“A Woman of No Importance”, but some significance! Reply

Review by Danny GaisinreviewerDJG
            Oscar Wilde was a Victorian author whose plays; ‘Windermere’s Fan’; ‘Ideal Husband’ & ‘…Ernest’ were all bigger hits than A Woman of no Importance, currently on stage at SHAW’s Festival Theatre. Directed by Eda Holmes, the play is (sort of) updated to 1951 although the costumes; dated plot and morality are still rooted in the last half of the nineteenth century. Wilde’s fascination with satirizing the upper class and confronting the double-standard of the period is reflected in all his plays.   Photo by David Cooper

The women of " A WOMAN of No IMPORTANCE

     Some of the women of ” A WOMAN of No IMPORTANCE


“Engaged”; a convoluted play about trigamy (sic) Reply

Review by Danny GaisinreviewerDGcolor

The Victorian era was period of progress including within the arts. Although the moral dictates were strict, subtlety and ironic endings endowed theatre with the opportunity to poke fun at its world. W.S. Gilbert was a master of satirizing the hypocrisy of the times, and was probably one of the reasons his collaboration with Sullivan was so symbiotic and successful. His 1879 play “ENGAGED” is a convoluted farcical play about an almost middle-aged man who falls in love with every woman he meets. His family commissions another fellow to keep him from taking the fatal marital step.
Photo courtesy of David Cooper

the cast of "ENGAGED"

the cast of “ENGAGED”


“Hilda’s Yard” mends fences hilariously Reply

Review by E. Lisa MosesReviewer E. Lisa
      Drayton Entertainment’s production of Norm Foster’s quirky comedy, Hilda’s Yard, conjures up the spirit of 1950s – focusing on a middle-class family – the Flucks. The play opened on Thursday at the King’s Wharf Theatre in Penetanguishene with an impressive company of six that kept up a snappy pace within an exceptional retro set design by Ivan Brozic.
This lovely setting is where empty nesters Hilda and Sam Fluck, played by Patti Allan and Brian Linds, find renewed intimacy after their two grown children have finally left home. But their spooning and dreams of buying a pricey first television set to watch Gunsmoke are cut short.  Photo by John Sharp

Some od the denizens of HILDA's YARD

Some of the denizens of HILDA’s YARD


“A LITTLE NIGHT MUSIC”; needed – the clowns! Reply

Review by Danny GaisinreviewerDGcolor
It is a theatre tradition that harks back to vaudeville and travelling circus tents, that when ‘S*#t’ happens on stage or in the center ring; the director orders – “Send in the clowns”. Stephen Sondheim’s period piece about love; liaisons; familial relationships and convoluted interaction is a perfect vehicle for Stratford’s extensive reservoir of turn-of-the century costumes. Wardrobe honcho Bradley Dalcourt holds nothing back. Same can’t be said for director Gary Griffin; one gets the feeling that he strictly adhered to the Broadway & Hollywood predecessor versions.

The various coupling duos dancing

The various coupling duos dancing    ( by David Hou)


Hare’s play ‘SKYLIGHT’ sparks a fire Reply

Review by Judith RobinsonreviewerJudith Robinson
British playwright, David Hare’s powerful, evocative, award-winning drama, Skylight, at Can Stage’s Berkeley Theatre, is about bridging gaps – between the sexes, generations and economic groups. This is Hidden Cove Productions first theatrical production.
In the context of Margaret Thatcher’s rabidly individualistic London, two former lovers – wealthy businessman, Tom Sergeant, played by Lindsay G. Merrithew, and teacher to the underprivileged, Kyra Hollis, played by Sara Topham – try to connect with one another. They are lost in ideologies; strongly-held beliefs; and patterns of behavior. They refuse to change, own their mistakes or adapt to the other’s viewpoint. Honest self-revelation becomes impossible.                             Photo of Merrithew & Topham in a dramatic SKYLIGHT moment … by Matthew Plexman

Skylight More…

“LOVE LETTERS”, not a ‘You’ve got mail’ happy-ender Reply

Review by Terry GaisinreviewerETG
            Six months ago, my muse critiqued West End Studio Theatre’s staging of the 1988 A.R. Gurney drama LOVE LETTERS. This time the much-requested reprise will receive my own evaluation…also a positive assessment, but seen and observed from a different view point or mindset.  The play deals with two upper-class New England youngsters circa 1938 who iterate their relationship via handwritten correspondence, and continue to do so over the next half-century. Through their epistles, the audience follows their intersecting lives.

Reid & Brokenshire in "LOVE LETTERS"

      Reid & Brokenshire in “LOVE LETTERS”