lively, and Takahide Hori’s Junk Head, among others.
Don’t be intimidated by the crass title. Queer As Fuck is simply a gathering of the funniest members of our LGBTQ+ community. Hosted by Catherine McCormick, this edition includes performances from storytellers Marco Bernardi and Brian Finch; character artists Danz Altvater and Candice Gregoris; comedy rap group Mullets and Mom Jeans; and sketch troupes Haus of Bot and the Ellens.
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.
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.
You can surmise a couple of things from the title of Stewart Lemoine’s play, receiving its Toronto debut 18 years after its Edmonton premiere. Like The Exquisite Hour, which producing company the Theatre Department launched with in 2012, Pith! is not much more than a hour—brevity being the soul of wit, after all. Pithy does in part mean concise, but “pith”? Well, it can mean “the essence,” and this play is concerned with getting to the essence of play, and by extension, a play.
Jack Vail (Ron Pederson) is a sailor and adventurer who, on a whim, decides to see what sort of adventures can be had in Providence, Rhode Island, in the summer of 1931. He’s just disembarked from a long sea voyage, and craves more genteel company, which he decides he’ll find at a Sunday church service and social. His attention is quickly drawn to a woman in mourning cloth and to her slightly less subdued companion, whom he finds sobbing over a plate of pie outside after the service. She introduces herself as Ms. Nancy Kimble (Amy Matysio), and shares the sad tale of her employer Mrs. Virginia Tillford (Daniela Vlaskalic), who has held out hope for a decade that her husband will return from a trip to South America, where he vanished.
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.
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?
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.
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!
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.