Day: February 7, 2018

The House That Geoff Sobelle Built: Questioning The Fundamentals Of Everyday Life In “Home”

In Home, Geoff Sobelle and company, under the skillful direction of Lee Sunday Evans, create a spectacle of growth and multiplication, shift and change that challenge perceived ideas of ownership, community, and hospitality. The show starts small, with a man (played by Sobelle) trying to build a house out of wooden frames, but expands soon enough through the stage illusions of illusion designer Steve Cuiffo. Appearing out of thin air, a bed and a door are the first fragments of an individual’s memory of home and family to the surface, which the company uses for vanishing acts. The escalation...

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On Words In Motion: “Brodsky/Baryshnikov”

In scholarly debates on contemporary theatre, the question about language has primary importance. Critics as well as scholars, interested in diversity on stage, often discuss the advantages and the limitations of using two or more languages, the working of surtitles, and the rules of hospitality when a producing company decides not to translate their productions to the host audience. Brodsky/Baryshnikov (directed by Alvis Hermanis) that played this weekend in Toronto’s Winter Garden Theatre, with Mikhail Baryshnikov on stage reciting the poetry of his close friend and recipient of the 1987 Noble Prize in Literature, Joseph Brodsky, is proof in...

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“Brodsky/Baryshnikov” – Poetry in Motion

The choreography itself spun through a range of subtle to more bombastic, creating a dramatic arc for the 90-minute piece. Baryshnikov’s commitment to using the whole body is unflinching. Whether it was part of the opening movement, when a chair balanced against his back served as the hint to the centaur referenced in a poem, or the use of his fluttering arms as a butterfly metaphor, his conviction in thought and body is mesmerizing. The illustrative nature of the metaphors manages not to be redundant or heavy-handed.

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