At Russian Hall until February 8, 2015
Bold. Ambitious. Audacious. These are words we sometimes use when we admire the attempt but don’t actually ‘get’ it. Steppenwolf, the debut work of Fight with a Stick theatre company co-founded by Alex Lazaridis Ferguson and Steven Hill (former artistic director of Leaky Heaven) is bold, ambitious and audacious.
At Kay Meek Centre Studio Theatre until February 15, 2015
Sometimes it takes a cataclysmic event to jar us out of our comfort zone. And, if you’re over, say, sixty and married to the same partner for forty years, give or take a few, that comfort zone can be downright predictable.
Nicola Cavendish as Lilly in The Goodnight Bird. Credit: David Cooper
At Studio 16 until February 1, 2015
The simplicity, honesty and intimacy of Après Moi is breathtaking. Written by Quebecois playwright Christian Bégin, translated by Leanna Brodie and directed by Ruby Slippers Theatre’s artistic director Diane Brown, the script is rivetting, intelligent, profoundly moving and a superb example of all that live theatre can and should be: a communion, a coming together.
Jennifer Lines in Après Moi. Credit: Tim Matheson
At The Stanley until February 22, 2015
Warning: do not attempt to produce One Man, Two Guvnors unless you have someone as prodigiously talented as Andrew McNee in the role of the titular One Man. You need someone who can do a double take, a triple take, multiple somersaults, survive many kicks to the crotch, blows to the solar plexus and pratfalls aplenty.
Martin Happer, Andrew McNee and Celine Stubel in One Man, Two Guvnors. Credit: Emily Cooper
At Jericho Arts Centre until February 15, 2015
Noel Coward’s plays are at that awkward age: not old enough to be a ‘must-see’ part of British theatre history but not contemporary enough to be very engaging.
Cailtlin Clugston (as Amanda) and Ted Cole (as Elyot) in Private Lives. Credit: Nancy Caldwell
At the Revue Stage until February 7, 2015
I am the perfect target for Rob Drummond’s magic show, Bullet Catch. Skeptical but willing to be amazed and even when an illusion is revealed – as Drummond does with one of his tricks (but only after asking if we want to know how it was done), I’m still amazed.
Rob Drummond in Bullet Catch. Credit: Megan Verhey
At Pacific Theatre until January 31, 2015
Imagine a range of storytellers from lanky, slowly drawling Stuart McLean on one end to lanky, hectic Nathan Schmidt on the other. Frenzy – or joy – is where playwright Glen Berger attempts to take us in this Rosebud Theatre production of Underneath the Lintel.
Nathan Schmidt as the Librarian in Underneath the Lintel. Credit: Emily Cooper
At the Firehall Arts Centre until January 17, 2015
We’re all in the same boat. And it’s rocking. What to do? What to do?
Susan Hogan as Annie in Kayak. Credit: Chena San Martin
At The Cultch until January 24, 2015
Although Lee Van Paassen is neither a septuagenarian nor “two hundred pounds of unhealthy fat”, she embraces, in every other respect, Samuel Beckett’s Maddy Rooney, a self-described “hysterical old hag.” Van Paassen is simply magnificent, Irish accent and all.
Adam Henderson and Lee Van Paassen in All That Fall. Credit: Tim Matheson
It was big on ‘Q’ this year in Vancouver theatres: quantity and quality. Reviewers were lacing up their Nikes just trying to keep up; I considered setting up a tent at The Cultch.
Linda Quibell as Mrs. Warren in Mrs. Warren’s Profession. Credit: Kaarina Venalainen