Shes-Not-Special-review
Aisha Lesley Bentham
Aisha Lesley Bentham BFA, MA is an internationally trained artist-scholar, vegan chef, and wellness coach. Aisha’s research and passion examines the intersections of cooking and performance and aims to integrate notions of care, eco-somatics, and cookery from the perspective of a first-generation Black Canadian. Her new work will premiere at SummerWorks August 2023.
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iPhoto caption: Photographed productions from L to R, top to bottom, with the photographer in brackets: seven methods of killing kylie jenner (Dahlia Katz), Big Stuff (Dahlia Katz), De Profundis (Dahlia Katz), Goblin:Macbeth (Jae Yang), Salesman in China (David Hou), Dana H. (John Lauener), Earworm (Dahlia Katz), Age Is a Feeling (Dahlia Katz), Honey I’m Home (Eden Graham).
Our favourite theatre productions of 2024, in Toronto and beyond
End-of-year lists are personal. When it comes to theatre, the question isn’t really what shows you liked most, but which ones left the strongest imprint, continuing to pinball around in your mind and heart even after the set is gone and the cast no longer recalls their lines.
iPhoto caption: Production still from The Nutcracker courtesy of the National Ballet of Canada.
Why should you go to the ballet?
My childhood memories of learning to dance were front and centre for me when I attended opening night of The Nutcracker, performed by the National Ballet of Canada at the Four Seasons Centre for the Performing Arts.
iPhoto caption: A Christmas Story production still by Dahlia Katz.
REVIEW: A Christmas Story feels fresh at Theatre Aquarius
If you want to catch A Christmas Story before it closes, good luck — the show is close to sold out, and with the talent on that stage, it’s not hard to see why.
iPhoto caption: Photo by Danelle Jane Tran.
REVIEW: Yes, Holiday! An Improvised Musical really is different every night
Putting aside its opening number and a single proper noun, every word of Bad Dog Theatre’s Dora Award-nominated Holiday! An Improvised Musical has the potential to change from performance to performance.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Canadian Stage revives the Ross Petty panto with pop songs, puns, and a pinch of Ozdust
Making a case for the panto’s return, The Wizard of Oz is full of local references and charm, and perhaps even some surprise guests to fill audiences with hometown pride.
iPhoto caption: Photo by Marie-Andree Lemire.
REVIEW: Titaníque loves Céline Dion with all its heart
Content quibbles aside, Titaníque’s inarguable accomplishment is musical: What an amazing showcase for a Canadian cast’s vocal chops and capacity to deliver character through song.
iPhoto caption: Photo courtesy of the Canadian Opera Company.
REVIEW: Aportia Chryptych marks many firsts for Canadian opera
While representation is important, re-telling stories of Black Canadians comes with even greater responsibility. Our stories are not monoliths, nor should they exist within a digestible social narrative. Imbued with...
iPhoto caption: Photo of Come Home — The Legend of Daddy Hall by Cylla von Tiedemann.
REVIEW: The Legend of Daddy Hall feels like coming home
Home is not a place, it’s a feeling, and Come Home — The Legend of Daddy Hall feels like I came home. I was taken on a journey watching this play and came out honoured to be a witness to such an incredible story. I encourage you to do the same.
iPhoto caption: Photo by Roya DelSol.
This play is such a delight to watch, and I would definitely go again. I live for this quality of performance, and I’m looking forward to how this play will continue to inspire Black Canadian theatre to come.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Three Sisters weaves together joy, fear, and the Biafran Civil War
In this conversational review of Three Sisters, contributors Kemi King and Aisha Lesley Bentham reflect on a masterful production helmed by Mumbi Tindyebwa Otu.
iPhoto caption: Photo by Jae Yang.
REVIEW: In 3 Fingers Back, Donna-Michelle St. Bernard explores the extremes of war
3 Fingers Back ain't no regular play about war. We don't see or hear the destruction of the land or the cry of the people. Instead, Donna-Michelle (DM) St. Bernard's double bill of plays is more intimate, an inward crawl to what she calls the repetitive stress patterns that constitute the world.
Think of both of these plays not side-by-side but instead facing each other and reflecting to us, the audience.
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