I've rarely seen a comedy as well written and and well produced as "One Man, Two Guvnors."
Michael Groberman has worked as a theatre critic for The Ottawa Citizen, The Calgary Sun, The Georgia Straight, The Vancouver Echo and Xtra! West. <br> <br> He lives in Vancouver where he blogs at <a href="http://jacoblovestheatre.com/" rel="nofollow">jacoblovestheatre.com</a>. Connect with him on Twitter <a href="https://twitter.com/mgroberman" rel="nofollow">@mgroberman</a>.
"Bullet Catch" is a magic show that will delight you and "PostSecret: The Show" is both hilarious and touching.
01/30/2015 02:44 EST
Berger's sloppy treatment of the Jewish and anti-Semitic materials gives the play itself an air of anti-Semitism. This naïve, somewhat lazy writing effort seems to go out of control and winds up in unintended territory. Bright comedy devolves to dark disorder.
01/21/2015 10:32 EST
This is Samuel Beckett's "All That Fall," a 1957 radio drama staged by Vancouver's vital Blackbird Theatre. It's an extraordinary production that renders a deceptively simple narrative with a sophistication that makes this an important show.
01/05/2015 07:52 EST
The festive season is always marked by a plethora of stage offerings. Here are capsule reviews of four them.
12/15/2014 07:44 EST
You aren't likely to find a more solid, satisfying and well-produced show in Vancouver this holiday season. "Avenue Q" at The Arts Club on Granville Island is hilarious and dirty and sentimental. It's a gentle story about young adults who must find their ways after college. Imagine "Sesame Street" with frank discussions of sex and depression and you get an idea of how the show operates.
12/01/2014 06:43 EST
The show's musical star is Meghan Gardiner as toilet manager, Pennywise. She adds to the over-abundant exposition with the exuberant "It's a Privilege to Pee." She has the stage personality of a young Patti Lupone and lungs that grab and hold us. Glib and cynical, she's very funny and quickly becomes one of our favourite characters.
11/13/2014 12:08 EST
The director must give them life: make each character an individual, make the scenes sing so that the language comes not from the mouth of Shaw, but from the mouths of unique personalities, and make the arguments reflections of character rather than mere elements of Shaw's argument. That's where this Arts Club production really falls apart.
11/10/2014 06:54 EST
The play itself is interesting enough, and the characters strong enough, to sustain our interest for more than two hours. It premiered in 1954 with Geraldine Page as Lizzie and received a Broadway revival in 1999 with Woody Harrelson as Starbuck. As an exercise for young actors, this production probably works well. As a coherent piece of drama, not so much.
10/16/2014 07:30 EDT
Good performances and a remarkable set by Drew Facey provide an entertaining treatment of a pretty ordinary play.
10/09/2014 03:57 EDT
All actors are always present in the room, and the house lights are on throughout the performance. We are, in a sense, in a living room that surrounds the two kitchens of the main characters.
10/06/2014 06:14 EDT
The new Arts Club production "4000 Miles" is inoffensive, irrelevant, and trite. This much-produced American comedy from 2011 provides warm reassurance that familial love is good. Intended to warm the heart with warm humour, it inadvertently challenges us to care about the obnoxious protagonist. But a lack of story is the play's greatest weakness.
09/25/2014 04:21 EDT
Anita Rochon's inspired approach to this maligned play is a great success. She exploits the its weaknesses and makes them strengths. She turns her seven actors into a full cast of 18 using a scheme so clever and funny it occasionally upstages Shakespeare himself. And that's a good thing.
08/01/2014 11:53 EDT
A very talented cast struggles valiantly through a text that rejects dramatic development at this Bard on the Beach show. This is too bad, because without a plot, "Equivocation" is just an endless stream of platitudes.
07/23/2014 07:28 EDT
Allan Morgan's portrayal is tentative. His Prospero seems shy. Morgan seems to cower beneath the role, never fully inhabiting it. His voice lacks confidence. This is a meek and gentle magician, a follower. It's all wrong. Morgan hasn't the stature for the role. A good character actor, he fails to command the stage as arguably Shakespeare's most powerful character.
07/13/2014 12:37 EDT
Scott Bellis' Bottom is comic confection. This is a mighty performance. The audience enjoys a frisson of excitement each time Bellis steps into the light. The performance is a careful, studied piece of work that is truly original and may leave you gasping for breath. The rest of the play pales beside him.
07/04/2014 06:10 EDT
A parade of remarkable (but rarely thrilling) acts take the stage, one after the other, with a rhythm closer to "The Ed Sullivan Show" than traditional Cirque. This revue approach is disappointing not only because the show has no flow, but because it does not build to a climax.
06/16/2014 02:52 EDT
The production, directed by Sarah Rodgers, is very good. The show is at its best with the realistic story. Rosa fights with her mother and stepmother (battles that are usually hilarious), and Amante narrates the drama of Rosa's search for answers, her visit to the crash scene, her questions about the accident.
05/24/2014 21:26 EDT
This Arts Club production is, on the main, a very good piece of work. But the director does not inject the kind of energy a show like this demands. "Spamalot" is so silly and over-the-top, the production needs a tone to match it. This one plods along.
05/21/2014 06:30 EDT
The bulk of "Kim's Convenience" features Appa's eccentric opinions and the joke of his heavily accented English. It is easy comedy and carries the play nowhere. Appa uses his martial arts training to torture a potential boyfriend into proposing marriage to his daughter, Janet. He forces them to kiss and gets angry when they kiss too much. This is supposed to be hilarious.
05/06/2014 12:24 EDT
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