“In the 18th century, instability, wars and social change were the norm,” writes Penny-Lynn Cookson. “The function of music socially and politically was to represent the social values held by the royals, the aristocrats and the wealthy bourgeoisie.”
Three longtime Shaw actors, Sharry Flett, Patrick Galligan and Sanjay Talwar, sat down to chat with theatre critic Anthony Chase about their journeys as actors and careers at the Shaw. The result? “They shared a love and total commitment to what they are doing,” writes Penny-Lynn Cookson.
“Who were these famous and groundbreaking Jewish women? What did they have to overcome to succeed? What drove them forward? Ambition, drive, resilience for certain,” writes Penny-Lynn Cookson.
With quality performances from its two leads, superb production value and creative direction from Philip Akin, Adrienne Kennedy’s story of love and betrayal is well-realized at the Shaw, writes Penny-Lynn Cookson.
“I left feeling detached, that form had superseded content, that the visceral theatricality that Shaffer so brilliantly offers by his gifts of storytelling had been denied,” writes Penny-Lynn Cookson.
A fascination that likely began when humans first created shadow images on caves in ancient times, puppets have survived millenniums as a storytelling device popular around the world, writes Penny-Lynn Cookson.
“She sought unusual locations where ordinary people built empires against the odds and where strong, smart women overcame gender, convention and adversity,” writes Penny-Lynn Cookson.
“Indulge the child within you. This joyous production is for all ages and it was pure delight to see children on the edge of their seats, parents and grandparents alert, all responding and laughing in anticipation of what was coming,” writes Penny-Lynn Cookson.
“‘Heartbreak House’ is a profound examination of generational change, of dreams and ambitions shattered by war, of industry and government overturning social programs in favour of exploitation,” writes Penny-Lynn Cookson.
More than 40 years after the debut of this British farce on the Shaw Festival stage, “One for the Pot” returns with excellent performances that contain the elements needed to make this for-the-masses comedy a laugh riot, writes Penny-Lynn Cookson.
“Matters of etiquette, rules and styles of play inform. To Wodehouse, the only way to really find a true character is to play golf with him,” writes Penny-Lynn Cookson.
“Survival dictates new directions. ‘Beyond the Stage’ is expanding our experiences of theatre by allowing us to witness and explore exciting new paths,” writes Penny-Lynn Cookson.
“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.
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