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Platform 9 Theatre - Media Quotes

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Steel Kiss - “The hardest-hitting drama now in town is a mere hour long. But in that time Robin Fulford’s Steel Kiss presents a strong indictment of a society that turns ‘normal’ young men into killers…a transfixing piece of theatre, a case of boundless energy channeled in all the right directions.” Now

Dark Song – “…is a quiet sensitive exploration of this shattering experience [aquaintance rape]…” The Toronto Star

White Trash Blue Eyes – “…is an excellent theatrical installation using the premise of a low rent bar being taken over by developers to examine greed, homelessness, community and other issues with an imaginative approach and a satiric sense of humour.” Now

Gargoyle – “The result is like an operating theatre where we watch the literary dissection of the insanity of a young man obsessed with the sacred heart of Jesus. Fulford’s literate, literary script, with layers of illusion and allegory, was matched by the intelligence, humour and allusiveness of McDougall’s direction.” Theatrum

Never Swim Alone – “Whatever one might think about MacIvor’s assertion that competition is the root of all evil, it is hard to find fault with the stylish, thoroughly involving manner in which this polemic finds expression.” The Toronto Star

Swahili Godot/Lovesong – “Out of the red smoke and black void, two tales of violence emerge to capture an audience’s imagination.” Now

Eureka! – “When the driver hits the brakes, the tires send out an echoey squeal…the vehicle swings around so that its headlights are staring straight at the audience…the result is the kind of taut confrontational drama that one expects from Platform 9.” The Toronto Star

Sleeproom – “…an extraordinary play…the content is mind blowing – the audience, after ‘interviews’ by the institute staff, are divided into groups and tramp around led by piping guides to eight spaces within the theatre where medical personnel conduct experiments and weird therapies on ‘patients’ – dubbed ecologizers – with the obvious aim of destroying their individuality in the guise of granting them self control and self discovery.” The Toronto Star

Mouth – “Mouth dives fearlessly into the hellhole of family relationships and, through insanely inventive staging, forces us to come along. The play is told through the eyes of a teenage boy, for whom family is a claustrophobic prison. Here personality is fragile and any hint of sexuality is a blood curdling threat.” Theatrum

The Last Supper – “Mercy kills. Or does it?…playwright and director Hillar Liitoja has taken the controversial subject of euthanasia and created an elegant testament to choosing to die with dignity.” Eye

Sleepers Awake – “Brecht and Beckett get a jazz-age spin…acted and art-directed to perfection.” Eye

Controlling Interest – “The subtle overly of film and live action is a treat, done with sliding screens, multiple images and a sense of the observer observed.” Now

Eddycandyside – “…is a brave, unsentimental and affecting attempt to do the impossible – write about death in the first person.” Now

Gulag – “Peering through the eyes of these killers is a bold act of imagination…the play triumphs on energy and anger – it’s as dramatically exciting as it is emotionally bleak. Fulford’s wiry, aggressive writing is complemented by director Sarah Stanley’s expert control of the play’s violent physicality.” Now

Possible Worlds – “…by local hero John Mighton, is a brilliantly conceived theatrical reflection on the theory of parallel worlds…The joy of the play, however, is that the language of metaphysical discourse rarely intrudes.” Eye

Megatropolis – “…is still a work in progress but it is already spectacular…already a bold and brilliant metaphor…This political parable is told by means of mimed acting with the occasional projected subtitle in the manner of a silent movie and performed by a cast of thousands.” The Globe and Mail

Grace – ‘...is a superb feat of dramatic orchestration. It unfolds in a further series of duologues...Boni’s production taps, lightly but firmly, on all the strengths of both the writing and the performers.’ The National Post

Five Fingers – ‘With achingly poetic language and wonderful performances, this production…shows the relentless disintegration of a marriage.’ Eye

 

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