Search: tweet

Streaming on the WeeFestival site Until May 24:

The following three productions at the WeeFestival are story-driven, almost wordless and involve sounds to tell the story.

Tweet Tweet

Produced by Femmes du Feu Creations (Canada)

Created, and choreographed by Lindsay Goodtimes  Holly Treddenick and Monica Dottor

Directed by Monica Dottor

Apparatus creation by Upstage Fabrication Inc.

Set by Kelsey Carrier

Sound by Monica Dottor

Lighting by Ian Goodtimes

Costume by Tanis Sydney McArthur

Digital Production by Upstage Dynamics

Performed by:

Lindsay Goodtimes (Blue Bird)

Holly Treddenick (Red Bird)

With Ivy Benedetti

Winter Benedetti

Arlo Hollyman

Ian Goodtimes (Bird Watcher)

For children 3 +

Tweet Tweet Is a gem of a show that is performed without words but plenty of bird sounds. Two small birds awake in their separate nests high in a magical tree (created with ropes), discover each other and the world in which they live. The gifted Monica Dottor directs and co-choreographed the piece. The birds wake up to the Flower Duet from Lakmé with liberal sprinklings of music from The Magic FluteOde to Joy, and others selections. Glorious.


It’s a contemporary circus show about two baby birds, each in its own nest, who are born at the same time, discover each other, learn to play and fly with each other.

It was directed with whimsy, wit and imagination by the always creative Monica Dottor. To accommodate the new digital world and the absence of an audience, director Monica Dottor has engaged three children to act as the audience. They observe, through binoculars (made of toilet paper rolls), the nests of the birds in miniature. The streamed viewing audience sees the birds in their nests and the tree from which they are suspended, full up. The air is a sweet cacophony of birdsong and chirps. There are aerial shots of the birds in their nests, twirling around the tree truck; there are video shots of the children gleefully watching the birds, interspersed with the audience watching the birds up close. That combination is both inventive and engaging. The viewer enters that tweeting world.

When the show starts we see movement in the nests. Something is encased in a flexible covering and is moving and bursting to get out. When these birds break out of their ‘eggs’ they do it to the wonderful “Flower Duet” from Lakmé. The birds stretch, move and grow into the world to this incredible music. And at every turn, they discover their voices and “Tweet. Tweet” to each other. The two birds are in very colourful body suits, one red and one blue with flaps of billowy material that flows out. Feathers. The birds rise up and swing on the ropes holding the nests. Pretty soon they pull beautiful brightly coloured material out of their nests and throw them into the air to land on the floor. This is followed by long, slinky scarves and feathers. The music of Mozart and Elgar is played and there is a rousing rendition of “Rockin’ Robin” to boot, as the birds grow, mature and becomes fearless. For further whimsy, Dottor has added the word “CHEEESBURGER” to the birds’ vocabulary, said with the same high-piercing sound. Hilarious.

Old Man and the River (Canada)

Created by Lynda Hill and Thomas Morgan Jones

Concept, dramaturgy and direction by Lynda Hill

Inspired by the story by Thomas Morgan Jones

Original production design by Kelly Wolf

Original music by Nicky Phillips

Original Lighting design by Jennifer Lemmon

Puppetry by Mike Peterson and eric Woolfe

Videography by Alexander Gangurian

Performed by: Kira Hall

Ingrid Hansen

Mike Peterson

Andrew Young

A touching story of the power of friendship.

Old man lives a simple, grumpy life. He rises from his sleep to growl at the leaves that accumulate on his doorstep and in his house. With great effort, grunting and creaking bones, he gets up and sweeps the leaves away: “Sweep, sweep, sweep” he says. He grumbles at the trees that drop the leaves in his way. He goes to the river, sits on the bridge and fishes until the sun goes down. Then he trudges home to sleep. The next day is the same except at the bridge, while fishing, the river fairy arose from the water and flitted around him, gleeful, happy, joyful. Old man is annoyed and waves off the visitor. Old man trudges home again. When he goes to the bridge to fish again he looks for the river fairy. He misses ‘him’. He trudges home again, sad at missing this magical presence. And then something wonderful happens.

The puppets by Mike Peterson and Eric Woolfe are wonderful; old man is hunched, craggy-faced, scowling; the river is suggested by shimmering material with sparkly sequins; leaves float everywhere.

Four puppeteers work the puppets: old man, the trees, the river, the sun, moon and the river fairy. The puppeteers are totally focused on the puppets and so are we. The puppeteers are in brown hats, brown shirts and pants and vests. They also wear brown gloves, the better to be ‘invisible.’

Director Lynda Hill has directed this with sensitivity and spareness. You can feel the aches and pains of old man as he creaks and grunts to get up; you can sense his grumpiness with every growl at anything that annoys him, and the slump of his shoulders expresses such sadness.

The music by Nicky Phillips captures the sense of the rising of the sun, the humour of the trees and the joyfulness of the river fairy.  There are just enough grunts, creaks and sounds for old man to convey his age and effort to move. Moving and tender.

My Silly Yum

Jot & Tittle (Montreal)

Created and performed by Gabriela Petrov and Alexandra Montagnese

Directed by Myrna Wyatt-Selkirk

Design collaborator, Darah Miah

Music composed by Nigel Ward

Maminka and Button come to the forest to look for mushrooms. Maminka (Buttons’ mother? I assume so) is calm to the point of being perpetually tired. Button is diminutive, is curious, active and lively. “She” (sorry, the puppet looks like it’s wearing a shift so I assume rightly or wrongly that Button is a little girl). Button carries a mushroom book to be able to identify the mushrooms that are found. As soon as they arrive, Maminka gets drowsy and lays down on the ground to nap. Button cuddles the sleeping Maminka but then goes off to look for mushrooms. Button finds lots of lively mushrooms that appear from nowhere and is excited. There is a cluster of many mushrooms, some seductive, that dazzle Button until Button realizes she is lost. She cries out for “Ma!” until they are re-united. Button is breathless in acting out all the adventures she found in the woods until Maminka calms her down by breathing slowly which gets Button to breathe slowly.

Considering the economy of sounds in Tweet Tweet and Old Man and the River to tell the story, My Silly Yum is overloaded with sounds. Maminka sighs at every move. Button gasps, grunts, pants, utters “Huh?” “Wah?” and exclaims every time she is surprised by anything, which is often. The appearance of mushrooms is accompanied by a squeak or sound of surprise from the mushrooms. The excessive dependence of sounds of excitement of it all over powers the story and makes it seem rather thin. The creation of the puppets is imaginative and the manipulation of the puppets is dexterous, but I found the piece, on the whole, a disappointment.


The Sandbox

At Théâtre français de Toronto, 21 College St., 6th Floor, Toronto, Ont.

Written by Denys Lefebvre

Directed by Denys Lefebvre

Designed by Patrice Daigneault

Music by Guido Del Fabbro

Lighting by Thomas Godefroid

Marionnettes and costumes by Diane Loiselle

Cast: Denys Lefebvre

Diane Loiselle

A charming play in which two comedic characters both in toques, raincoats and boots explore the many ways of working with sand. They encircle their playing space with sand they get from a small paper bag. Sand pours from their coat sleeves. They play in a magical sand box with sand ‘water’ falls. They drag small carts around the space. It’s a show full of colour, imagination, creativity and whimsy. This was their first show in English.

The final show is in French on May 19 at 2 pm.


Mwana and the Turtle’s Secret

At the Assembly Hall, 1 Colonel Samuel Smith Park Dr. Etobicoke, Ont.

Adapted for the stage by Patricia Bergeron and Patience bonheur Fayulu Mupolonga

Story tellers and puppeteers, Patience Bonheur Fayulu Mupolonga and Patricia Bergeron

Visual Illustrations by Steve Beshwaty

Shadow Play by Marie-Ève Lefebvre, Patricia Bergeron, Salim Hammad and Patience Bonheur Fayulu Mupolonga

Set by Fanny Bisaillon Cendron

Lighting by Mathieu Marcil

Music by Dumisizwe Vuyo BhembeCredits

Mwana is a little girl who lives in a village deep in the forest. Her best friend is a turtle. When a monster keeps steeling the village’s food supply and the adults can’t solve the problem, Mwana offers a suggestion on how to solve the problem. She is initially ignored as being too young to solve such a problem. Eventually she wins the day.  The moral is that sometimes the very young are very wise and should be taken seriously.

The story is told using puppets, shadow play, storytelling and directly engaging the audience.

This is for children 3 +

The moral is lovely—pay attention to children for they are wise. The good people who created and perform this piece should take their own advice and note their audience because at 45 minutes in length, this piece is 15 minutes too long. The children will tell you. At my performance at various times they fidgeted, talked, squirmed and were bored. The piece could stand to be cut and edited judiciously.

The final show is May 19 at 11 am in English.



At the Redwood Theatre, 1300 Gerrard St. E, Toronto, Ont.

Created and choreographed by Lindsay Goodtimes, Holly Treddenick and Monica Dottor

Birdwatcher, Weston Horvath.

Performed by Lindsay Goodtimes and Holly Treddenick

Directed by Monica Dottor

Set by Kelsey Carriere

Sound by Monica Dottor

Lighting by Ian Goodtimes

Costumes by Tanis Sydney McArthur

TWEET TWEET! Is a gem of a show that is performed without words but plenty of bird sounds. Two small birds awake in their nests high in a magical tree (created with ropes), discover each other and the world in which they live. The gifted Monica Dottor directs and co-choreographed the piece. The birds wake up to the Flower Duet from Lakmé with liberal sprinklings of music from The Magic Flute, Ode to Joy, and others selections. Glorious.

For children 0-6.

It plays until May 20.




At Wychwood Barnes, Toronto, Ont.

Created and performed by Lindsay Goodtimes and Holly Treddenick

Directed by Monica Dottor

Set by Kelsey Carrier

Sound by Monica Dottor

Lighting by Ian Goodtimes

Costume by Tanis Sydney McArthur


This show was for wee ones from 9 months to three years old. (I just got in under the wire). It’s a contemporary circus show about two baby birds who are born at the same time, discover each other, learn to play and fly.

The children sit around a large circle outlined in material. A magical tree made of ropes is in the centre of the circle. A sturdy branch pokes out and a nest is on either side of the branch, held up by ropes.

When the show starts we see movement in the nests. Something is encased in a flexible covering and is moving and bursting to get out. When these birds to break out of their

‘eggs’ they do it to the wonderful “Flower Duet from Lakmé. The birds stretch, move and grow into the world to this incredible music. The two birds are in very colourful body suits, one red and one blue. The rise up and swing on the ropes holding the nests. They communicate with a simple “Tweet, Tweet”. Pretty soon they pull beautiful brightly coloured material out of their nests and throw them into the air to land on the floor. This is followed by long, slinky scarves and feathers. The music of Mozart and Elgar is played and there is a rousing rendition of “Rockin’ Robin” to boot.

It was directed with whimsy, wit and imagination by the always creative Monica Dottor.

What a wonderful addition Tweet Tweetwas to the Wee Festival. It only played this weekend. It was produced by Femmes du Feu. Look out for this group. They are wonderful.


Live and in person at the Tarragon Theatre, Mainspace, Toronto, Ont. Until April 24, 2022.

Written by Sean Dixon

Directed by Richard Rose

Set by Graeme S. Thomson

Costumes by Charlotte Dean

Music direction and sound design by Juliet Palmer

Puppet master and puppet designer, Kaitlin Morrow

Cast: Heather Marie Annis

Beau Dixon

Philippa Domville

Sophie Goulet

Phoebe Hu

Germaine Konji

Ahmed Moneka

Kaitlin Morrow

Kaitlyn Riordan

Terry Tweed

Daniel Williston

From the program information: “40,027 BCE (when the average human could count to five), a grief-stricken Homo-Sapien couple adopts a Neanderthal child. But language separates parents and child only to then separate mother and father – how do we love when we can’t communicate?

With that, a mythic journey of danger and sacrifice ensues to connect to the Neanderthals and to protect the child at all costs.

A heroic tale of clashing cultures and how the bonds of family are truly formed.”

Gorse (Beau Dixon) and his wife Mo (Sophie Goulet) have just lost their infant child and are naturally grieving. But Mo more than Gorse is feeling the pangs of losing the child. She wants and needs to be a mother. They find themselves in strange territory and witness a group of Neanderthals, that they refer to as “Pipers”, on their last legs. They seem to be dying in a group. The Pipers communicate in bird sounds of chirping, tweeting and other sounds. That is their language.

One of the Pipers is holding the hand of a young child (a girl I believe) and as the Piper dies, Gorse and Mo speak in a spare, rudimentary English and struggle to communicate with the child that they want to take her with them as their own. Gorse names the child ‘Chicky.’ Communication is difficult until they return home and Gorse’s mother, Gran (Terry Tweed), meets Chicky (Kaitlin Morrow) and immediately bonds with her and even seems to understand her sounds.

Communication for Gorse and Mo with Chicky is difficult. While Mo is maternal and eager to embrace and comfort Chicky, Chicky is wary and fearful. Gorse is just frustrated but so wants to do right by the child and be a good father. Gorse finds a challenging solution on what to do and in a bold move a kind of communication is created/discovered between differing groups to support, care for and love Chicky.

 Playwright Sean Dixon does not shy away from a challenge in his playwright. He has written about relationships and trees in The Orange Dot; carrying a painting over the Alps in A God In Need of Help; and a play about Jumbo the Elephant and his fraught life in Jumbo just to name three. But with Orphan Song he has created a herculean task of writing about adoption and parenting, communication when a common language is absent and co-operation between different peoples,  by setting it in pre-historic times and creating two separate languages. One language is nothing but sounds, noises, and what sounds like singing and chirping. The other language is rudimentary English and comes from an ancient set of just 200 words.  

From an essay written by playwright Sean Dixon for Intermission Magazine regarding Orphan Song: “I conceived of an idea for a play about adoption that would be set in prehistory, where the child was a Neanderthal and the parents were Early Modern Humans. I wanted to illustrate the challenge presented by the need to foster attachment, and then raise the stakes in a hostile environment. I then wanted to compound the problem by having my separate human species not share a common language, or even a language type. So I was giving myself the problem of creating two separate language types, whatever that meant. I wanted my humans to be easily understood by the audience, which meant using a form of English, but I wanted it to feel basic and ancient and elemental. I wanted them to be people of few words.”

While Dixon’s intentions are honourable in his setting himself such difficult challenges, I couldn’t help but wish that rather than dive so deeply into the language and communication of the characters, he also considered how the audience would perceive and contend withsuch a rudimentary language and not just be able to understand it.

Gorse and Mo and Gran are certainly people of few words. And while they are speaking rudimentary English and are easy to understand, their ‘sentence’ structure often seems a stilted jumble to our ears. While Dixon wanted this form of English to “feel basic, ancient and elemental,” one can’t ignore that often in popular culture English spoken by one whose native tongue is not English often makes them sound stilted and unfortunately objects of ridicule. And with only 200 words to work with, ideas and ‘thoughts’ become repetitive.

The cast performers with conviction and integrity. There is fierce passion and truth in the performances of Beau Dixon as Gorse, Sophie Goulet as Mo and Terry Tweed as Ma. The urgency in trying to communicate with Chicky, the frustration in not being able to and the tenacity to continue trying is so clear in these performances. The Neanderthal  (Piper) characters are created by life-sized white puppets attached to the actors manipulating them, either by tying them around their waists or attaching their feet to the feet of the actor. Kaitlin Morrow is the ‘Puppet Master and the designer for these brilliant puppets. And as Chicky, Kaitlin Morrow ‘played’ and manipulated the puppet with clarity and presence.

Richard Rose has directed this production certainly with a creative eye in establishing the simplicity of that time but also a time with a huge emotional sweep. Graeme S. Thomson’s set of three light brown cloth panels says everything about a desolate place. The creation of the mammoth at the end of Act I is inspired. Charlotte Dean’s costumes are functional suggesting that an animal was killed for its skin for warmth and protection. Juliet Palmer’s music/sound scape also established that danger could be in every corner.

A play about adoption, communication when language fails, and eventual co-operation for the care of a child set in pre-history times is certainly intriguing. I just wish that the whole thorny issue of how to communicate these deep ideas was not mired in ‘language’ that seemed to defeat the enterprise.  

Tarragon Theatre Presents:

Runs until April 24, 2022.

Running Time: 2 hours with an intermission.


Lynda Hill was not going to let a pandemic stop her from producing The Wee Festival this year—it’s too important for young children and their parents.

Usually, Lynda Hill, the fearless Artistic Director of The Wee Festival (Arts and Culture for Early Years), produces the festival composed of children’s-based productions from various countries, over several days. Having in-person attendance is impossible this year. But streaming on-line has provided a fascinating alternative. It affords an opportunity to bring companies from far and wide that might not have been able to because of financial constraints and travel logistics. Companies were eager to provide filmed versions of their productions instead.

And while there is a note with each description of each event indicating the appropriate age of the child, that might vary with a digital viewing instead of in person. The parent is the best judge while observing how the child engages with the show.

There are 11 events of performances, films and instillations to enjoy. They are (with comments from the press information):

A Bucket of Beetles

Papermoon Puppet Theatre (Indonesia)

“Follow Wehea on a journey through the rainforest in search of the rare Rhinoceros Beetle!”


Campañía Aranwa and Comedia Köln Theater (Chile and German)

“A musical and visual feast celebrating the cycles of life and the seasons.”

Taama (Journey)

Théâtre de la Guimbarde & Soleil Theatre (Burkina Faso)

“Friendship is forged across languages and cultures through music.”


Helios Theatre (Germany)

“A mesmerizing performance installation about water and all its wonders.”

The Cozy One-Man Band

Company La Mue/tte (France)

“Astonishing experimental puppetry meets virtuosic music concert”

My Silly Yum!

Jot & Tittle (Montreal)

“A delightful tabletop puppet adventure in mushroom picking!”

Tweet Tweet

Femmes du feu (Canada)

“Come fly with two colourful birds in this aerial circus treat.”

(note: a WeeFestival favourite, certainly for me, that is being repeated digitally)

Old Man And The River

“WeeFestival (Canada)

“A heartwarming and hilarious tale of friendship and change.”

DreamScape (At Home)

ThinkArts (India)

“A visual and audio journey through sensory-rich worlds”

Grass Films (Sunny Days and Insect Hands)

Second Hand Dance (England)

“A double-bill of dance for young children inspired by the great outdoors.”

Ticket information:


Tuesday, May 4, 2021

From the Roundabout Theatre Company in New York City.

Streamed for Free:

Rarely done plays that are important as part of The Refocus Project.



The Refocus Project’s free play-reading series will serve to elevate rarely produced and formerly marginalized theatrical voices from communities underrepresented or historically overlooked in the American theatre.


Available May 4-May 7


Available May 7–10


Throughout the coming weeks, dive into the project through our digital resource guide, panel discussions, historical information, education tools, and much more. LEARN MORE.

Join us for a special online Community Conversations event on Wednesday, June 2 at 6:00pm EST. Roundabout’s Community Conversations aim to foster reflection, conversation, and connection, striving to deepen an experience with the play and each other. REGISTER HERE.


We are pleased to offer The Refocus Project virtual presentations free to all. To support the work of BIPOC artists and help influence reform on the national stage, please consider a donation to Black Theatre United today.

Wednesday, May 5, 2021.


Six Characters in Search of an Author. Luigi Pirandello. Adapted by Edward Storer.


The curtain rises on stories left unfinished. During a routine rehearsal, six strangers show up unannounced declaring themselves fictional characters who would like a word with their author. Finding humour in the absurd, their family drama unfolds in a conflict between illusion and reality. Pirandello’s metatheatrical masterpiece navigates the human search for meaning and the personal desire for control. Read the Playbill.


Tickets are Pay-What-You-Choose, and audiences enjoy unlimited access to the audio drama from the premiere date until June 30, 2021. You will receive an email on May 5 with a link to log into your account and listen to an embedded audio file through your computer or device. To purchase a Passport Subscription and enjoy all eight productions, CLICK HERE.

Complimentary access for Front Line Workers  and members of our Free 25 and Under program sponsored by Sun Life. 

Thursday, May 6-9, 2021, at 7:30 pm.


A Singer Must Die begins streaming on Thursday! Join us on May 6th as we pay tribute to the inimitable Leonard Cohen. This is the final concert in our 20/21 Virtually Live season of free online concerts. Featuring highlights from our 2018 show, we explore Cohen’s extraordinary artistic legacy. See below for the full artist lineup and program highlights, as well as a special video preview.  
  A Singer Must Die will be available for FREE streaming on YouTube at this link from May 6th, 7:30pm EST through May 9th, 7:30pm EST. Bookmark the streaming link in your browser for easy access when the event goes live!  

Be sure to RSVP below to add us to your calendar and receive event reminders.    Share your experience by live-tweeting on Twitter (@artoftime) and posting on Instagram (@aotensemble) using the hashtag #aotvirtuallylive!     STREAMING LINK   CLICK HERE TO RSVP     PROGRAM HIGHLIGHTS

Come Healing
Arr. by Andrew Staniland

Dance Me To The End Of Love
Arr. by Steve MacKinnon

A Singer Must Die
Arr. by Gavin Bryars

I’m Your Man
Arr. by Kevin Fox

Closing Time
Arr. by Jim McGrath

Who By Fire

Boogie Street

Arr. by Bryden Baird

Arr. by Andrew Staniland

Arr. by Andrew Downing

And more!

All songs by Leonard Cohen.     PERFORMERS & ARTISTS: Andrew Burashko, piano
Joseph Boyden, reader
Ian Brown, reader
Robert Carli, saxophones
Sarah Harmer, singer
Steve Heighton, reader
Gregory Hoskins, singer
Marni Jackson, reader
Sheila Jaffe, violin
Amy Laing, cello
Steven Page, singer
Joseph Phillips, bass
Rob Piltch, guitar
Sarah Slean, singer
Madeleine Thien, reader
Tom Wilson, singer

Kevin Lamotte

Arwen MacDonnell


Monday, April 19, 2021.

From the Mint Theatre.


April 19- June 13


The New Yorker

A Picture of Autumn made its debut on February 11, 1951 in a one-night ‘try-out’ performance presented by the Repertory Players, at the Duke of York’s Theatre on London’s West End. Despite promising reviews, the play was never picked up. Instead, Hunter enjoyed great success with his plays Waters of the MoonA Day by the Sea and A Touch of the Sun, which dominated the West End throughout the fifties. Meanwhile, A PICTURE OF AUTUMN gathered dust until our acclaimed production—the play’s first in over 60 years.

Helen Cespedes and George Morfogen in A PICTURE OF AUTUMN by N.C. Hunter, directed by Gus Kaikkonen. Photo by Richard Termine.

To read the program, or learn more about the play and production, visit our Production Archives.

To see Video of our EnrichMint Speakers, visit our EnrichMint Video Archives.


Wednesday, April 21, 2021.

From Soulpepper.


Soulpepper Theatre Company is incredibly pleased to announce the release of a new collection of artistic programming: Around the World in 80 Plays, an eight-week global adventure of audio dramas, in-depth documentaries from CBC Ideas, and cultural celebrations. Audiences across the country, and around the world, are invited on a rich theatrical global guided tour with works from Canada, Russia, Italy, Argentina, India, Iran, Jamaica, and NigeriaAround the World in 80 Plays departs April 21, 2021, landing in new destinations weekly. Subscription passports, single tickets, and information available at

The eight-week global adventure begins:

April 21, starting at home here in Canada with Margo Kane’s inspiring play Moonlodge, a story of self determination, resilience, and the colonial tragedies that shape our society today, directed by Jani Lauzon. From there audiences are transported to Russia to enjoy Anton Chekhov’s masterpiece,

April 28. The Seagull, (Russia) which was just weeks away from premiering at Soulpepper this time last year, once again directed by Daniel Brooks.

Dates closer to the time:

Luigi Piandello’s metatheatrical play Six Characters in Search of an Author, directed by Daniele Bartolini. Italy.

The Walls From Argentina’s fearless playwright Griselda Gambaro comes, directed by Beatriz Pizano, to warn audiences about the dangers of turning a blind eye in the fight for justice.

Hayavadana by Girish Karnad, Travelling onward to India, in a piece produced in association with Why Not Theatre, Girish Karnad’s witty play fuses ancient mythology with contemporary sensibilities, directed by Miriam Fernandes.

The Parliament of Birds by Guillermo Verdecchia, From Iran.  directed by Soheil Parsa, adapted from the Persian poem, The Conference of the Birds, by Sufi poet Farid ud-Din Attar.

She Mami Wata & the PxssyWitch Hunt. Jamaica, by playwright, director, and performer, d’bi.young anitafrika fuses memoir, music, and myth while embodying Jamaica’s decolonial traditions of African-storytelling-derived dub poetry and dubbin.

Death and the King’s Horseman destination of Nigeria on June 9, audiences are invited to experience Wole Soyinka’s Nobel Prize-winning play based on true events, produced in partnership with the Stratford Festival, and directed by Tawiah M’Carthy. 

Toronto is uniquely poised to celebrate the rich tapestry of stories and cultures that make up this city, and Around the World in 80 Plays will celebrate over 60 artists coming together to share their stories, their culture, and their art. Each audio drama features a full cast, original sound design, and is recorded and produced by award-winning audio producer Gregory Sinclair (CBC Radio, Audible). 


By Margo Kane
Directed by Jani Lauzon

Hope, healing, and hitchhiking. Taken from her family by the government, Agnes grew up away from the support of her community. Unable to change her past, Anges follows  the voice inside her, journeying across America to where the women gather, helping her find herself, her history, and her family. An inspiring story of self-determination, and the colonial tragedies that shape our society today.

Moonlodge is performed by Samantha Brown. Sound Design and Composition by Wayne Kelso.

Content Warning: This play contains scenes of sexual violence and distressing situations.

Moonlodge premieres April 21, 2021.

“Margo Kane’s play Moonlodge was written at a time where there were very few, if any, stories by Indigenous writers on our stages. This is a story of Indigenous children torn from families, stripped of cultural understanding and identity, searching for answers, navigating the harmful and stereotypical images of in popular media, but mostly it’s a story of resilience and the incredible mothers, sisters, aunts, and grandmothers who continue to survive with humour, dignity, and honour so that our children have a future,” said Jani Lauzon, Director.

Wednesday, April 21, 2021, 7:00

From Young People’s Theatre,

Right Here, Write Now Online Play Festival (21 and 23). Three short plays by contemporary playwrights Tai Amy Grauman, Marie Beath Badian and Luke Reece are live-streamed on those dates at 7PM, followed by a Q&A with the playwright. All of the info is here in case you want to take a look:

Thursday, April 22, 2021. 7:30 pm

Postcards From My Balcony.

Common Boots wordmark - white lettering and wings on a light blue background.   Come raise a glass!
A sneak preview of a new short film
A  moving Image of Alex Bulmer centre screen. She looks off, pensively,  into the distance. Alex is white, with short sandy coloured hair and wears a white hoodie. Around her head white tissues magically float up into the air. Above her head, the following yellow words flash: “Common Boots Theatre Presents Postcards from my Balcony”.  In the bottom  half of the screen, more words appear: “Written and Performed by Alex Bulmer. Directed  by Leah Cherniak. April 22nd, 7:30pm”. The moving image plays on repeat.      April 22nd, 7:30- 8:45pm   REGISTER     We’d love you to come to our party! Raise a glass to a sneak preview of the short film Postcards from my Balcony. Written and performed by Alex Bulmer and directed by Leah Cherniak, with editing and cinematography by Ben Roberts, animation by Cristal Buemi, and sound design and original composition by Deanna H. Choi.

Watch the film – all 10 ½ minutes – and tickle your ears with live music from special guests Deanna H. Choi and John Millard (what joy), artful conversation, and jokes (likely not artful).

Travelling, sneezing, writing and tweezing – Postcards from my Balcony follows blind writer Alex Bulmer as she returns from the UK to Canada while a pandemic erupts. She writes postcards under quarantine – little big thoughts sent out to the world. 

Register below – admission is free (donations always welcome)!
We suggest, if you have them, bring your best headphones.
Hope you can make it!
Alex, Leah, and The Common Boots Team     Who Made Postcards from my Balcony – the film?
Writer and performer – Alex Bulmer
Director – Leah Cherniak
Cinematographer and Editor – Ben Roberts
Cinematography Assistant – Aidan Barnes 
Production Designer – Cristal Buemi
Animators – Cristal Buemi and Alba Mediba
Sound Designer and Original Composition – Deanna H.
Original song:  Above the Birds by John Millard

This film was made possible thanks to generous funding from the Canada Council for the Arts Digital Originals program,
Red Dress Productions, Common Boots Theatre and numerous generous private donors.     Register!   This gathering is free, but registration is required. Sign up today!  

Thursday, April 22, 2021, 7:00 pm

From Young People’s Theatre

Right Here, Write Now Online Play Festival (21 and 23). Three short plays by contemporary playwrights Tai Amy Grauman, Marie Beath Badian and Luke Reece are live-streamed on those dates at 7PM, followed by a Q&A with the playwright. All of the info is here in case you want to take a look:

Thursday, April 22, 2021, 7:30 PM

The Royale





PRIVATE REELS: FROM THE LCT ARCHIVES will allow audiences the opportunity to experience past, award-winning LCT productions in full.

Broadway on Demand / Directions

Recorded during a performance with the resulting excerpts used for promotional purposes, it was never intended that the productions would be shown in their entirety. The newly edited footage of the performances will give viewers the opportunity to revisit or discover these LCT shows in full.


Blue line.


THE ROYALE show poster


Begins Thursday, April 22 at 7pm ET

Streaming FREE on Broadway on Demand

When is a play about a boxer not really about boxing? When it’s the 2016 Obie and Drama Desk Award-winning THE ROYALE! The play is about the life of the outsider in America as much as it is about charismatic African-American boxer Jay “The Sport” Jackson. The stylized and stunning conception of Marco Ramirez was realized by director Rachel Chavkin.

Stream our production of THE ROYALE (2016, Mitzi E. Newhouse Theater), by Marco Ramirez, directed by Rachel Chavkin, featuring McKinley Belcher IIIKhris DavisMontego GloverJohn Lavelle, and Clarke Peters.  

86 minutes runtime.


Watch a brief montage of scenes from THE ROYALE. Register above to stream the full production!


At the Streetcar Crow’s Nest, Carlaw and Dundas, Toronto, Ont.

Written by William Shakespeare

Additional writing by Zack Russell

Directed by Chris Abraham

Set and Lighting by Lorenzo Savoini

Costumes by Ming Wong

Sound by Thomas Ryder Payne

Cast: Graham Abbey

Sarah Afful

Walter Borden

Ryan Cunningham

Michelle Giroux

Dion Johnstone

Jani Lauzon

Diego Matamoros

Jim Mezon

Moya O’Connell

André Sills

The production is explosive and bracing and of course Shakespeare’s play is of our times. Why then was there the need to add dialogue and a final scene?

The Story. Julius Caesar is about a successful general who leads his army to beat the enemy, Pompey, and comes home to great pomp and celebration. His generals however think Caesar is too ambitious hard-headed and unmanageable and want to get rid of him in a really ‘final’ way and bring reason back to Rome. One of the most honourable men of the upper echelon of the government is Brutus who has to be convinced to join the plot to kill Caesar. A soothsayer tells Caesar to beware the Ides of March (the 15th of March) because he knows what will happen that day.

The murder will happen in the Senate house, but first the plotters have to get Caesar there. Calpurnia, Caesar’s wife urges him not to go. (“Julie, don’t go!!” Sorry I couldn’t resist a little Wayne and Shuster…) He agrees but then the plotters come to fetch him to the Senate house and he doesn’t want to appear weak so he goes. It doesn’t end well.

This is a play about power and a fickle populous. The play is as timely as tomorrow’s headlines except it was written 400 years ago.

The Production. In the beginning of the play that Shakespeare wrote we find out how fickle the people of Rome were.  We learn from tribunes who are chastising the common folks, that these folks idolized Pompey at one time and waited to see his chariot pass with him in it.  But now that Caesar has defeated him in battle they switched allegiances and are dressed in their finest clothes to greet Caesar when he returns from battle.

It’s a telling scene but it’s cut in this production and replaced by additional dialogue by Zack Russell who has three radio commentators at microphones who tell us about the battle and the history of Pompey to put things in perspectives.

But there is a brilliant touch in Chris Abraham’s production. As we walk into the space in a far corner there is a balloon stick-man structure that has arms and a central section in which air is shot into it so this figure with arms flips and flops as the air is shot up it.

I thought that image of this structure weaving in the wind was a perfect metaphor for the fickleness of the people who play this way and that depending on how well they are manipulated to follow one person and then the other. The problem with the image and the metaphor is that one had to know the play and certainly the first scene in order to apply the image. I sure appreciated it.

Writer Zack Russell has included a scene with Coriolanus who talks about power and following his own path without interference (Coriolanus forgets that his mother had a pretty strong hold on him). In cheeky irony André Sills (wonderful actor) gives that speech here in Julius Caesar— André Sills played Coriolanus at Stratford two summers ago.

The production also has an added end scene in which the characters come back to life and discourse on how much they hated Julius Caesar and how he failed them and how it’s hard to educate the people. Caesar is played by a formidable Jim Mezon—bullet-headed, laser stare and knows how to block a person from leaving his presence. In the last scene, Mezon reacts with total stillness which makes him riveting and devastating when he utters the last two words—and no I won’t tell you what they are.

Dion Johnstone plays a conflicted Brutus, honourable, thoughtful, a thinker. In his scenes with the “lean and hungry” Cassius (a compelling Moya O’Connell) there is such urgency in the give and take of their speeches because the stakes are so high. Graham Abbey plays Mark Antony who speaks quietly, crisply and with keen intelligence.

At one point Mark Antony talks about information about himself from another play and he makes a comment about his people skills as a result that gets a laugh.  I think that’s going a long distance for a small joke. The women get short-changed in Julius Caesar. Calpurnia loves Caesar and always watches out for him. Sarah Afful invests Calpurnia with a firm spirit and determination. She almost saves Caesar from going to the Senate but ultimately fails. Portia, Brutus’ wife, beautifully played by Michelle Giroux seems almost frail and distraught over Brutus’ distraction and coldness to her. We get the sense from these wives of their isolation from their husbands.

At the end of the play, in the added scene, we are told who each of the resurrected  characters is complete with their dates of birth and death, as they rise from the dead.

I get a bit antsy when extra dialogue is introduced to the play. What point does it serve and why isn’t Shakespeare considered enough? Do these added scenes enhance the play, make it more accessible? Nope, not really.  I don’t think they are needed if one listens to the play Shakespeare wrote—ambition, reason, force, manipulation etc. it’s all there. With the added dialogue it seems to be Shakespeare that is underlined and italicized to accentuate the bits on which one wants to focus. Have faith. Of course we get it without the fussy help.

As for the rest of Chris Abraham’s production, it went like the wind in its ratcheted up pace. It’s a modern dress production. Everyone is dressed in stylish black—black pants, tops, coats etc. (bravo to Ming Wong for her design).

It’s a noisy production. In this production Caesar is shot and not stabbed. There is that foreboding storm complete with crashing thunder. There is the sound of bombs and gunfire in the distance as Brutus and company fight another battle. And there is a lot of shouting to be heard over all the noise.  A lot. That’s a shame. Here’s the thing, if there is a lot of shouting, from a lot of people, then they’ve lost the argument and the audience. We know that Mark Antony was a great orator. That doesn’t just mean he knew what to say. It also means he knew how to say it. In this production Graham Abbey as Mark Antony began the “Friends, Romans, Countrymen” speak by talking loudly into a microphone and continuing for a bit and then when he had the crowd didn’t use the mic but still raised his voice. A bit later he used the mic again. Antony would know how to get that mob’s attention quickly and then talk to them quietly—even a mob. I always think of the great William Hutt, brilliant actor, who knew that you don’t make the audience hear you as much as you make them listen to you. So when he found that the audience was getting restless, he just talked softer. Many other actors around him would bellow their lines to be heard and he just talked softer and all the programme rustling, candy-wrapper crinkling and whispering stopped. Brilliant. Enough with the shouting, please.

Comment. Director Chris Abraham says in his programme note that sure the play is about power, but he sees it more as an exploration of the limits of human will and reason.

“Reason, and our belief that we can use it as an all-powerful tool to govern our own actions, and the actions of others, is the premise under investigation at the heart of Julius Caesar.

So we hear about the manipulation of the people when Mark Antony tries to crown Caesar king and Caesar refuses the crown three times.  It’s all a performance to make Caesar seem less than ambitious. Love the politics of the play and the games playing. It’s about tyrants and so timely.

I had “royalty” at the opening. On the aisle over there was John Ralston Saul. Beside him was his lady-wife, Adrienne Clarkson. Beside her was Margaret Atwood who was tweeting during intermission. It was that kind of night.

Groundling Theatre Company and Crow’s Theatre present:

From: Jan. 7, 2020.

Closes: Feb. 2, 2020

Running Time: 2 hours, 45 minutes approx.

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At the Factory Studio Theatre, Toronto, Ont.

Written and directed by Rob Kempson
Set and costumes by Anna Treusch
Lighting by Kaileigh Krysztofiak
Sound by Andy Trithardt
Cast: Alison Deon
Daniel Ellis
Rose Napoli

The last in a trilogy of plays dealing with power in education and the various dilemmas that arise when students, parents and teachers engage and clash. Rob Kempson always creates challenging situations in his plays. Lots to ponder in this one.

The Story. Gabriella is a single parent and a math teacher. She is ready to go a bit wild and joins the world of Instagram with the intension of hooking up with a man for some dating fun. She has met someone on the internet and a rendezvous has been arranged. Gabriella is thrilled with the constant tweets and notices from her impending date. Her friend Susan is a substitute teacher and guidance counsellor in the same school where Gabriella teaches. She is single and pregnant. There is no man involved. Susan wants to be a parent and went to a clinic so that could happen naturally. Jackson is a teenager in the school where both women teach. He is not doing well in trigonometry and needs a high mark in order to win a sports scholarship. Gabriella is Jackson’s math teacher. The three characters are joined in their own way like a triangle.

The Production. The set by Anna Treusch is terrific. The audience is on either side of the playing area. Extensive mathematical formulae are painted in white on one (black) wall and over most of the (black) floor of the playing area. There is a long table in the centre of the space and a chair. As Susan, Alison Deon sits in the chair nibbling her sandwich. Susan is obviously pregnant and is hungry all the time. I’ve never seen a grownup nibble as sparingly as Alison Deon does on that sandwich. Just an observation. As Gabriella, Rose Napoli bursts into the room, cell phone in hand, thumbing out her messages and texts, delighting in every reply. Napoli is gleeful and pre-occupied with her Instagram friend but still gives Susan some of her attention.

When Gabriella interacts with Jackson, Napoli is formidable. Sharp, abrasive, almost condescending and combative. Jackson has put Gabriella in a corner and she fights like a tiger to get out of it. As Jackson, Daniel Ellis has that easy grace of a teen in control, who knows how to navigate his techno world at the expense of someone who doesn’t. Jackson has that sense of entitlement that is exasperating and frightening because the education system has changed to the point that the student and the unseen parents have the power. Jackson is also in his own tight corner. He needs to get that scholarship or his parents will really put the screws on him, or so he says to his teachers. In his dealings with Susan Jackson again regains the upper hand. He is not insecure when he faces her, even when she drops her bombshell of information. He is in control. Alison Deon, as Susan on the other hand is hesitant, awkward and certainly at a disadvantage. If I have a quibble, it’s that Rob Kempson has written Susan as too awkward and stammering. Her inarticulation slows down the pace and makes the scene frustrating to listen to. I don’t think that’s the intent. I can appreciate that Susan is certainly in an awkward position when dealing with Jackson but I think with less stammering and inarticulation, the same effect can be achieved and still grip the audience.

Rob Kempson also directs his play. He does it with great style and pacing that accelerates over the fast 75 minutes of the play. He knows how to establish each dynamic of this triangle.

Comment. I wish my high school trigonometry class, eons ago, was as bracing, intriguing and compelling as Rob Kempson’s play Trigonometry. This is the third in his Graduation Plays. In each play he creates a series of problems with a different focus but always set in the world of education. Kempson knows whereof he speaks because not only is he an accomplished playwright, he is also a substitute teacher in the education system.

Kempson has packed Trigonometry full of dilemmas that each character in this triangle creates for the others. Is it too much? Perhaps, but the result certainly leaves one with a lot to ponder in trying to figure out how various situations could be solved or dealt with. He certainly has created a world that is frighteningly credible. With Jackson we see a savvy student who almost defines a sense of entitlement. He is tech smart and knows how to navigate that world. Gabriella is the neophyte navigating the internet and Instagram world without a clear sense of the implications. But in her world as teacher she is formidable. Susan is emotionally needy. All three play the other in shifting the angles on this triangle. Sometimes it’s breathtaking in the execution. It is always engrossing.

Timeshare Presents:

First performance: March 16, 2017.
I saw it: March 18, 2017.
Closes: March 25, 2017.
Cast: 3; 1 man, 2 women
Running Time: 75 minutes.


Review: JOHN

by Lynn on February 3, 2017

in The Passionate Playgoer

At the Berkeley Street Theatre, Upstairs, Toronto, Ont.

Written by Annie Baker
Directed by Jonathan Goad
Set and costumes by Shannon Lea Doyle
Lighting by Kevin Lamotte
Sound by Michael Laird
Cast: Nancy Beatty
Nora McLellan
Philip Riccio
Loretta Yu

John is a play about relationships, loneliness, trust, truth, friendship, kindness and mystery. It’s been given an exquisite production by director Jonathan Goad and his terrific cast.

The Story. Elias and his girlfriend Jenny arrive at Mertis Katherine Graven’s bed and breakfast in Gettysburg, Pennsylvania, ready to begin a little vacation in which Elias wants to visit the various Civil War battle sites in the area. Mertis (called ‘Kitty’) is an accommodating but odd woman. We learn quickly that all is not smooth in Elias and Jenny’s relationship. She’s got secrets and he seems a natural depressive and does not fully trust her. The house also holds mysteries and secrets of its own. And there is Genevieve, Kitty’s blind friend, who hears noises in the house that no one else hears. Welcome to the world of Annie Baker.

The Production. In true Baker form we never see John, and are not totally sure who he might be. There are two mysterious possibilities we learn over the course of the play. One of the beauties of the play is trying to parse through the information given to find the truth.

A red curtain surrounds the playing area as the audience files in to the theatre. When the play is about to begin, Mertis draws the curtain back revealing Shannon Lea Doyles’ wonderful set of Kitty’s living room and the breakfast room. Every surface is packed with ‘chatchkes’, miniature doll figurines, dolls of various sizes, pictures of dolls, lamps, an upright piano. A sofa, chairs, stuff. The Breakfast Room has several tables and chairs with a small fridge up at the back and a shelving unit with cups, mugs, cereals etc. There is a small model of the Eiffel Tower on one of the tables, hence the room is called the Paris Room.

Kitty is taking care of her sick husband George whom we never see. We learn quickly that all is not smooth in Elias and Jenny’s relationship. She’s got secrets that she doesn’t tell Elias and he seems a natural depressive and does not fully trust her. The house also holds mysteries and secrets of its own. Kitty bristles subtly when she finds out that Jenny went into one of the rooms that is off limits.

And there is Genevieve, Kitty’s blind friend who hears noises in the house that no one else hears. She also thought she was going mad because she felt she was being bedevilled by her late husband John’s spirit so she checked herself into the hospital to cope. Welcome to the world of Annie Baker.

This is certainly a challenging play we are blessed to have a gifted director in Jonathan Goad and a wonderful cast. We know of Jonathan Goad’s wonderful acting abilities from his work at the Stratford Festival and elsewhere. Amazingly, this is his first effort at directing. It’s thoughtful, polished, intelligent and so knowing about the play and its quirks. There are a lot of pauses and silence in an Annie Baker play as the actors take their time in building moments and reveal their character’s inner selves. Goad gives them and the play the room needed to breathe. Baker is as challenging for the audience as she is for actors playing in her plays.

Because her scenes unfold and evolve slowly her plays can last three hours or even longer, and each moment is vital in building the atmosphere of the scene, or reveal something of a character or moment.

For example, Elias looks around the breakfast (Paris) room to see where things are. He makes himself a bowl of cereal and pours the milk and then eats his cereal by first sucking the milk out of the spoon then chomping on the rest of the crunchy cereal.
Since he’s alone in the room we see this first to establish this quirk.

When Jenny joins him after that, it drives her crazy and she gently tells him after he goads her. We can see how annoying that could be. It takes and needs time to be revealed.

The acting is fabulous. It’s a cast of four and each one shines. Philip Riccio plays the mournful, depressive Elias with an almost fastidiousness in his self-absorption. It’s easy to be annoyed by Elias because of the uncompromising way that Riccio plays him.

Loretta Yu plays Jenny with a different kind of angst. She has secrets that she is keeping from Elias and she has to lie about them in order to save the relationship. One wonders if Elias wants to safe it too, what with all his chipping away at her. Jenny does an interesting job of trying to cover up and hide her secrets, at the same time, letting Elias and us know she is irritated by him.

Nancy Beatty as Kitty, is an optimistic, accommodating host, but clearly lets us know things are not as rosy as we are led to believe in that house. Her smile is tight but her eyes are fearful. But Beatty has moments of breathtaking joy when simple things fill her full of pleasure. And Nora McLellan is masterful in the part of the odd friend, Genevieve. Genevieve is blind and wears sunglasses. McLellan is absolutely still on a sofa, facing us.

Every line is beautifully paced and so wildly funny because of the pacing, and deliberate way McLellan speaks, frames her jokes and sets us up. From her first line we are primed to pay close attention to this compelling woman she is so funny and odd. In a way it’s a ‘sucker part,’ a gift. The beauty is that McLellan never overplays it. She is always understated and focused.

. At 35 years old, Annie Baker is a force in the theatre. Her plays are substantial with a distinct voice and focus. They have won all manner of awards including the Pulitzer Prize for The Flick—fantastic play about an old fashioned cinema and the film geeks who work there.

Each successive play has the same characteristics of characters that are deeply drawn and quirky dealing with real issues. But each new play is totally fresh and provocative.

Annie Baker’s plays are substantial. They are not for those who want their plays over in 90 minutes. They are not for those who think in tweets. Annie Baker’s world is full of quirky characters with weighty issues that they think about long and deeply. Her plays are full of pauses that might remind some of Harold Pinter, fragmented thoughts and ideas reminiscent of Edward Albee and head-shaking juxtapositions in language as found in the works of Caryl Churchill. But in truth Annie Baker’s plays are totally like no one else but Annie Baker. She has a definitive but subtle voice that is enhanced by the silences that envelope many of her scenes. They are deceptive in that one might be fooled into thinking nothing is happening. In truth everything is happening. The trick is this that when a scene seems to linger in languid action but no speech and one is tempted to turn off, that is when one must be most watchful. Baker is ‘talking’, saying volumes. Her characters and themes are illuminated in those silences.

Elias noisily eating his cereal; Jenny curled up in her blankets trying to get warm; Genevieve behind dark glasses quietly, methodically letting us in on her mysterious way of thinking; these are small moments that are resounding.

Annie Baker’s plays are not for those who want their plays over in 90 minutes. They are not for those who think in tweets. For those serious about their theatre, the payoff is enormous.

The Company Theatre Presents:

Opened: Jan. 31, 2017.
Closes: Feb. 19, 2017.
Cast: 4; 1 man, 3 women
Running Time: 3 hours, 10 minutes.

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