On Nov. 29, 2018 beloved Edmonton alt-weekly Vue Weeklypublished its final edition. Prior to that I’d neglected to share links to my clips from recent months, so here’s a list of my final seven stories in Vue Weekly after two years of freelancing for the paper.
I sneaked a review of The Importance of Being Earnest into this week’s Vue Weekly. It’s one of my favourite dramatic farces, and Teatro’s star-studded local cast really did it justice.
Teatro la Quindicina’s second production of its 2018 season mounts a return of an enduring comedy in The Importance of Being Earnest by Oscar Wilde.Wilde’s final play remains as sharp in 2018 as it likely did in 1895. It features self-aware commentary on institutions—like marriage, education or social class—that have persisted through late Victorian London until today. And when it’s delivered with the performative nature of period aristocracy, it’s nearly impossible not to have a great time. Read more
The show wrapped on Saturday, so fewer people than I’d like got to read this review in time, but it was a fun experience nonetheless.
Here’s another review I wrote for Vue Weekly last month. Wedding Bells and Bombshells was a fun and inclusive musical with excellent choreography.
Edmonton Musical Theatre’s final production of the season, Wedding Bells and Bombshells, centres on a couple just four months into their relationship. They make googly eyes at each other, they lovingly share a secret handshake, and they’re ready to get hitched. But, clad in simple loafers, khakis and a blue polo, Bobby (Stuart Old) finds himself out of his element amongst the family of his fiancé Marcy (Kellie Koekstra)—in terms of fashion, but especially in terms of personality. Read more
This was also my first piece for a new editor. It’s always nice to see the trust carryover during a changeover.
I got my first taste of “spontaneous theatre” this week when I reviewed Rebecca Northan’s Undercover at the Citadel Theatre for Vue Weekly.
While many improv shows rely on audience members for only a few moments to serve a gag, director and producer Rebecca Northan’s follow-up to her international hit Blind Date, takes a different approach. Undercover makes a single “rookie detective” the core component of the production’s 125-minute narrative conceit.
Police Sgt. Roberta Collins (Northan) hires the detective from the audience, quickly brings them up to speed on the job, and then sends them undercover to gather intel on a new criminal name in town at a private art auction on an acreage. Co-written by Northan and multidisciplinary artist Bruce Horak (who also plays Peter Vinen, the rookie’s inside contact) Undercover delivers an experience like no other. Read more
I plan to see the show at least one more time before it wraps in The Club theatre on Apr. 29, because it’s the kind of performance that will never be the same twice. I look forward to seeing what Northan thinks up next!
I tackled a film review of Doob: No Bed of Roses for Vue Weekly this week. I thought it was a great, probing film
Bangladeshi director Mostofa Sarwar Farooki’s latest lodges a chisel into a rock labelled “unfaithful love.” And during 85 minutes of film, he gently hews away until there’s nothing left.
No Bed of Roses (Doob) trains a plodding lens on infidelity—a subject that’s often only struck with comedic and glancing blows in western cinema—and places us within some of the most uncomfortable moments of a fracturing family in a present-day Bangladesh city. Muted greys and whites hang over each frame, draping an impossible-to-shake malaise over each character’s conversations during some of the lowest points in their lives. Read more
Serendipitously, Doob: No Bed of Roses hits on several things I’ve recently been thinking about and studying in fiction and reality (infidelity, global media systems, interpersonal pressures), so I was thrilled to tackle this review. The film runs at The Princess Theatre this Saturday and Sunday.
Women The Verge Of A Nervous Breakdown is my new favourite musical (overtaking Chicago and Rent) and I reviewed it for Vue Weekly.
Plain Jane Theatre Company has always had a knack for reviving musicals that didn’t necessarily live up to their initial potential during Broadway runs, but Women On The Verge Of A Nervous Breakdown is a standout.
A farcical tale of love, infidelity, and crime in ‘80s Madrid, Jeffery Lane’s screenplay (based on the 1988 film by Pedro Almodóvar) boasts an abundance of the embellishments that make a great romantic comedy work, while also presenting an endearing human narrative that’s brought to life with surprising continuity by Plain Janes’ cast and crew. Read more
Until now, I’ve never felt like I absolutely need to see a show twice during its run before, but this Plain Janes production absolutely warrants it. The show runs through Saturday at the Varscona Theatre, and you don’t want to miss it if you’re in Edmonton!
It’s easy to get excited about an animated feature when you hear its coming from some of the creators behind Studio Ghibli’s greatest works, and in almost all respects, Mary and the Witch’s Flower (Mary to Majo no Hana) meets expectations.
I’ve got a full review of Miss Kobayashi’s Dragon Maid (Kobayashi-san Chi no Maid Dragon) over on Enthuse.ca today.
Miss Kobayashi’s Dragon Maid strikes a confident and consistent tonethat meets and exceeds the animation and story pedigree set by previous episodic Kyoto Animation shows.
It tells the story of shapeshifting dragon Tohru, (Yūki Kuwahara) and her sudden ambition to freeload in the apartment of Kobayashi (Mutsumi Tamura), a female programmer by day and occasional, maid-otaku drunkard by night. Read more
If you want to read my full thoughts on one of the best Kyoto Animation anime ever, definitely check out my full series review on Enthuse. Of course, if you want to follow along as my heart fell for the characters in each episode, my weekly reviews are still live.
Still in Enthuse’s editing pipes: A fun podcast breaking down Makoto Shinkai’s Your Name.