alstrac

Alessandro Stracuzzi

Alessandro Stracuzzi

In “bol, brown boy, bol,” belonging is something you practise

In “bol, brown boy, bol,” belonging is something you practise

Published on Sesaya Arts Magazine. There is a disarmingly poignant aura hovering over Nawaaz Makhani’s bol, brown boy, bol. Part of it comes from the script, an autobiographical journey through the performer’s conflicted negotiation of South Asian and Canadian identity. Then there is the Millennial nostalgia, carried by

Dog Man and children’s right to silliness - clean comic timing

Dog Man and children’s right to silliness - clean comic timing

Published in Our Theatre Voice. Who reads a review of Dog Man: The Musical? That was the first question I found myself asking while writing this. Probably not the show’s target audience. Though if you are between 5 and 8 and have made it this far, congratulations: your future

take rimbaud

take rimbaud

(Published on Stage Door.) take rimbuad is a messy, drunken party aching with heartbreak In one of the early scenes of Susanna Fournier’s take rimbaud, the aspiring writer Syl lashes out against shows that fail to provoke strong reactions – polished, polite pieces that stage socio-political agendas without unsettling

In Rosamund Small’s Vitals, Toronto becomes a map of private catastrophes

In Rosamund Small’s Vitals, Toronto becomes a map of private catastrophes

(Published on Intermission.) In one of Vitals’ most arresting moments, Anna breaks into a dance. The paramedic has just survived an emergency call in which her own life was at risk. Panic floods the room. To steady herself, she moves: first as release, then almost as possession, riding loud punk

What remains of revolution? Inside The Howland Company and Buddies’ take rimbaud

What remains of revolution? Inside The Howland Company and Buddies’ take rimbaud

Susanna Fournier and ted witzel on youthful rage, artistic risk and the decade-long process behind the world premiere (Published on Our Theatre Voice.) Revolution is exhausting. And one week before the world premiere of take rimbaud at Buddies in Bad Times Theatre (in partnership with The Howland Company), the

The Division

The Division

(Published on Stage Door.) One could spend hours scrutinizing and categorizing all the props featured in The Division, the Project: Humanity and Pyretic Productions show, currently on at Crow’s Theatre. Upon entering the thrust-style performance space, the eye is drawn to a writing desk crowded with clock dials,

Mary Mary Mary Mary

Mary Mary Mary Mary

Published on Stage Door. There is a distinct density to Erin Shields’s writing. Its erratic, nonlinear movement constantly destabilizes meaning, infusing each line with an intellectually stimulating tension. Her characters often break into long, febrile asides in an attempt to analyze reality and wrest sense from words. Her new