“We were gifted with laughter, anticipation and Wodehouse magic, plus some terrific Gene-Kelly-inspired dancing. Anchors away, don’t miss this joyful cruise,” writes Penny-Lynn Cookson.
“As the ring-master of inventions and deceptions, Wyke is supremely confident that in the real world of crime, who could possibly outthink him?” writes Penny-Lynn Cookson.
“It was Sara Farb’s finale, a stationary no-holding-back solo, guaranteed to rouse emotions, that wrenched the audience to an eruption of applause. Impressive, but still not quite enough to fill the void,” writes Penny-Lynn Cookson.
“Some will mourn the final performances of ‘A Christmas Carol’ at the Royal George for the foreseeable future. Others will mourn the passing of the theatre itself,” writes Penny-Lynn Cookson.
“Why is this production so satisfying? Irving Berlin’s songs are pure genius. The orchestra sweeps and swirls us along. We unabashedly sing on request,” writes Penny-Lynn Cookson.
“Their shared dreams rise and fall, worn down by circumstances caused by a multitude of factors. These include the onset of the Great Depression, economic uncertainty, job losses and racism,” writes Penny-Lynn Cookson.
“Improv is hard work. If the goal of Murder-on-the-Lake is to take very good care of its audience, this production succeeds admirably,” writes Penny-Lynn Cookson.
“Please, bring back the Spiegeltent in whatever future form it may take and do plan more of these innovative, imaginative offerings. Let’s have more opportunities to tap, swing and lift our spirits,” writes Penny-Lynn Cookson.
“In ‘Major Barbara’ of the Salvation Army, we hear the voices of Victorian women aspiring to liberation, to work, to earn money and have the right to social, political, legal and gender equality,” writes Penny-Lynn Cookson.
“Despite the absurdity of life and perhaps unreached dreams, our aspirations remain, and we can still find magic in the power of language and theatre,” writes Penny-Lynn Cookson.
“This is not a static read but a lived experience of minds and bodies in motion both intellectually and physically,” writes Penny-Lynn Cookson.
“Within this wardrobe is a land of intrigue, adventure and danger that will change their lives forever: Narnia,” writes Penny-Lynn Cookson.
“‘Tons of Money’ has a strong farcical plot, fine performances by a talented cast, stunning set and 1920s costume designs … It simply needs to more cohesively come together,” writes Penny-Lynn Cookson.
“In our current period of uncertainty, not entirely dissimilar from the 1930s, this timely Shaw production of ‘Anything Goes’ has audiences erupting in a catharsis of cheers, whoops and whistles of appreciation,” writes Penny-Lynn Cookson.
“The delight of this production owes much to its buoyant, genuine performances, fine direction, imaginative minimalist staging, creepy sounds and lively puppets,” writes Penny-Lynn Cookson.
“This is a cohesive, entertaining, visually and technically superb production directed by Craig Hall, having its world premiere at the Shaw Festival,” writes Penny-Lynn Cookson about this year’s production of “Sherlock Holmes and the Mystery of the Human Heart.”
Based on a Yuan dynasty drama by Guan Hanqing, “Snow in Midsummer” is the story of a young widow accused and executed for a murder she did not commit.
“In this triangle of love, originally described by Bernard Shaw as ‘a mystery,’ Candida must choose which of the two men will be her future,” writes Penny-Lynn Cookson.
“‘One Man, Two Guvnors’ is a ribald, rollicking, raucous, roaring hit. To dismiss it with disdain, as some have, is beyond chacun à sans goût — it is to miss the point,” writes Penny-Lynn Cookson.
“Mystery and magic are in the very words and idea of a “secret garden.” We want to know more. Where is it? What’s in it? Why is it a secret?” writes Penny-Lynn Cookson in her review of “The Secret Garden” at the Shaw Festival.
“‘It Don’t Mean a Thing If It Ain’t Got That Swing’ and swing audiences certainly did when Duke Ellington composed this jazz classic with lyrics by Irving Mills in 1931 and performed it at Harlem’s famous Cotton Club,” writes Penny-Lynn Cookson, highlighting one of several standout show at the Shaw Festival’s Spiegeltent this summer.
“THE HOUSE THAT WILL NOT STAND” *** (out of 5) Jackie Maxwell Studio Theatre, 2 hours 30 minutes, one intermission. Ends Oct 12. Writer: Marcus Gardley. Director: Philip Akin. A drama about the
“Themes of revenge, sacrifice, filial duty, honour, love, mortality and morality become powerfully new in this pared down riveting adaptation and gripping production,” writes Penny-Lynn Cookson.
“When truth is clearly evident, it speaks for itself.” Agatha Christie, the world’s best-selling novelist and Queen of Crime, leads us to seek the truth in a noir genre courtroom drama of justice, dislocation, love and betrayal.
For the nay-sayers who lamented, “Please, not another ‘My Fair Lady,’ ” rest assured, the performances and presentation of this musical comedy are stellar, with a depth of social issues still relevant today.
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