“It’s fun to experience individual episodes getting a detailed send-up, and the ‘blink-and-you’ll-miss-them’ throwaway references” – but the parody and the laughter stay at the surface. That’s what he said. Scott Sneddon reviews The Office! A Musical Parody
Our conversation with Cara Gee about her return to the stage in Soulpepper’s FOOL FOR LOVE, the character of May, and the upside of a summer in Toronto
The actors are “individually winning, and they mesh brilliantly as an ensemble.” Full details in Scott Sneddon’s review of Madeleine Brown’s NEWS PLAY at the Toronto Fringe
“At its core, Fox Woman is an achingly simple, resonant story told and re-told in deeply powerful ways by two virtuoso performers.” Read Scott Sneddon’s full review of Fox Woman
Interview with Frank Cox-O’Connell, performing in Soulpepper’s sold-out run of “Wedding at Aulis”, Sina Gilani’s version of “Iphigenia at Aulis” by Euripides.
Scott Sneddon: “Like Toronto at its best, ‘Walking on Bombshells’ is fast-paced, hilarious and has surprising heart. It’s a welcome apolitical evening of comedy catharsis.”
The 26 Letter Dance, showing at Young People’s Theatre (YPT) until March 16, has a singularly well-chosen title. The show, aimed at 4 to 8 year olds, is produced by Québec’s Bouge de là, a professional dance company whose sole focus is the creation of dance presentations for children. So the word “Dance” is important. […]
Review: Soulpepper’s ROSE is eye-catching and inventive, sweet yet serious. It features music, staging, themes and knockout performances, especially by Haley Gillis, Peter Fernandes and Frank Cox-O’Connell, that will fire a child’s imagination.
Scott Sneddon on IPHIGENIA AND THE FURIES (ON TAURIAN LAND): “This inventive and intense work provides an audience-friendly lesson in Greek myth and Greek theatre, conjures a fantastical narrative realized by strong performances,…and surprises with laughter and insight”
“The chameleon-like comedians of The Second City find no shortage of holiday silliness to mine.” Scott Sneddon’s review of “It’s a Wild, Rowdy, Wonderful Life”