Monthly hybrid show Mixed Company pairs actors with scripts in hand with veteran improvisers whose hands are empty. The actors are usually from Canadian television (there is some overlap with the comedians), and this month’s edition features actors who are all from the same show: Degrassi: The Next Generation. The comics include Jan Caruana, Mark Little, and Theresa Pavlinek.
Oddball artmaking duo Life of a Craphead (Jon McCurley and Amy Lam) host the return of Doored. There’s a fairly balanced bill of participants, including comedienne Kathlenn Phillips, performance artists like Bridget Moser, music by Man Made Hill, and more. Can’t be there in person? The fine folks at Double Double Land will livestream it for those who can’t make it.
If The Forbidden City: Inside the Court of China’s Emperors has a mascot, it’s Emperor Yongzheng. The image of the 18th-century Chinese ruler dominates the promotional material of the exhibition, which is one of the centrepieces of the Royal Ontario Museum’s centennial year. His portrait certainly has visual appeal, but Yongzheng is also a figure associated with surprising elements of life within the former imperial palace.
“The greatest art always returns you to the vulnerabilities of the human situation.” – Francis Bacon
“In the human figure one can express more completely one’s feelings about the world than in any other way.” – Henry Moore
These quotations, which welcome visitors to “Francis Bacon and Henry Moore: Terror and Beauty,” immediately establish the exhibition’s tone and focus. Each artist’s distortions of the human figure, shaped by their wartime experiences, capture the vulnerability of our mortal forms.
Up until Ben Affleck and Jennifer Lopez made that movie, the word “Gigli” was associated with images of beauty, the splendour of the opera, and, more specifically, the renowned Italian tenor Beniamino Gigli. In Irish playwright Tom Murphy’s The Gigli Concert, originally written in 1983 and on stage now at Soulpepper Theatre, the singer’s voice represents not only beauty, but hope itself—the one saving force that can pull its two central characters from deep depressions. And, thankfully, the journey to the other side is infinitely more watchable than the previously mentioned Hollywood film.
Erin Shields’ Soliciting Temptation, premiering now at Tarragon Theatre, was highly anticipated—it’s the first new play since 2010 from the eminent female playwright, known for the Governor General Award-winning If We Were Birds. In some respects, it lives up to the hype. It deals with the difficult, often-overlooked subject of child sex tourism, and it does so thoughtfully and with nuance. The overall experience, though, is somewhat underwhelming, because the compelling ideas explored are undercut by an implausible premise.