Soulpepper's Angels in America, Parts I and II is well worth the 6 hours spent....much different than the Mike Nichols TV production, and more absorbing without the identifiable star power. The actors, however, are still topnotch, and the leads like Damien Atkins, Raquel Duffy, Michelle Monteith, Gregory Prest, Mike Ross, Nancy Palk, Troy Adams and especially Diego Matamoros as Ray Cohn, bring the events to life. The evenings are well directed by Albert Schultz and the staging by Lorenzo Savoini is great. We are so very lucky to have been able to see this event for two years running.

The Curious Incident of the Dog in the
Night-Time – filmed from the National Theatre, this 2013 Olivier
winning new play, and 6 other awards for actor playing Christopher,
Luke Treadaway, supporting Paul Ritter as his father Ed, and actress
in supporting role, Nicola Walker as his mother, as well as awards
for sound and lighting which are spectacular. It will start previews
on Broadway Sept 15/14. The play is adapted by Simon Stephens from
Mark Haddon's novel, directed most skillfully by Marianne Elliott,
winner of best director. The play after critical acclain moved from
the National to the Apollo Theatre, where on Dec 19/13 part of the
ceiling caved in during a performance. The play has since moved to
the Gielgud to continued acclaim.
The idea of taking this material and
making it work on stage is amazing in itself and the production
values are mind-boggling.There are very few theatrical events like
this, i.e. War Horse, History Boys, that can make a complex story
work for an audience, and this is one event

Dead Metaphor at the Panasonic –
written and directed by George F. Walker – for some reason Mr.
Walker and I are never on the same wavelength, and in spite of the
tremendous talent in this production, the first act is interminable,
but the second act picks up speed and renders some very funny
moments. The younger audience seems to appreciate the playwright, and
I only wish I could see it through their eyes. I have sat through
Gossip, Beyond Mozambique, Science and Madness, Nothing Sacred,
Escape from Happiness, Love and Anger, Zastrossi, Living in Your Car
and Suburban Motel and in spite of his plays winning various Canadian
awards like Governor Generals, Doras, and Chalmers I have never felt
they were deserved, and much better plays seem to have been ignored.

The Last Confession at the Royal
Alexandra Theatre starring David Suchet is a sure fire hit! This 2.5
hour performance is spellbinding and never lets up until the final
curtain. From the Chichester Festival Theatre, and part of a world
tour (Toronto, Los Angeles, Perth, Brisbane, Adelaide, Melbourne, and
Sydney).
The play features a top notch cast from
U.K, Australia, U.S. and Canada. The play written by Roger Crane, a
lawyer and his first play, directed by Jonathan Church who directed
The Life and Adventures of Nicholas Nickleby at Toronto's Princess of
Wales Theatre, handles this production with great care, suspense and
even laughter. A very worthwhile theatrical experience indeed!

Arrabal – at the Panasonic, is a 90 minute non-stop
tango creation, with all the elements that the dance is supposed to
have, great dancers, sex, violence and incredible dancers,
co-choreographed by Julio Zurita and Sergio Trujillo (Memphis/Jersey
Boys/Leap of Faith/Addams Family and Next to Normal). And yes there
is a story bu John Weidman, which takes place in Buenos Aires in 1979
and 1997, set against the background of military dictatorship and the
missing sons and daughters that disappeared during this time. Prior
to the performance audience members are taught elements of this
provocative dance, and as one is leaving the theatre the dancing
continues. How they do two performances some days is anyone's guess.
I am sure it will end up on Broadway as dance shows like this are
very much at a premium.

March 20/14 – Onegin – The very dramatic music of
Tchaikovsky, the choreography of John Cranko, and the brilliance of
principal dancers Aleksandar Antonijevic and Sonia Rodriguez's
Tatiana makes for a great Eugene Onegin, and the sets and costumes by
Broadway's Santo Loquasto adds to this fantastic occasion taking
place on the stage. Flowers were thrust onto the stage, and many
curtain calls for this great performance.

March 2/14 – Metamorphosis – Franz Kafka's
masterpiece brought to the stage with an unbelievable performance by
Bjorn Thors as Gregor who spends the entire performance dangling from
the ceiling, walls etc. A great two storey set adds to the realism of
what is going on, and the rest of the cast play their parts to
perfection as well. We had heard some negative reviews from people,
and others that had left after a short time, but to us it was all
well worthwhile, and along with The Trial, and the Castle, one
realizes how great Kafka's talents were.
March 1/14 – The Two Worlds of Charlie F – A play
based on true experiences and case studies of British soldiers, their
pain and suffering, the rehabilitation of themselves and their
comrades and their hopes for the future. It is heavy going in spite
of some lighter and musical moments, but all in all a very worthwhile
endeavour. After this production, the show will be touring Britain.

February 23/14 – Some Enchanted Evening – Civic
Light-Opera Company have come up with a surefire evening of the songs
of Rodgers and Hammerstein with 6 very talented people under the
musical direction of Joe Cascone, and even though tragedy struck with
a flood in their Fairview Library home, and the production had to be
transferred to the Zion Cultural Centre with a much smaller stage and
seating, they brought it off. What makes this show special is not
just the classic Rodgers and Hammerstein hits from Oklahoma,
Carousel, South Pacific, King and I, Flower Drum Song and Sound of
Music, but the lesser known songs from their not so sucessful shows
like Allegro, State Fair, Upstage and Down, Main Street to Broadway,
Happy Birthday, Me and Juliet, Cinderella and Pipe Dream. Now I would
like to see shows like this on other talented composers/lyricists
like Stephen Schwartz (Godspell/Pippin/Magic Show/Working/Children of
Eden and Wicked, Stephen Flaherty and Lynn Ahrens (Ragtime/Once on
this Island/Seussical/My Fav

February 12/14 – Heartbeat of Home – What makes
this dance show a delight is the variation of dance, not just Irish
clogging like Riverdance in its various forms, but Afro-Cuban, Latin,
Flamenco, Cuban Salsa, and Tango, all danced to perfection by an
incredible group of dancers, against an fantastic array of rear
projections. The show never lets up and by the end one almost feels
like they have been on an international experience and the audience
is up on its feet cheering this great feat.

January 26/14 – Once on this Island – I have wanted
to see this musical for many years, being a great fan of the music
and lyrics of Lynn Ahrens and Stephen Flaherty, and feeling Ragtime,
Seussical, Man of No Importance, Lucky Stiff and My Favorite Year
have great scores, and Ragtime being an all time favourite. It was a
great letdown for me. The music and lyrics are just adequate, the
performances okay, but nothing really stood out in this production,
and I have always felt that Acting Up Stage could do no wrong. I do
not, however, think the fault lies with Acting Up Stage, or the
actors or the creative team, but do think that the script leaves much
to be desired, and perhaps is just not worthy of a revival

January 19/14 – London Road – From London's
National Theatre, the blockbuster London Road comes to Toronto. It
seems to me that murder and mayhem are great sources for musicals
like Sweeney Todd, Parade, Thrill Me: Leopold and Loeb Story, and
Bloodless: Trial of Burke and Hare. I love them all! The ensemble
cast of this musical pastiche (Fiona Reid, Ben Carlson, George
Masswohl, Steve Ross et al, works miracles with the lyrics taken from
the newspapers and the trial, and the entire production works so
well. Judith Bowden's sets are costumes are great, and the hanging
baskets magnificent. What more could one ask? And who could resist
the brutal murders and resolve of five prostitutes in 2006 in
Ipswich, with orchestra conducted by Reza Jacobs.

December 19/13 – Oliver – Civic Light Opera's
Oliver is just the thing for the holiday season, a cast of
youngsters, who in spite of limited singing voices manage to bring
the story to life, and are fun to watch. Lionel Bart's musical stands
the test of time. I remember when it was on at O'Keefe Centre with
the great set by Sean Kenny, the first of the British musical sets to
reach the American standard. Great performances by David Haines as
Fagan and Elizabeth Rose Morriss as Nancy, manage to bring the
production to a higher level. Civic Light Opera never disappoints and
the direction by Joe Cascone is first rate.

December 11/13 – Once – When we originally saw Once
on Broadway in 2011, it was hard for me to believe that it won the
Tony Award for Best Musical over the charming and original Newsies,
with Jeremy Jordan or even Nice Work If You Can Get It with Matthew
Broderick. I describe the show as Riverdance, without the dance! It
has a certain charm, yes, but when the highlight of a show is the
real working bar on stage, there is something wrong. The actors are
the musicians like so many shows these days. It is always great to
see another cast do a show, to see if they bring something else to
the performance. Unfortunately, neither Stuart Ward as Guy nor Dani
De Waal, had better success. A number of people left at intermission,
in spite of many reviewers telling us to “run to the theatre.”

December 8/13 – God of Carnage – after Yasmina
Reza's highly successful Art (1995), it is great to see another of
her plays (2007), although there are many we have not seen here yet.
God of Carnage is just that, a four-handed fight to the finish with
great ensemble performances by John Bourgeois, Linda Kash, Tony
Nappo, and Sarah Orenstein. I have not seen the filmed version, just
called Carnage, and look forward to that as well, with Jodie Foster,
Kate Winslet, Christoph Waltz, and John C. Reilly. The Broadway cast
with the late James Gandolfini, Jeff Daniels, Marcia Gay Harden and
Hope Davis, won the Tony Award for best play.

December 4/13 – Disney's Aladdin – I think I am a
kid at heart, as I always enjoy the Disney musicals, favourites being
The Lion King which I have seen many times, and am always in awe of
the animals, from the first time seeing it in NYC, and not expecting
an adult show, but something for children, and I had gooseflesh when
the animals appeared from behind a curtain at the rear of the
theatre, and I got to see the brilliance of Julie Taymor's creations.
Each time Disney amazes me with scenic wonders, and Aladdin is
certainly no exception. In spite of early reviews at the opening here
in Toronto, the show is getting in shipshape, and the performance by
James Monroe Iglehart is sure to get a Tony nomination, and like
Billy Porter it is well deserved. Adam Jacobs is also great as
Aladdin, and the rest of the cast is more than adequate. The flying
carpet effect is brilliantly done, and the entire show is full of
wonder. The time goes by very fast indeed. The score by Alan Menken,
the late Howard Ashman and additi

November 11/13 – Annie – there are few people,
other than myself, who would be at the theatre at 10:15 in the
morning to see the wonderful musical Annie, staged at Young People's
Theatre – I was at the original production of the musical, 1977,
many times as my friend Gary, was a friend of the late Reid Shelton
who starred as Daddy Warbucks in the musical. I got to meet all of
the cast a number of times, including the great late Dorothy Loudon,
and the young Andrea McArdle, and even got Sandy's pawprints. I have
great memories of this charming Charles Strouse (music)/Martin
Charnin (both lyrics and director) theatrical. Louise Pitre gives
Miss Hannigan her all, she knows how to bring comedic brilliance to
the part, reminiscent of her role in The Toxic Avenger. The orphans
were older than I would have liked, and Annie also. Some great voices
however, and Sterling Jarvis as Daddy Warbucks worked well with his
role. Sandy was a most welcome addition to his part, and bringing an
endearing personality to the per

October 17/13 –
Les Miserables – the new version of
Boublil/Schonberg's Les Mis is even more like an opera, with a host
of great singers, and a total joy from beginning to end. It is
certainly a “must see.” At the matinee we were very much looking
forward to seeing our Ramin Karimloo as Jean Valjean, but got our
Aaron Walpole, and we could not have seen a greater performance. He
has just appeared in the touring 25th Anniversary edition,
and now gives his incredible talent to this performance. Everything
about this new production is first class.
October 16/13 –
I Love Lucy Live on Stage – A first rate cast
recreates the joy of Lucy and Desi, set in a tv studio, complete with
the commercials. A fun show for those of us who remember this hit tv
show, directed by Rick Sparks.

September 19/13
– Annie Get Your Gun – Civic Light Opera's season
opened with Annie Get Your Gun. One always worries when two strong
voices are needed for a show. But one needed to fret, as John Kemp as
Frank Butler, and the lead Finnie Jesson as Annie Oakley did not
disappoint. It came off as a first rate production, with some
surprising turns, Larry Westlake as Chief Sitting Bull in a knockout
performance, and David Haines more than held their own. Joe Cascone's
production was everything one could wish for, and the songs wear so
well, from There's No Business Like Show Business, You Can't Get a
Man With a Gun, Doin' What Comes Natur'lly, and the ballads The Girl
That I Marry, They Say It's Wonderful, and I Got Lost In His Arms,
were all very well sung. Another coup for CLO.