Friday, February 14, 2020

Looking Back, Stepping Forward: A Choreographer’s Greatest Hits

Devon Snell in Echo Dark (2020). (Photo: Ömer Yükseker)

Farewells are rarely easy. But Christopher House, outgoing artistic director of Toronto Dance Theatre, has managed to turn his into a rousing valediction celebrating his 40-year-plus career as an award-winning dancer and choreographer. 

House Mix, the title given to the 100-minute program of past works his 12-member company is presenting at Harbourfront’s Fleck Theatre until Saturday, is one sparkling grand finale, an intelligently curated show of greatest hits that sends House, due to retire at the end of June, off in a blaze of glory.

Tuesday, February 11, 2020

The Lucky One: Miss Americana (aka Taylor Swift: Miss Americana)


People often say that you need to be objective to be a good critic, but I’ve often found that being invested in a work can illumine more pathways into what it’s trying to do and how well it succeeds. Of course, it’s not necessarily a “better” perspective, whatever that means, just a different one. Being a Swiftie, I find the Taylor Swift on screen in Lana Wilson’s Miss Americana (2020, a.k.a. Taylor Swift: Miss Americana) to be a familiar presence from all of the interview and behind-the-scenes footage of her that already exists, some of which is used in this documentary. As Swift suggests in an early interview, also included, fame and career longevity have always been on her mind, and the film grounds such abstract musings in raw and emotionally vulnerable moments, captured as they happen.

Monday, February 10, 2020

Timon of Athens: Lonely at the Bottom

Kathryn Hunter in Timon of Athens. (Photo: Henry Grossman)

In Shakespeare’s late, one-of-a-kind tragedy Timon of Athens (now generally accepted by scholars as a collaboration with Thomas Middleton, co-author of The Changeling), a wealthy Athenian given to displays of staggering generosity whose fair-weather friends deny him when he runs into deep financial trouble turns his back on his city and goes to live in a cave. It’s a fable, but still the protagonist’s personality change is so extreme that, for modern audiences at least, I can’t imagine how it would work without a strong psychological reading of his character. When Simon Russell Beale played it at the National Theatre eight years ago under Nicolas Hytner’s direction, Timon’s excessive benevolence was provoked by a desperate need to have people like him, so his eviscerating bitterness in the second half played as fury at being deprived of what he had worked so hard and so continually to secure. Simon Godwin’s new version, which he staged with the Royal Shakespeare Company and has imported to Brooklyn for Theatre for a New Audience, lacks any real explanation for the shift except for the narrative circumstances – and they aren’t enough to make the play work dramatically.