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Janine Marley
Janine Marley is an independent theatre reviewer born in Kingsville, Ontario and has been a Torontonian since November 2020. She holds Honours BA and MA Degrees from the University of Windsor in English Language and Literature with her studies primarily focused on theatre. She began acting at a young age and continued acting in productions until 2018. She started her blog, A View from the Box, as a personal project to share her passion for theatre.
LEARN MOREAt Next Stage 2024, two shows complicate the meaning of a night out
Gemini, by Louise Casemore, and Prude, by Lou Campbell, explore the hospitality industry and bar culture from different perspectives.
REVIEW: In Ronnie Burkett’s darkly intelligent Wonderful Joe, gentrification hits like a meteor
When Siminovitch-winning puppet virtuoso Ronnie Burkett chose the focus of his latest play, was he thinking of TO Live’s $421-million plan to redevelop its St. Lawrence Centre for the Arts?
REVIEW: 13 Plays About ADHD All At The Same Time is true to its title
While the play’s structure may occasionally leave you feeling as scattered as its protagonists, its heart, humour, and raw honesty will keep your thoughts churning well into the night.
Speaking in Draft: Byron Laviolette
“Right now, the creation-to-production process for a lot of people is from the Toronto Fringe to — hopefully — some theatre recommender grants, to a workshop production, to maybe an actual production,” says What The Festival co-founder Byron Laviolette. “But the realities of mounting a show at the Fringe don’t translate to a two-week run at the Extraspace at Tarragon. Peoples’ appetites are different. Yet we don’t train or support people to translate their shows into those different contexts."
REVIEW: Goblin:Macbeth might just leave you gobsmacked
While most of the entertainment comes from the goblins’ antics whenever the Shakespearean text is paused or subverted for comic effect, the secret sauce to this whole endeavour is that it really is an honest-to-goodness staging of that text, designed to showcase the performers’ near-virtuosic mastery of the material.
REVIEW: The Thanksgiving Play wriggles in performative wokeness
In 2024, is there a way to produce an engaging, culturally sensitive play about the first American Thanksgiving for elementary schoolers? The Thanksgiving Play, penned by Native American playwright Larissa FastHorse and now playing at Mirvish’s CAA Theatre, poses that question in its first five minutes, then throws the query out with the cranberry sauce in its madcap exploration of a devised theatre piece at an unnamed primary school.
REVIEW: Sparks fly in Norm Foster’s uproarious Lakefront
In its world premiere at Lighthouse Festival Theatre, Lakefront is not only a love letter to Canada, but also a love letter to love.
REVIEW: Guild Festival Theatre’s eerie Isle of Demons reverberates with hope and resilience
Isle of Demons is a superb way to spend a summer’s evening: with the stunning backdrop of Guild Park, and the breeze picking up as if on cue, it’s the ideal venue and time of year for such a tale.
REVIEW: Doris and Ivy in the Home explores aging with heart and humour
Norm Foster’s Doris and Ivy in the Home, directed by Jane Spence, is an exploration of friendship, love, and intimacy amidst the inevitable process of aging.
REVIEW: The Drowning Girls at Guild Festival Theatre
A perfect start to #spookyszn, this incredible story will send shivers down your spine.
REVIEW: The Ballad of Stompin’ Tom at Capitol Theatre Port Hope
Whether you’re a lifelong fan or new to Tom Connors’ music, you’re likely to love The Ballad of Stompin’ Tom. It’s a perfect blend of story and music that tells the tale of one of Canada’s heroes.
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