Mooney on Theatre Reviews

Review: Asheq: Ritual Music to Cure a Lover (Onelight Theatre)

Persian mythology is brought into modern day storytelling in Asheq: Ritual Music to Cure a Lover. The fully immersive multi-media work is created with boundless cloth and a single performer who takes on multiple roles at Harbourfront Centre Theatre. Created by Shahin Sayadi of Onelight Theatre, the performance explores the struggles of tradition within a small community. In a small fishing village on the Persian Gulf, Farhad loses the love of his life to childbirth, resulting in a lifetime h

Review: Grand Finale (Hofesh Shechter)

Internationally celebrated choreographer Hofesh Shechter returns to Toronto with a smoke-filled stage and a chaotic world in freefall in Grand Finale at the Bluma Appel Theatre. Grand Finale does not mark his final work, but presents a dreary yet beautiful apocalyptic world. In this world, dancers are not distressed in a typical end-of-the-world fashion; rather they blankly move through a chaotic realm. Their movements are loose-limbed as they shuffle and shudder around the stage with supple

Review: Older & Reckless #41 (MOonhORsE Dance Theatre)

Older and Reckless #41 presented at Harbourfront’s Studio Theatre has everything you need, from laughs and love, to downright creepy and dark. The six work bill, curated by Claudia Moore, hosted by Tabby Johnson, is performed by some of the most celebrated older artists – as the company states, made more reckless as time goes by. The performance starts with a group warm-up, bringing the community together in the space (or lack thereof to move your arms – but all is part of the fun). Next, MoW!

Review: The Pigeon (Alumnae Theatre)

The Pigeon, presented in the Fireworks Festival at Alumnae Theatre, is a new, exciting and daring play for mature audiences. With beautiful relationships between contrasting characters, and a plot for revenge – this play will take you on a rollercoaster ride from start to finish. Written by Chloë Whitehorn, The Pigeon follows a distressed millennial – Jegger (John Shubat), who befriends an older woman, Malone (Liz Best). Joined by a mutual hatred for Jegger’s mother, they are drawn together in

Review: Figaro 2.0 (ProArteDanza)

ProArteDanza beautifully re-imagines ‘The Marriage of Figaro’ (Le Nozze Di Figaro) in Figaro 2.0 at the Fleck Dance Theatre. Taking on the large task of a three-hour opera, award-winning co-choreographers, Roberto Campanella and Robert Glumbek create a gorgeous and witty ninety-minute contemporary dance work. Figaro 2.0 is based on the comic opera, composed by Mozart in 1786. The story has many twists and turns following misunderstandings, manipulations and infidelities. I highly recommend read

Review: Saucy Jack and The Space Vixens (Small but Mighty Productions)

Glitter boots, murder and a whole lot of disco made my night as I watched the raunchy and outrageous musical Saucy Jack and The Space Vixens at Buddies in Bad Times Theatre. What a fun night out with a talented cast! How can you go wrong with numbers like “All I Need is Disco,” “Glitter Boots Saved My Life” and “Fetish Number Out of Nowhere.” The musical is campy and full of glitz and glamour as the cast interacts with the audience as if they are patrons of the futuristic club – Saucy Jacks.

Review: Exhale (Sore for Punching You)

Allison Cummings’ Exhale presented at DanceMakers Centre for Creation shows the beautiful complexities of communication through breath – reminding us of its vital and universal nature, the rhythm that it holds and the intense emotional effects it presents to others. The beautiful sound design by Dora Award winner, Lyon Smith, brings in the audience before the show begins. The required silence of the audience, generally communicated by the universal sign of dimming the lights is forgotten, the e