“TOP GIRLS”; Jullien dominates the stage Reply

Review By Judith RobinsonreviewerJudith Robinson
               When Pope Joan, powerfully played by Claire Jullien, in Shaw Festival’s production of ‘TOP GIRLS’ tells her tragic tale of being dragged off by the heels and stoned to death, the audience hardly took a breath. It was the most poignant moment in the play. No one moved as Jullien talked about unexpectedly giving birth on horseback during a religious pageant and exposing herself as that unacceptable human form—female. Although the production is filled with passionate, desperate moments, nothing could compare to that alleged heart-wrenching tragedy from the 9th century,

Jullien and the other 'TOP GIRLS' at lunch

Jullien and the other ‘TOP GIRLS’ at lunch

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Toronto Fringe Festival 2015 3

 

Fringe banner 2015July 12th, 2015     For the past 7 years “ONTARIO ARTS REVIEW” has endeavored to devote as much coverage to Toronto’s amazing FRINGE FESTIVAL as our contributors were physically able to critique. Our team of; Terry Gaisin; Florence Roullet; Rhoda & Avrum Regenstreif;  and Danny Gaisin have published twenty-two thumbnail critiques…many of whom made the Viewer’s Choice selections.  Next – the upcoming Hamilton Fringe Festival                .

“10/10/10 PROJECT”; Factory Theatre
Occasionally the Fringe attracts something that turns out to be creatively unique and this venture created by ten emerging writers to each invent a piece. Ten evolving composers wrote new music and then ten embryonic choreographers fashioned the interpretive dances for each.

the interpretive cast of 10/10/10 PROJECT

the interpretive cast of 10/10/10 PROJECT

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“You Never Can Tell”…unless it’s by GBS Reply

Review by Terry GaisinreviewerETG
               The SHAW festival has evolved into more than just a showcase of George Bernard Shaw, Today’s audiences still have opportunities to observe the creativity of the renowned eponymous critic/playwright, knowing the result will be immaculately directed; powerfully cast and faultlessly executed. Shaw’s 1897 comedic scrutiny of period mores with its appreciation of evolving female emancipation contains the expected Shaw pithy lines including the waiter’s off-quoted “YOU NEVER CAN TELL”.  Great name for a play about being unable to tell about stuff.      Photo – David Cooper

Seaside dining with the Clandon clan!

Seaside dining with the Clandon clan!

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“SWEET CHARITY”, ♪ some fun, laughs; good times ♫ Reply

Review by Danny Gaisin
Neil Simon’s reiteration of Fellini’s “Nights of Cabiria” was an immediate Broadway hit. Understandable as it has all the ingredients: – memorable music; clever dialogue; comedic moments coupled with pathos and clever lyrics. SHAW’s rendering is gem-like from the opening “You’ve got Mail”-type projected credits and Charity’s belting out of “You should see yourself”. The pace is frenetic; the cast superb and Morris Panych’s direction is faultless. This has to be an O.A.R. Top Ten list contender.  Photo courtesy of SHAW’s David Cooper

SWEET CHARITY's Julie Martell & her subway riding cast

SWEET CHARITY’s Julie Martell & her subway riding cast

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SHAW;’s “Peter & the Starcatcher”; LOL 1

Review by Danny GaisinreviewerDGcolor
              Have you ever wondered why Peter Pan picked the Darling residence for his nightly visits? Rick Elice’s play based on the Barry/Pearson prequel offers a rational theoretic explanation and Jackie Maxwell visually articulates the historic datum. The SHAW FESTIVAL’s artistic director goes straight for the humorus rather than the cerebrum…and the result is 2½ hours of continual laughter. The Mermaid scene will forever raise the bar for any theatre staging South Pacific’s “Honey Bun” number!     Photo courtesy of David Cooper

the antagonists of "PETER & THE STARCATCHER" in a naval battle

the antagonists of “PETER & THE STARCATCHER” in a naval battle

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“VIVA L’ITALIA” –NAO’s 2nd offering of the season Reply

Review by Judith Caldwell

The second concert in this year’s Brott Music Festival, somewhat confusingly entitled ‘Viva L’Italia’ as there were only two Italian composers on the program and one of those is famous for his gypsy music. However, the other composers did stick to the Italian theme. Rossini’s Overture to An Italian in Algiers was the opener. Conducted by Apprentice Janna Sailor, she made this orchestra of young inexperienced players sound as though they had played together for years. It was a crisp, precise rendition that was full of drama and texture. *

Janna Sailor with NAO 'adoptees' Renaud;Kim; Stuart & Eddy

Janna Sailor with NAO ‘adoptees’ Renaud;Kim; Stuart & Eddy

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