Maev Beaty and Jesse LaVercombe. Photo: Cylla von Tiedemann

First produced at the Stratford Festival, and written by Hannah Moscovitch, BUNNY is a play about a girl, Sorrell, nicknamed “Bunny”. Bunny grows up, discovers puberty, and takes to sex like a rabbit takes to carrots. Bunny enjoys a large number of lovers, most of whom would be inappropriate by any standard. Are her sexual adventures innocent and beyond societal judgement? Or do they represent a darker force lurking behind a child-like persona?


Photo: Cylla von Tiedemann

Lights go up on a woman on stage. She begins to relate the tale of a young girl named “Bunny”. Slowly, we realize this narrator (played by Maev Beaty) is talking about herself at various stages in her development. The narrator soon morphs into Bunny, who then meets and interacts with a wide range of characters.


Tony Ofori and Maev Beaty. Photo: Cylla von Tiedemann

Maev Beaty plays Bunny with charm and a kind of moral blankness that leaves one with mixed feelings both about the character and the playwright’s intent. Is Bunny a person trying to find “herself”, an advanced woman, sexually liberated, or is she really a person with an incomplete soul, one who walks through life, leaving emotional wreckage, intentionally or not?


Maev Beaty and Cyrus Lane. Photo: Cylla von Tiedemann

Bunny’s parents are morally righteous academics, armchair intellectuals who abhor capitalism and consumerism. They dress Bunny in shapeless recycled clothing which hides her blossoming physique. Bunny doesn’t use computers and iPhones so she doesn’t actually relate to other kids or their lifestyles. Bunny’s only companions are the novels she reads, mostly Victorian.


Rachel Cairns and Maev Beaty. Photo: Cylla von Tiedemann

Intellectually robust, Bunny never really understands herself, which leaves her in the dark about what others might feel. She attempts to follow “social norms”, be a good person, and have sex with appropriate parties. Still, for Bunny, sex is more of a sensation, rather than an awakening. She loves it, but it doesn’t seem to teach her much. Importantly, she does not fully grasp that sex in any form has consequences. She seems particularly clueless in this area. Bunny rarely reveals her feelings. This leaves her in the dark about what she feels and how others feel about her. Even her nickname “Bunny” is meant to suggest her frightened, tremulous quality. Fearful people are often full of rage, and deploy it in ingenious ways.


Maev Beaty and Matthew Edison. Photo: Cylla von Tiedeman

Everyone, especially a young audience, should see Bunny, if only because the cast is excellent. Rachel Cairns, Matthew Edison, Cyrus Lane, Jesse LaVercome, Tony Ofori, and Gabriella Albino are all quite terrific. It’s rare that one sees such a well-matched team of actors, and director Sarah Garton Stanley know how to showcase each one. Maev Beaty does a fine job as Bunny, but I would have preferred that she suggested more of Bunny’s cunning. There is something not very nice about Bunny, and I feel that on some level, Bunny knows she intends to hurt those she sleeps with, or wound those close to them.


Jesse LaVercombe and Gabriella Albino. Photo by Cylla von Tiedemann

Maev Beaty – Sorrel
Rachel Cairns – Maggie
Matthew Edison – Carol
Cyrus Lane – The Professor
Jesse LaVercombe – Angel
Tony Ofori – Justin
Gabriella Albino – Lola
Directed by Sarah Garton Stanley


All photos: Cylla von Tiedemann

Posted in acting, actors, Canada, drama, Entertainment, Ontario, theater, Theatre, Toronto, Uncategorized | Tagged , , , , , , , | Leave a comment


Noah Reid - Photo: Jim Ryce

Noah Reid as Hamlet. Photo by Jim Ryce

Tarragon Theatre’s presentation of Shakespeare’s play Hamlet is not for purists. Those looking for a standard-issue staging of the Bard will freak at this production.
This show is bare bones and the stage is mostly stripped, with only a row of microphone stands and a few chairs. We’re in a smoky, darken nightclub, sliced open with harsh spotlights, and a piano stashed in the corner. While the production follows the text, the words are anticipated and followed by a musical score that snakes around the emotions of this unfolding tragedy. Many of the actors play instruments, including Noah Reid as Hamlet, wearing this generation’s moniker, a hoodie. He’s gads about this darkened world, like the unruly son of a corporation’s CEO, rather than a Prince of Denmark.


Hamlet-Noah-Reid - 1

Noah Reid as Hamlet. Photo: Cylla von Tiedemann

It’s a catchy idea, but what makes this production work, and what makes it fascinating, is the acting, the details, and the thinking that went into it. This show has flashes of intellectual rigour, and a capable cast. Tarragon’s Hamlet has solid team work, and when the engine is turned on, this Hamlet hums along at a clip, keeps you entertained, and jacked-up.


Hamlet-Beau-Dixon,-Greg-Gale,-Jack-Nicholsen 1

Photo by Cylla von Tiedemann

If you’re game, you’ll love it. Not everything works, but most of it reminds us how sharp this play is.


Hamlet-Nigel-Shawn-Williams,-Rachel-Cairns,-Jesse-LaVercombe,-Cliff-Saunders - 1

Photo by Cylla von Tiedemann

Hamlet really stands or falls on the actor who plays the character of Hamlet. To my mind, Noah Reid delivers one of the most lucid, intriguing, and deeply felt Hamlet I’ve ever seen. He does so because he doesn’t play the Prince as some sort of tormented wreck, lurching from one scene to the next. Instead, he gives us a sharp, nibble prince, and one who is emotionally cut to the quick.


Hamlet-Cliff-Saunders 1

Photo by Cylla von Tiedemann

As the play opens, the King, Hamlet’s father, has just died suddenly, of mysterious causes. Then, almost immediately, Gertrude, Hamlet’s mother, abandoned her widowhood and married Claudius, Hamlet’s uncle, and the King’s brother.


Hamlet-Noah-Reid,-Tiffany-Ayalik - 1

Photo by Cylla von Tiedemann

This has all happens so rapidly, it leaves Hamlet reeling. As if this isn’t enough, Hamlet believes he sees his dead father’s ghost. The ghost, represented only by a voice, explains that he, the King, was in fact murdered by Claudius who now sits, unlawfully, upon the throne, the King’s wife in tow.


Hamlet-ensemble-01 1

Photo by Cylla von Tiedemann

It’s often commented that all of these events cause Hamlet to fall into “melancholy” or depression. But Hamlet isn’t “depressed” in a conventional sense. He’s in shock. His reality has been blown away, and he’s left walking through a familiar world he no longer belongs to. He’s as alert as if he’s walking through a mine field, and weirdly, this gives the play a sense of dangerous fun.


Hamlet-ensemble-02 - 1

Photo by Cylla von Tiedemann

Now, as Prince, Hamlet “feigns” madness as he plays the detective, trying to put together evidence in order to justify his plan to avenge his father’s murder. But is Hamlet mad? Or does he merely pretend to be so, to gain time for his plan. But Reid’s performance suggests that Hamlet himself is never sure if he’s mad or not. Reid dices with his internal demons, and as he does so, he gains our trust and deeper pity. Hamlet tries to act, but winds up merely “reacting”. This seems quite consistent for a man for whom reality has no hard lines, no hard walls. Where all are lies and whispers. Where the whole court holds power through “fake news”?
There are all kinds of stand out performances. Nigel Shawn Williams is a likeable, practical-minded Claudius who grows more desperate as Hamlet’s anarchy spreads across the court; Tiffany Ayalik is a strangely alluring, and genuinely tragic Ophelia, who finally succumbs to the stresses that press on her. Tantoo Cardinal gives the wondrous description of Ophelia’s body floating in her watery grave, in a way that almost makes one weep. Again and again, in this production, one could hear the feeling behind the words in this play. Jesse LaVercombe is terrific as Guildenstern and later as Osrich. And Cliff Saunders is a peach of a Polonius, judicious, misguided, funny. And as the gravedigger, full of practical shop-talk, he is a revelation.


Hamlet-ensemble-03 - 1

Photo by Cylla von Tiedemann

Hamlet is a play about a search for vengeance and justice. But as is usually the case, the consequences of attaining these are catastrophic. Justice is often more costly than a lack of it. Even life itself begs the question: is all this suffering worth it? And yet all these questions and mysteries lie at the centre of a whirlwind drama, full of frenzied activity. For all its flaws, and near misses, Tarragon’s Hamlet seems to me well worth it, especially to see Noah Reid in this very difficult, always compelling role.

Richard Rose, Director
Thomas Ryder Payne Sound Designer, Music Director
Jason Hand, Lighting Designer
Kathleen Johnston, Costume Designer
John Stead, Fight Director
Helen Monroe, Assistant Director
Natasha Bean-Smith, Stage Manager
Alice Ferreyra, Apprentice Stage Manager

Tiffany Ayalik, Ophelia
Rachel Cairns, Rosencrantz
Tantoo Cardinal, Gertrude
Beau Dixon /Barnardo, Player Queen
Greg Gale, Horatio
Jesse LaVercombe / Guildenstern, Osric
Brandon McGibbon, Laertes
Jack Nicholsen/ Marcellus, Player King
Noah Reid, Hamlet
Cliff Saunders Polonius, Gravedigger
Nigel Shawn Williams /Claudius
Written by William Shakespeare
Cover photo: Noah Reid by Jim Ryce
All music composed and arranged by the ensemble.
Cylla von Tiedemann – production shots


Posted in arts, culture, drama, Entertainment, Literary, musical, theater, Theatre, Toronto, Uncategorized | Tagged , , , , , , , , , , | Leave a comment




A Christmas Carol 2017

The Grand Theatre – Production Photography. A Christmas Carol 2017. Photo: Claus Andersen


The Grand Theatre in London, Ontario, is one of the most beautiful in the country. Its interior is an architectural gem of the Victorian era, with a vast, cosy stage that provides the ideal frame for one of the world’s most treasured stories, Charles Dickens’ A Christmas Carol.

A Christmas Carol 2017

A Christmas Carol was first published as a novella, 174 years ago, in 1843. Since then, it has been translated into plays, movies, and even cartoons. The story of the miser Scrooge, who is visited by a number of spirits on Christmas Eve, has proven both popular and timeless. In particularly, the coming of the spirits of “Christmas,” is foretold by the ghost of Jacob Marley, who in life was Scrooge’s friend and business partner. Like Scrooge, Marley dedicated his life to the acquisition of wealth, without a thought for the disadvantaged. Tormented, fettered by heavy chains of greed, Marley’s ghost now roams the city he once knew, tormented by the sight of all those he wishes to help, and now cannot.

A Christmas Carol 2017

The Grand Theatre – Production Photography. A Christmas Carol 2017. Photo: Claus Andersen

Each interpretation of A Christmas Carol varies in tone from lightly comic to much darker, depending on who does the adapting. In this case, Artistic Director Dennis Garnhum delivers his own vision of the work, which has its dark moments, but is mostly cheerful, and intoxicating in its charm, quality, and inventiveness. Garnhum has a child’s imagination, and his special effects are born of a spirit that understands the art of theatre. He realizes the delight that can be conjured by a row of doll-size houses pulled about on wheels to mimic a neighbourhood or gigantic icicles that come down from heaven and rise up from hell. Garnhum and the Grand’s brilliant props department are masters of real magic. And the audience marvels at each new trick!


A Christmas Carol 2017

The Grand Theatre – Production Photography. A Christmas Carol 2017. Photo: Claus Andersen

The opening scene is simple and dazzling. The theatre’s red velvet curtain rises and we are looking through a sheer scrim, at a massive, mostly empty stage. Through diffuse lighting we see snowflakes gently falling from on high. It’s as if the back of the theatre has been removed and we are looking directly into a winter’s day. Slowly, men, women, and children appear in full Victorian costumes, and we are transported back over 150 years, to the city of London, England. The effect is incandescent.

As a director, Garnhum knows how to cast each role in large play. He carefully takes individuals and forges them into a team, so that the characters move as one about the stage, like clockwork. The result is that when each actor has a dramatic entrance, a bit of dialogue, or a whole scene, the moment shines.

The celebrated veteran actor Benedict Campbell heads the ensemble in the central role of Scrooge. Aidan deSalaiz is Scrooge’s nephew, Fred. David Michael Moote plays several roles including a younger version of Scrooge, who picks making money over love, and the Spirit of Christmas Future. Alexis Gordon plays Scrooge’s young sweetheart, Belle, and other parts, too. One would like to praise each member of the cast, but really, it’s their combined effort that leaves an indelible mark. However, I will say that I suspect Owen Barteet will be remembered as the most perfect Tiny Tim ever.

A Christmas Carol 2017

The Grand Theatre – Production Photography. A Christmas Carol 2017. Photo: Claus Andersen


Purists may balk at the liberties Garnhum has taken with portions of the text and setting. For example, the Christmas party thrown by Scrooge’s nephew’s is moved outdoors. Garnhum has altered the location and changed it into a “skating party”. He does so because it makes “theatrical sense”. Frankly, it’s breathtaking to watch a bevy of characters, in full Victorian duds, skating around the Grand’s wide stage amid piles of snow, the air filled with singing.

A Christmas Carol 2017

The Grand Theatre – Production Photography. A Christmas Carol 2017. Photo: Claus Andersen

It’s amazing to watch the entrance of each Christmas spirit. Effortlessly, the Spirit of Christmas Present descends while standing on a chandelier or the Spirit of Christmas Past, appearing on Scrooge’s bed in a hooped skirt that lights up. And it is shocking to watch the towering Spirit of Christmas Future, walking about on stilts.

A Christmas Carol 2017

The Grand Theatre – Production Photography. A Christmas Carol 2017. Photo: Claus Andersen


In many ways, we have come full circle since the time of Dickens. Today, people live in large cities, where increasing numbers struggle to find work and pay the rent, let alone find extra money for food and clothing. The divisions between the very wealthy and the poor grow more extreme. Worse, today’s urban architecture isolates everyone, rich and poor live in “cells”. The “cell” may be in a run-down high-rise or in a plush new condominium, but the overall effect closes people off from each other. Even on the street, individuals are mentally cocooned, reading e-mail on their iPhones, or wearing headphones, paying no attention to others or the view. Few have any sense of living in a physical community or any notion of “neighbours” or “neighbourhood”.

Dickens’ story is really a sweetly told warning that any society that looses its sense of “community” is in danger. Today, we are not that far away from the violence, revolutions, and wars of the 20th century, most of which were triggered when the few rich were set against a growing multitude of the desperate.

A divided community, where “mankind” is no one’s business, can quickly unravel. The Grand’s production A Christmas Carol reminds us of the healing and transformative power of an open and giving heart, and of the emotions that bind us all.

Cast and Production Team listed below:
Mr. Fezziwig IAN DEAKIN
Fred / Dance Captain AIDAN DESALAIZ
Young Ebenezer / Peter Cratchit JUSTIN EDDY
Belinda Cratchit MANYA HEGDE
Mrs. Cratchit RACHEL JONES
Dick Wilkins / Fight Captain MICHAEL MAN
Spirit of Christmas Future DAVID MICHAEL MOOTE
Voice of Charles Dickens CHRISTOPHER NEWTON
Martha Cratchit JORDYN TAYLOR
Spirit of Christmas Present BLYTHE WILSON

Director / Adapter DENNIS GARNHUM
Associate Director MEGAN WATSON
Costume Designer KELLY WOLF
Lighting Designer BONNIE BEECHER
Videographer JAMIE NESBITT
Sound Designer JIM NEIL
Music and Vocal Director JENNIFER FAGAN
Fight Director SIMON FON
Voice and Dialect Coach JANE GOODERHAM
Choreographer KERRY GAGE
Skating Choreographer GEOFFREY TYLER
Stage Manager KELLY LUFT
Assistant Stage Manager LANI MARTEL
Apprentice Stage Manager JORDAN GUETTER
Stage Management Intern NICOLE FONTES
Child Supervisors JEAN FAULDS

© Burke Campbell 001

The Grand Theatre, London, Ontario, Canada

Production photos by Claus Andersen.
© copyright by Burke Campbell. All rights reserved


Posted in arts, Canada, comedy, culture, drama, Literary, Ontario, theater, Theatre, tourism, Uncategorized | Tagged , , , , , , , , , , , | 1 Comment

SMOOTH & DANGEROUS: The Voice of David Michael Moote

© Burke Campbell - DMM

In 2017, David Michael Moote auditioned for OPERUS, a newly-assembled metal band with lush, symphonic overtones. Differing from most groups, Operus is composed of highly trained musicians and they needed someone with particular skills. In Moote, they struck pure gold.

© Burke Campbell 009

Operus, the band

With a background in classical music, as well as performing in musical theatre, Moote was welcomed as the lead singer. Soon after he joined the band in March, the group recorded their album, Cenotaph. It premieres worldwide this month, under Dark Star Records, an affiliate of SONY. On October 14, the band makes a special appearance at the Rivoli.

© Burke Campbell 002
Born on Valentine’s Day 30 years ago, Moote has the look of a matinee idol. His handsome features and athleticism belies that fact that he’s a gifted artist. At age 6, he began singing lessons, and by the age of 8, he had joined the Amabile Boys’ Choir in London, Ontario. Throughout high school, he appeared in special productions for students at the Grand Theatre, including musicals such as Fiddler on the Roof, Oliver, and The Music Man.

More recently, David Michael Moote appeared in the title role of Jesus in the musical Jesus Christ Superstar at Hart House, at the University of Toronto. The show was a hit and after that, he appeared in Oh Canada, What A Feeling!, a flashy musical review of Canadian pop songs. The show played to big audiences at Caesar’s Palace in Windsor, Ontario, and the Princess of Wales Theatre in Toronto. This past summer, Moote was the lead in a production of the musical Urinetown at the Stephenville Theatre Festival in Newfoundland.

© Burke Campbell 128 - color 1
While a central figure in OPERUS, David Michael Moote plans to continue expanding his versatility as a singer, actor, and performer. Hopefully, it won’t be long before we see him on TV and in the movies. Moote is an accomplished song writer, too, so it would come as no surprise if he winds up writing soundtracks as well.

Sample of the Sound:

Tickets at the Rivoli, Saturday, October 14, 2017

DSC_0060 - DMM 3

© Burke Campbell 001

David Michael Moote

Photos by Burke Campbell

© All rights reserved.


Posted in actors, arts, Canada, celebrity, culture, Entertainment, Music, music bands, musical, Ontario, theater, Theatre, Toronto, Uncategorized | Tagged , , , , , , , | Leave a comment



© Burke Campbell 009

(Left to Right)
Oscar Rangel (guitar/backing vocals)
Wojciech Sokolowski (bass/backing vocals)    David Michael Moote (vocals)                                                     Robin Howe (cello/backing vocals)
Rob Holden (guitar)
J. J. Tartaglia (drums)

OPERUS could never be considered ordinary. All of its musicians are highly trained, exceptional in their individual talents. The band merges a melodic, symphonic sound with the aggressive drive of metal, embellished with soaring, often haunted vocals.  Key members have knowledge of theatre and performance, and to see OPERUS live on stage, straight up, is electrifying. The band knows all the rules; how to break them all to hell.

© Burke Campbell 010

In Cenotaph, the Operus creates a forceful symphony, full of stories, rather like fairy tales, epic in scope.

© Burke Campbell 001

© Burke Campbell 002

The album contains finely controlled music, and lyrics that echo the inner life of those who have conquered, suffered exile, known war, travelled distant lands, found love, and felt its desolation. The songs can be interpreted in many ways, from many different angles. The complex album seems to lie outside of any given epoch or era.

The project began in 2009, as Oscar Rangel’s sought to create new compositions, evading the limits of any particular catagory. From then on, the work morphed in many ways, finally evolving into Cenotaph. For almost a decade, the band added and subtracted core members, until, at present, these men comprise Operus:

David Michael Moote (vocals)
Oscar Rangel (guitar/backing vocals)
Wojciech Sokolowski (bass/backing vocals)
Rob Holden (guitar)
Robin Howe (cello/backing vocals)
J. J. Tartaglia (drums)

© Burke Campbell 006 J J

© Burke Campbell 002

© Burke Campbell 007

The album is released worldwide on October 13, 2017 via Dark Star Records in Association with MVD Entertainment and Sony Music.
Get an idea of the music here:


Premiere performance in Toronto:


Burke Campbell 002

All photos by Burke Campbell


Posted in actors, Canada, culture, Entertainment, Music, music bands, Ontario, pop, Theatre, Toronto, tourism | Tagged , , , , , | Leave a comment



© Burke Campbell 001 - MEAL

The Spaghetti Show, Toronto, 2017. Photo by Burke Campbell


This week, I made my first visit to The Spaghetti Variety Show, a recurring event, staged by Joel Edmiston and his comrades-in-comedy, stand-up comics and actors. The Spaghetti Variety Show is fast developing a cult following and I can understand why. There is something addictive about watching this theatrical lunacy. The show pulls in a young, smart, attractive crowd.

© Burke Campbell 001
Sitting in a basement theatre, in trendy Kensington Market, the stage has the look of studied wreckage. A curtain made entirely of cut up garbage bags, held together with duct tape, veils the backstage area. Plastic sheeting covers the stage to protect it from piles of food that will be thrown or rolled around in. The Spaghetti Variety Show is a kind of frat house drama with possible fetishistic overtones, something like a toga party, but without all the bother. For the record, only the audience knows for sure. All I can say is the place was packed.

© Burke Campbell 049 - robot 1
On stage, there is free-flowing lineup of stand-up comic acts. The routines are often interrupted, challenged, and merged with another, free-wheeling drama, enacted by a fabulous cast of characters.

© Burke Campbell 054 - the kiss

For this show, the separate and parallel storyline had something to do with a mad-shirtless-scientist creating a raccoon with human emotions, a barefoot robot, and Joel Edmiston’s crisis with his golf instructor. The instructor is having a breakdown over his parent’s forthcoming divorce. His mother develops a crush on raccoon-man and the father seems to secretly lust for Joel. I’m not sure I got any of this right, but that really isn’t the point. I mean, it’s hard to concentrate on details when people are enveloped in food. (The costumes have to be seen to be believed.)

© Burke Campbell 002
Somehow, all of these antics are funny as hell, and I couldn’t stop laughing. When I first heard about this event, I actually feared going because randomly silly entertainment can rapidly wear thin. But there is something in the very bones of this enterprise that makes for mad fun. The Spaghetti Variety Show makes you feel great, and there is a marvellous after-glow, too. You think, “Wow. I was right. Adulthood is for suckers!”

© Burke Campbell 004
Overall, all the stand-ups and actors are terrific, but Joel Edmiston is a great impresario and one could imagine him doing a late-night show. He just LOVES doing this stuff and it shows. The next Spaghetti Variety Show is scheduled for October 14, so don’t miss it.


I am just praying next time they do a shirtless spaghetti wresting match, with primavera sauce. So good!

© Burke Campbell 084 - comedy routine

Cast of The Spaghetti Variety Show:

Cassidy Furman
Alex Montagnese
Alex Allan
James Kenny
Ben Siapas
Keagan Moore
Rob Davies
Jordan Laffrenier

Merv Hartlen
Tamara Appleton
Camille Côté
Clare Belford
Ashley Moffat

All photos by Burke Campbell. All rights reserved.


Posted in actors, comedy, culture, Entertainment, theater, Theatre, Toronto, tourism, Uncategorized | Tagged , , , , , , , , , , , , | 1 Comment



Burke Campbell 001 - shoe fitting

Adam Bonney and Rosemary Doyle in Burke Campbell’s dark comedy The Lady in Shoes from Hell


I wrote my dark, outrageous comedy, The Lady in Shoes from Hell about 30 years ago. But it was not until I showed it to Rosemary Doyle, the Artistic Director of the Red Sandcastle Theatre, was the work to be fully realized, and imaginatively presented.
The Lady in Shoes from Hell is a Texas tale—simple, diabolical, and sexually impure.


Burke Campbell 001

Rosemary Doyle and Adam Bonney in The Lady in Shoes from Hell


It’s the 1950s. While working in a West Texas cafe, located on the side of a desolate highway, a waitress doesn’t like her tip, kills a cowboy, steals his truck, and speeds off on a wild killing spree that decimates the male population of three states. But this is no ordinary serial killer. In the newly-born atomic age, Thelma is a woman awash in a high-octane obsession, on a sensational journey that takes her to the heart of quantum physics, wrenching apart the forces that bind human love. And that’s even before the audience is properly seated!


Burke Campbell 001 - bondage scene

Adam Bonney and Rosemary Doyle in The Lady in Shoes from Hell


In The Lady in Shoes from Hell, wit flies like bullets, and the stage is filled with indecent sex scenes, deadly car chases, graphic lingerie and suggestive footwear that illustrate human depravity. This is a comedy with no brakes.


Burke Campbell 002

Rosemary Doyle and Adam Bonney in The Lady in Shoes from Hell


The set—all modular pieces—permits nimble changes in locations, morphing the stage from a restaurant, to bus station, to a hotel room, and into a car racing down the night road, complete with overhead projections. Collectively, those watching the show react like kids on a joyride, cheering at the end of each scene!
Actors Rosemary Doyle and Adam Bonney, and director Robin Haggerty, captured the play’s comic frenzy.


Burke Campbell 003

Rosemary Doyle in The Lady in Shoes from Hell


The Lady in Shoes from Hell is a true “cult drama” with unforgettable characters, compulsions, and bizarre encounters. Hopefully, this play will find its proper home in a small New York City theatre, off-off-off Broadway, where it can run for a hundred years, like other beloved cult classics such as Lesbian Vampires of Sodom or The Rocky Horror Show.


Burke Campbell 001 - No room left

Audience at a performance of The Lady in Shoes from Hell


Mooney on Theatre Review:
All photos by Burke Campbell
All rights reserved.


Posted in Canada, comedy, Entertainment, New York City, Ontario, playwright, Theatre, Toronto, Uncategorized | Tagged , , , , , , , , , , , , | Leave a comment