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Harlan House The bush-bearded ceramicist he's a real-life hairy potter addresses ubiquitous fast-food products and insidious big-box discount stores with his latest large-scale works, gathered in the exhibition China: Made in Canada . See his
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This year's theatre program at the SummerWorks festival has been positively harrowing. After seeing 10 shows, I feel like been to hell and back several times and, indeed, I have. The stand-out production in terms of inventiveness has been ONE from
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SummerWorks, Canada's largest juried theatre festival, is the place to catch Toronto's top theatrical talents trying new and daring things, as well as up-and-comers about to make their mark. From Eric Peterson improvising an Iranian play to stories
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Sally Simpson in The Who's Tommy, Little Red Ridinghood in The Red Cape, and Peggy in Godspell. Best part of being here this summer: Getting to word with such wonderful and talented people everyday. Worst/most challenging part about being here:
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Our image of Victorians and sex is one of repression and discretion, wives doing their duty missionary-style in a pitch-black bedroom and certainly not coupling or conversing with wild abandon. Yet have sex they did we're all here, aren't we? and
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Sunday (no late performance this Sunday), and the show runs through June 12. Tickets are $47.50 Saturday, $42.50 Friday and Sunday matinee, $37.50 other shows.
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Stage Kiss, Sarah Ruhl's Goodman Theatre commission celebrating and skewering life in the theater, has an identity crisis. On the one hand, Ruhl's comedy has farcical aspirations and an insider sensibility that recalls Michael Frayn's madcap love
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In the first act, Ruhl's generically named leads He and She, forty-something actors who were each other's first loves two decades earlier, get cast opposite each other in a deservedly obscure (and fictional) 1930s melodrama about -- surprise,
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2 hours, 20 minutes; Tickets: $25-$78 at 312-443-3800 or www.goodmantheatre.org In one of the best moments of Sarah Ruhl's Stage Kiss, a Goodman Theatre world premiere that still needs a lot more work, an actor reflects on why audiences like watching
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But They Go On And On. "I can't go on, I'll go on," wrote Samuel Beckett in a line that would come to crystallize much of his work. Beckett's epigrammatic oxymoron describes the experience of many of Anton Chekhov's characters, some 75 years before
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