Isabella Perrone - Page 4

HERE ARE THE FRAGMENTS combines strong acting, independent exploration, and topical subject matter to create one of the most unique theatrical experiences in Toronto right now. Created by Dr. Suvendrini Lena, it's an immersive look into the life of Dr. Chauvet (Allan Louis), a Black doctor who is diagnosed with schizophrenia and psychosis after experiencing traumatic racist treatment from patients and coworkers.

Even though the weather in Toronto is flip-flopping between fall and winter, there are plenty of ways to celebrate the holiday season around the city a?' and The Second City's joined that list with the UNCONVENTIONAL HOLIDAY REVUE.

The National Ballet of Canada's ORPHEUS ALIVE is a ground-breaking theatrical production, with heavy focus on theatre. Choreographer Robert Binet has taken some huge chances with the incorporation of lengthy, text-driven components (writing, dramaturgy and text direction by Rosamund Small) that do a great job of explaining the narrative, but take away from what should be the main focus a?" dance.

ANOTHER BRICK IN THE WALL's title alone brings a melody to mind, and if you don't hear it in the bratty voices of the kids featured on the album a?' then you'll probably have a different opinion on the opera than fans of Pink Floyd might. While this production leans into the emotional undertones of the source material and Roger Waters' lyrics, it trades the captivating and wild grit of classic rock for sweeping orchestral pieces and in-your-face literalism that doesn't always land.

ProArteDanza's latest work, choreographed by Roberto Campanella and Robert Glumbeck, is the impressive result of over a decade of collaboration between its renowned creators. The piece is set to Beethoven's beloved 9th Symphony, and in line with the music, the story unfolds in four movements. Exploring themes of individual versus community, human connection, and breaking down barricades a?" literally and figuratively a?" the work is a demanding, moving piece featuring an impressive ensemble.

Set in a pastoral German village, GISELLE has all the components of a quintessential romantic work. The titular character is a beautiful young woman living with her strict-yet-loving mother (Lorna Geddes). Although a local forester (Piotr Stanczyk) wants to marry her, Giselle has fallen for another man in the village a?" the Count of Silesia, Albrecht (Harrison James), who has donned a disguise to escape the responsibilities of his noble status. When the forester exposes the Count's identity, Giselle goes mad and dies a?" in some productions by suicide, but in this version it seems more likely that a pre-existing heart condition is to blame. She returns as a Wili in the second act to defend Albrecht from the other Wilis and their queen (Heather Ogden), who force men in the woods to dance to their death.

Michelle Bouey might be a fairly new name in Toronto's performing arts scene, but the rising singer has already made an impact in the city. With a 2018-19 Banks Prize under her belt, Bouey returns to The Musical Stage Company for her second edition of UNCOVERED. The thirteenth show in the concert series focuses on the music of Stevie Wonder and Prince, and Bouey gave us the ins and outs of how a show like UNCOVERED comes together behind the scenes in an exclusive Q+A.

When it comes to covering popular music, navigating the space between individual interpretation while still respecting the original artist's work could be a daunting task. And when the artists whose music is being covered are household names and legends in every way, there's also the need to ensure their fans appreciate the changes made in the reimagining.

LET'S RUN AWAY is a deeply personal look into the life of a man through what his late birth mother wrote about him in her memoir; the premise is simple enough, but it's the layers and puzzles scattered throughout the interactions between mother and son that make the story so intriguing.

In this revival of Opera Atelier's 2011 DON GIOVANNI, questions of morality combat comedy in perfect harmony. Under director Marshall Pynkoski, this retelling of the tale of the Don examines his lifestyle as a full-time seducer and contrasts it against the ideals of the women he's loved and left (and their men).

For a different kind of night out, look no further than Beyond Mental Borders and their collection of mental tests. Comprised of Toronto-based mentalists Armand Antony and Alexandra Brynn, CONNECTION takes the traditional approach to magic and modifies it for a modern audience. Over the course of their act, Brynn and Antony lead several tests centered on mind reading a?" which, as the pair explain at the very start of their show a?" isn't real, but that doesn't mean the performance isn't a whole lot of fun.

It's a circular story that's both deeply complex and utterly simple. It's a puzzle that reveals itself, side by side and track by track, slowly and then all at once. There are moments of chaos, dissonance, and fury which battle with the quiet, solemn, tranquil ones. It's laden with feeling and will keep you guessing until the last light goes out; GHOST QUARTET isn't your typical night at the theatrea?"it's a fully sensory experience.

Classic horror movie tropes meet an inclusive, immersive experience in Aberrant Theatre's second annual Ghost Light Anthology production, CATACLYSM. The story follows a group of former campers and their counsellor as they return to their old haunt after a tragic incident. As they're reunited, old tensions and rivalries are rekindled and create a powder keg of an environmenta?'and that's when things start getting weird.

As they near the end of their first year, Beyond Mental Bordersa?"comprised of Armand Antony and Alexandra Brynna?"has seen their act go farther than they could have anticipated. Their live show CONNECTION, held twice monthly at The Rec Room, has become a largely popular event that's sold out for the last few months with no sign of slowing down.

Talk Like You Theatre's IN THIS HOUSE, premiering at the Rendezvous With Madness Festival, explores the lives of four 20-something roommates living downtown. The house is old and owned by the introverted Minka (Ciana Henderson), who received it from her grandparents, but the cost of living leads her to find a few roommates to fill the place. Enter Charlie (Jonathan Sconza), the story's anxious narrator; Remi (Rosie Callaghan), an aspiring musician who works at a bar; and Jinx (Astrid Atherly), a psychology PhD candidate-slash-burlesque dancer. As the four learn to live with and love one another, they're also confronted by harsh realities: mental illness, suicide, and illness lurk in the corners of every conversation until given the chance to burst forth.

The Canadian Opera Company's RUSALKA utilizes Lyric Opera's 2014 production under the direction of Sir David McVicar, making his COC debut. This retelling of Hans Christian Andersen's 'The Little Mermaid' draws on a more sinister angle of the folk tale than what most people might know, utilizing composer Antonín Dvořák's multi-faceted score to convey emotion and fantasy at the leadership of conductor Johannes Debus.

Set in one of the last American cinemas with a 35mm projection system, THE FLICK examines the lives of three employees who are struggling with romantic relationships, finances, family, and themselves. It's a bleak look at life that suggests some interesting perspectives, although a lengthy runtime makes for a long, sometimes uncomfortable watch.

One of the most unique opera experiences in Toronto this year is that of a classic story brought to life in a dive bar. The Tranzac Club's unassuming entry makes it easy to miss if you aren't looking for it, but upon entering the building there's an unshakeable feeling that something special is happening within.

It's not unusual for The Second City to take a political angle with their sketch comedy, and their latest revue is no exception. Climate change, racism, sexism and Canada's long history of genocide are all fair gamea?"and in the hands of director Rob Baker and the talented mainstage ensemble, there's a perfect balance between funny and frightening.

In Nightswimming's BROKEN TAILBONE, presented by Factory Theatre, playwright and performer Carmen Aguirre does double duty as a dance and history instructor. A traditional seated theatre is swapped for a bare dancefloor, with a handful of chairs against the walls and a bar at the back of the room. Pulsating lights (lighting design by Michelle Ramsay) and steady beats (sound design by Pedro Chamale) are the final pieces that turn the space into a Latinx dancehall, where over the course of the 80-minute performance, Aguirre teaches the basics of salsa, meringue, and twerkinga?"among other popular dance stylesa?"while constantly connecting each type to an experience from her personal history.