Saucy Jack and the Space Vixens: Unabashed, Unashamed, Unquestioned—and Sexy—Fun Set to a Disco Beat
What do you get when you combine the interplanetary funksmanship of Parliament, the fluid and overt sexuality of Rocky Horror Picture Show, and the bell-bottom-infused passion for disco of Saturday Night Fever? You get the over two hours of ribald revelry and energetic entertainment of Saucy Jack and the Space Vixens.
Listen, this isn’t Shakespeare. It’s not high art. But it’s unabashed, unashamed, and unquestioned fun. It’s a musical that will have you moving to the beat and—for a select few—even dancing up out of your seat.
After two incarnations at The ARTS Project, Jason Rip’s Frights of Spring anthology has returned to its original Grosvenor Lodge home for a fourth outing. Featuring five new plays by six playwrights—two new to the Frights of Spring stable of writers—it’s a mostly-satisfying evening of new takes on classic horror tropes.
The familiar stories include the abused woman whose partner has mysteriously disappeared; the bad seed; the tortured blind man; the person flung out of time; and even a sorority seance. These are all Richard Matheson/Val Lewton-style creeping terrors, and to their credit there are few cheap “jumping out of the closet” scares. Four of the plays are solidly in Night Gallery territory, with the fifth (which I found to be the most satisfying, …
Colours in the Storm: Vibrant Individual Elements Result in a Production Whose Parts are Greater than its Sum
Colours in the Storm features many fine elements and some outstanding techniques, but it fails to come together into a cohesive and satisfying whole. Combined with a paint-by-numbers second act, you have a production that’s generally pleasant to look at, but falls far short of being a masterpiece.
The play dramatizes the final years of legendary Canadian artist Tom Thomson’s life, from his first arrival in Algonquin Park in 1912, through his embrace of the natural landscape and his attempts to satisfy his internal vision through painting, to his eventual—and controversial—death in 1917.
Colours in the Storm features a number of outstanding moments that are a joy to …
Nothing Unrequited Here – Love for a “Rock”-Solid Production
With all due respects to Mr. Telford—who did an admirable job back in the day in my gifted history program—if only all Canadian history was this dynamic and entertaining, we’d have a nation that truly appreciates the richness, diversity, and—yes—intrigue of our national past. Fortunately, we have productions like Artistic Fraud’s The Colony of Unrequited Dreams to bring our past—both real and imagined—to vivid and entertaining life.
Ostensibly, the play is the story of Joseph Smallwood, the self-proclaimed Last Father of Confederation who is best remembered as the person who spearheaded the drive to bring Newfoundland into Canadian confederation in 1949. Colony is not …
Art: From a Blank Canvas Springs a Multi-Hued, Multi-Layered Delight
Art is, on the surface, the story of a trio of friends who are forced to re-evaluate their beliefs, their actions, and the very foundation of their friendship, precipitated by one character’s purchase of a white-on-white painting. But despite the monochromatic nature of the catalyst, the play is one imbued with rich hues of colour and texture, thanks to a combination of flawless performances, and deft direction and lighting.
The stage itself is minimalist by design. The three actors interact on a starkly adorned set: a couple of grey couches, a pair of movable drops (which are manipulated by the actors with skill and alacrity to mark location transitions), and a black …
Note: This review comes from the Feb. 16th preview performance.
Ninety minutes is not a lot of time to unpack the motivations behind racism, the challenges of balancing social responsibility with personal beliefs, and exploring personal growth and understanding. And though the Procunier Hall venue should serve as an ideal setting for such a study of intimate emotions, Cherry Docs suffers from a superficiality that’s magnified by acting, directorial, and set-related challenges.
Cherry Docs is the story of Danny (Kyle Stewart), a liberal Jewish lawyer assigned to be the legal aid representation of skinhead Mike (Derek Barr) who has confessed to the murder of an Asian restaurant employee. The production centres around the interaction between the two as they deal with their individual demons and try to …
Prostitution may be the world’s oldest profession, but it’s also one with its own ideas of propriety, ambition and politics. This play is an enjoyable exploration of that kind of life, a comic tale with a refreshingly non-judgmental tone laced with a genuine humanity.
In the Old West, Jenny (Colleen McGeough) runs a successful brothel with the naively socially ambitious Anita (Bronwyn Wilson) and the hard bitten Frances (Charlene McNabb) as her employees. Suddenly, the refined and desperate Natalie (Kaitlyn Rietdyk) comes pleading for a job and proves, after some adjustment, to be surprisingly talented at the profession. However, Frances suspects there will be trouble ahead with this addition, and it does come, both from within and without.
Modern adaptations of classics of children’s literature can be a minefield, with sometimes jarring cultural attitudes or a numbing preciousness that has nothing to relate to. Thankfully, this does not apply to this play, which is tuneful and even moving story about a girl learning the power that can come from empathy and personal faith in an ideal guided with a little perspective.
Being a prisoner in too many countries can involve extreme privation for an agonizingly long and indefinite time. To cope, you might have only your own mind and what it can provide for some kind of way to maintain your humanity. This play is a creative, if rather slow, psychological drama of a trio of such prisoners trying to do just that.
In the early 1990s, two prisoners in Beirut—American Adam Canning (Jeremy Hewitson) and Irishman Edward Sheridan (John Reid)—have been confined for some time with little hope of release. Now, they have a companion, Briton Michael Watters (Stephen Flindall) who is now in the same situation. With nothing else to do, the trio use their imaginations to the utmost as they find some solace in …
Love is an emotion often rife with impulse, pretensions and deceptions depending who is both expressing it and reacting to it. This play is a passably entertaining linked anthology of characters in various romantic situations even when the material struggles to make an emotional connection.
In 1914 London, Ontario, romance is in the air for all sorts of people. To illustrate that, there is a series of episodes where romantic assignations occur throughout the city with the newcomer of the previous story meeting someone in their own encounter. In each, there are plenty of the same elements including flowers, sweets, and promises they don’t intend to keep …