Dance Me to the End on/off Love
Euripides' Bacchae has seduced many an artist into fascinating and, sometimes, ill-advised adaptation: Joe Orton, Brian de Palma, Caryl Churchill, Ingmar Bergman among many, many others went down the dangerous road. (Even here, this season, we have seen a production.) It's a tale of blood, family, sexual identity (well, is there a Greek tragedy that isn't?). The God That Comes takes it down (and up!) a notch with a musical work co-created (with Christian Barry) and performed by Hawksley Workman. Workman, an award-winning musician, has composed for stories (on TV) and - like other adaptors - will aim for what makes Bacchae so seductive: its frightening blend of violence and ecstasy. (Calgary)
Dance Me to the End on/off Love is, in its simplest terms, a celebration of the words and music of Leonard Cohen. But if you are expecting just a bunch o' folkies strumming around a mic when you walk into the show, think again. Indeed, subscribers may be in for a delightful shock as Danish company Granhøj Dans takes to the stage. In an explosion of dance, music, visuals and - like Cohen's work - eroticism and nihilism this may be the most discussed production in the city's season. (Montreal)
"Lizzie Borden took an ax and gave her mother forty whacks. When she saw what she had done, she gave her father forty-one." (Ah! Children's rhyme's were so interesting once.) The doyenne of Canadian playwriting, Sharon Pollock, begs to differ with the rhyme, however, and takes the true story of Borden into a completely different direction in her play Blood Relations: that of psychodrama (not Psycho Drama). In a series of flashbacks and role-playing, an older Lizzie (who was acquitted of the hideous murder of her parents, in passing) turns questions of culpability on their heads. (Vancouver)
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