“No Peace in our Time”: about yesterday, viable today Reply

by Judith RobinsonreviewerJudith Robinson
There was no peace in George Bernard Shaw as he was crafting his play Geneva, (the basis for John’s Murrell’s Peace in Our Time) throughout the 1930’s. He continually rewrote the manuscript right up to production—in 1938 in Warsaw, Poland and London and a year later at the Royal Alexandra in Toronto. And he was still editing the work a decade later.The play, after all its re-workings, has the feeling of a workshop production with the energy of an emerging piece.  Photo courtesy of Emily Cooper
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“Measure for Measure”; a comedy-drama with a message Reply

Review by Danny Gaisin
A couple of millennia ago; St. Matthew, leaving the ‘sermon on the Mount’ made some observations about hypocrisy. He talked about ‘doing unto others; responding fairly & in kind; and judging – measure for measure. The Bard plagiarized the apostle’s quote for a play about just that – “what you do is what you get” and MEASURE FOR MEASURE serio-comedically illustrates that scenario. Director Martha Henry has taken some liberties too, but the message is still effective.       Photo by  Michael Cooper

Hughson,Laboucane,Tree, P.Hutt, & Trowbridge -debating

Hughson,Laboucane,Tree, P.Hutt, & Trowbridge -debating

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The Light in the Piazza – A journey in letting go Reply

Review by Judith RobinsonreviewerJudith Robinson

When a beautiful girl from America goes to Florence and meets the man of her dreams, the problems begin. Clara (Jacqueline Thair) is mentally challenged—injured by a horse when she was twelve. But her Italian-speaking love Fabrizio (Jeff Irving) does not realize it. Should her mother (Patty Jamieson) tell him?
The story line of The Light in the Piazza, (book by Craig Lucas, music and lyrics by Adam Guettel) is more complicated than most musicals… ditto the orchestrations & score.  Photo courtesy of Emily Cooper

Jeff Irving & Jacqueline Thair

Jeff Irving & Jacqueline Thair

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Lady Windermere’s Fan – Ensemble Playing at is Finest Reply

Review by Judith Robinson
The Shaw Festival’s production of Lady Windermere’s Fan is pure magic. The 1890’s British upper crust comes to life in formal balls, drawing room debates, scandalous outings and a hint of romance. Although Oscar Wilde’s strength lies in his witty lines, the imaginative set designs of Teresa Przybylski and the fanciful costumes of William Schmuck make this production visually stunning.
The dramatic elements combine in perfect balance in a mastery of ensemble-playing.Windermere's fan 2

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The Three Musketeers; -swashing & buckling! Reply

Review by Danny GaisinreviewerDGcolor

STRATFORD

This scribe has been a Dumas fan forever. My ‘Iron Mask’ and ’Monte Cristo’ copies show all the thumbprints and dog-eared corners worthy of any literary sycophant. As for his THREE MUSKETEERS and its sequel – ditto. I even admit to being guilty of using Richelieu; Milady & Rochefort as literary epitomes.
We don’t DO movies, so an opportunity to visually experience 17th century derring-do and shenanigans became a personal must-see. Director Miles Potter does not disappoint.  Photo courtesy of Don Dixon

Goad, Shara, Humphrey & Abbey -  the musketeers

Goad, Shara, Humphrey & Abbey – the musketeers

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‘FAITH HEALER’; an Addictive Drama Reply

Review by Judith RobinsonreviewerJudith Robinson

@ SHAW

Brian Friel’s play, Faith Healer, is not about healing. In fact, the three characters succumb to their demons and become hopeless alcoholics. But in spite of the depressing story line, the Shaw’s production is worth seeing because of the powerful skill of the actors, the lyrical, lilting words and the pure electrical charge coming from the stage. A story about addictions is not easy to carry off. It takes a special audience member to hold on through three hours of ‘Long Day’s Journey into Night’.
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