THE IMPORTANCE OF BEING EARNEST – REVIEW OF 2026 STRATFORD FESTIVAL PRODUCTION

Reviewed by James Karas

Oscar Wilde’s The Importance of Being Earnest is one of the best comedies ever written and pity anyone who has never seen it. Fortunately, for those who have seen it numerous times or for the first time, every production, in the right hands, can offer a terrific night at the theatre. I speak of the current production by the Stratford Festival at the Avon Theatre.

Director Krista Jackson finds humour to enhance Wilde’s wittiest lines and provides laughter in unexpected  and delightful ways.

If you have seen one or twenty productions of Earnest, you will recall and pay attention to Lady Bracknell, referred to as a gorgon in the play. Fiona Reid plays the role superbly. She has the physical presence of a commanding personality and the vocal aptitude to find the perfect pitch for every line. She can switch from her normal voice and go down an octave when she needs to emphasize what she is saying. When she hears that Jack Worthing was abandoned in a handbag in a railroad station, she enunciates “handbag” expressing shock and disbelief by repeating just those two syllables.

She has some of the best lines in the play and Reid does not allow a syllable to come out of her mouth without taking advantage of its comic potential. Jackson has deleted some lines from the text including Lady Bracknell’s famous line about General Moncrieff, the father of Jack Worthing. “The General was a man of peace, except in his domestic life.” I wanted to hear Fiona Reid say that line.

Carter Gulseth as the impecunious Algernon Moncrieff and Joe Perry as John Worthing played perfectly as young lovers. Jackson invented physical business for them from eating muffins, to almost a sword fight and their scenes were marvelous.

The cast of The Importance of Being Earnest. 

Stratford Festival, 2026.Photo: David Hou

Marissa Orjalo as Cecily and Allison Lynch as Gwendolen, the pretty young ladies that Algernon and John pursue are delightful and Jackson treats them with the same imagination and inventiveness. As a nice touch, Cecily is shown handling a spade in contrast to Gwendolyn who proudly tells her and us that she has never seen a spade, evidence that the two ladies come from different social circles.

Jackson gets comic mileage from the relatively minor characters of Canon Chasuble in the hands of Ben Carlson and Miss Prism played by Lucy Peacock, two outstanding actors from whom we can hardly expect anything short of outstanding performances.

Jackson makes great use even of the small roles of Algernon’s butler, Lane (Sean Arbuckle) and John’s butler Merriman (Liam Tobin). They garner laughter by simply standing at attention, pausing for effect or simple body language, Cecily puts a book on her head and holds one in each hand presumably to exercise her posture. She has to stop when Gwendolen arrives and Merriman takes the books, puts them on his head and exits the scene.

The Importance requires three sets, One for Algernon’s apartment in London, the exterior of John’s house in the country and the interior of his house for the final scene, Bretta  Gerecke has designed the three sets intelligently and economically. The first set has pink walls and a few pieces of furniture. For the second set we see a Greco-Roman portico in the back and again a few pieces of furniture for the tea and confrontation between the young ladies. The Landscape Paintings on the set are hand painted by Thomas Lappano, The scene pieces are wheeled on and off the stage and form the final set. Flowers and greenery are an important part of the play and in this production they are prominent and a pleasant addition.

The production proves one more time that with a strong and talented director and behind the scenes artists you have the beginnings of an outstanding production. Add a superb cast and a play that you may have seen twenty times looks as if you are seeing it for the first time.
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The Importance of Being Earnest by Oscar Wilde opened on June 18 and will play in repertory at the Stratford Festival until October 29, 2026, at the Avon Theatre, 99 Downie St. Stratford, Ont. www.stratfordfestival.ca/

James Karas is the Culture Editor of The Greek Press, Toronto

THE CAGED BIRD SINGS - REVIEW OF 2026 PRODUCTION AT TARRAGON THEATRE

Reviewed by James Karas

In their synopsis to The Caged Bird Sings, creators Rafeh Mahmud, Rouvan Silogix and Ahad Lakhani inform us that the play tells the story of three prisoners: Rumi (Mikaela Lily Davies) and Jin (Navtej Sandu), two star-crossed lovers and scientists who share a cell with Sal (Rouvan Silogix), a mysterious vagrant. As they navigate their newfound reality and reconcile their past lives, they are haunted by ghosts and demons of their own making.

They continue that we are to witness a radical re-imagining of Rumi’s “Masnavi” and explore the literal and metaphorical prisons that we are put in, put ourselves in, and the ones that we create. Inspired by Sufi mysticism and concepts of Fanafillah, the production examines our ability to overcome and break out of the cage.

They tell us that “Rumi’s ‘Masnavi’ spans over 25,000 metaphorical, mystical, provocative and twisting couplets, filled with parables, poetry, philosophy, farce, and surrealist investigations of our world and the inherent connectedness of each and every living being.” They conclude that their reimagination tries to bring the essence of his thoughts and aesthetics to a contemporary globalized perspective.

That flowery and adjective-overladen text bespeaks fearlessness on the part of the creators and perhaps overweening ambition to to express in an hour and a half all the complexities contained in that long sentence not least of which is the inherent connectedness of every living being.

Scene from The Caged Bird Sings. Photos by Jae Yang. 

The play is based or inspired by Rumi’s ‘Masnavi’ which, again according to the creators of the play, “consists of over 25,000 metaphorical, mystical, provocative and twisting couplets.” That means more than 50,000 lines or verses of poetry. To put it in context, Homer’s Iliad and Odyssey have a total of 27,800 verses making ‘Masnavi’ almost twice as long as both Greek epics.

The play takes place in a cell with two comfortable cots where we meet Rumi and Jin, the two lesbian scientists. Their cellmate is Sal, a colourful figure, sometimes clownish, sometimes regal who tries to establish relationship with the women.

I do not know why the three people are imprisoned. The women are tastefully dressed in low-cut tops, and no one is mistreated. We do not see a jailer and what they are doing in jail is a mystery, but they are not mistreated.  The authors try hard to ease us into the play, no doubt aware that many of us are in terra incognita and I speak for myself only.

The play has numerous stories to tell and in addition to telling us the titles of the three parts, they show placards with the titles of each episode. “Of Mice and Alligators,” “Stardust,” “Songs for the Dead,” “King and the Slave” are examples. The creators seem enamoured of puns and we have “Gin Rumi.” “Rum-eo and Jiniet” three times. In addition, we have “Waiting for Godot’s Due Process” and “What’s New Pussycat” for good measure and I am not sure what they meant. The tragedy of Romeo and Juliet is initially expressed with Rumi and Jun jumping under the blankets.

The episodes follow one another quickly and absorbing them is difficult largely because I am not versed on the source material. The creators need to be far clearer for me to follow what is happening on stage let alone the lengthy description of their hopes.

The production is directed by Rafeh Mahmud, one of the creators, the Set Designer is Waleed Ansari, the Costume Designer is Niloufar Ziaee and the Lighting Designer is Arun Srinivasan.   

This is a production of Modern Times Stage Company and Theatre ARTaud. Modern Times (Rouvan Silogix artistic director) describes itself as an “immigrant theatre organization that has focused on celebrating and creating radical theatre in Canada.” Theatre ARTaud (Rafeh Mahmud artistic director) tells us it is “surrealist theatre and multimedia collective run by Artists of Colour.” Both companies have laudable goals and have been around for many years indicating their success.

Unfortunately, their production of The Caged Bird Sings did not get to me the way I hoped it would.
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The Caged Bird Sings, created by Rafeh Mahmud, Rouvan Silogix and Ahad Lakhani, produced by Modern Times Stage Company and Theatre ARTaud continues until June 28, 2026, at the Tarragon Theatre, 30 Bridgman Ave. Toronto, Ontario.  www.tarragontheatre.com/

James Karas is the Culture Editor of The Greek Press, Toronto.

PARANORMAL ACTIVITY - REVIEW OF 2026 PRODUCTION AT THE CAA ED MIRVISH THEATRE

Reviewed by James Karas

Paranormal Activity is a ghost-cum-horror story intended to scare you, make you laugh and entertain you. It is based on the Paramount Pictures movies of the same name by Levi Holloway that I have not seen. The play premiered in Leeds, England two years ago and is now playing at the CAA Ed Mirvish Theatre, in Toronto.

A few (very few) words about the plot because there is nothing worse than being told about the visits or is it presence or invasion of paranormal visitors in one’s house.

James (Patrick Heusinger) and his wife Lou (Melissa James) are happily married and live in a nice two-story house. I am not sure if we know much about their marriage, but we learn that they have moved from Chicago to London to escape some unpleasant experiences. Yes, their house was haunted. We see a cross-section of their English house on the stage. The main floor has a kitchen and living room, and a staircase leading to the second floor. There is bathroom, and two bedrooms on the second floor, all displayed clearly for the audience.

Then things begin to happen. There is a crashing noise that makes one jump a few inches out of one’s seat. Now you know that this house is haunted. You do not see anything yet but whatever it is, it is causing some very loud bangs, lights flash and members of the audience add to the excitement by screaming or expressing shock in different ways.

Everything gets progressively worse or more pronounced, shall we say, both on stage and in the audience. That is part of the fun.

Melissa James and Patrick Heusinger in Paranormal Activity. 
Photo Credit: Johan Persson

James and Lou investigate or try to recollect if there is anything in their past to unleash the horror or find out whatever is haunting their house. The question is what do you do if you house is haunted? I don’t know but James and Lou install a bell in the house. To do what? They consult Alexa who is not much help. James’ mother Carolanne (Pippa Winslow) appears on a television screen to give useless advice. That is not all because in the meantime Lighting Designer Anna Watson’s tricky lights, Sound Designer Gareth Fry’s ghostly and supernatural sounds and Luke Halls’ videos keep us on the edge of our seats and the intense audience responses make it more thrilling.

Heusinger and James give nuanced performances displaying a sense of humour and humanity. They are not the usual plastic figures that one may associate with second-rate horror movies. One may say that they are “realistic” and mean it as a compliment and I do.

The ending takes a sharp move away from the horror movie genre and I found it quite interesting. Go and see the play if you want to see how it ends.

Much of the horror that keeps us enthralled is owed to the Set Designer Fly Davis and the Lighting, Sound and Videos design mentioned above and to Chris Fisher for the illusions.

Director Felix Barrett gets a huge part of the credit for this wonderful show by taking what at first blush may appear as a run-of-the-mill horror story into a highly entertaining theatrical experience.

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Paranormal Activity by Levi Holloway continues until July 5, 2026,  at the CAA Ed Mirvish Theatre, 244 Victoria St. Toronto, Ontario. www.mirvish.com

James Karas is the Culture Editor of The Greek Press, Toronto

PRIMARY TRUST - REVIEW OF 2026 PRODUCTION AT CROW’S THEATRE

Reviewed by James Karas 

Primary Trust by Eboni Booth shows the life of Kenneth, a lonely, awkward young man who tries to fit in normal society. Kenneth was raised in an orphanage and looks like a nervous, indeed neurotic young man who stammers and uses his hands incessantly when he speaks. His whole body shows his discomfort in social situations and he spends much of his time after work at Wally’s Bar drinking mai tais.

Keneth does have a friend, Bert, who joins him for drinks and appears like a decent and helpful companion. But there is a problem: Ber is an imaginary friend and counsellor. When Kenneth is dismissed from his job in a second-hand bookstore because the owner is closing it, he applies for work at Primary Trust. Bert accompanies him to the bank and advises him on how to behave during the interview. Kenneth gets the job.

Kenneth  interacts with Clay, the bank manager who hires him at Primary Trust. Interestingly, Clay is unsure of himself and acts almost like a clown but he does have faith in Kenneth who tuns out to be an excellent worker.

Kenneth is the main character and focus of the play and Durae MacFarlane gives an outstanding performance. He is on stage for the entire performance and we see him at his most pathetic, drinking alone at Wally’s, and trying to get a connection with a human being aside from his imaginary friend.

The cast of Prime Trust. Photo: Dahlia Katz

Peter N. Bailey gives a superb performance as Bert, a decent and understanding companion for Kenneth with the problem of not being a human being. But he is what makes Kenneth’s life bearable and may be the means for Kenneh to find his way to self-assurance and normality. Bert and Kenneth tell us that Bert is imaginary but also a  human being  with a wife and children. He is real but only Kenneth can see him.

Kenneth was raised in an orphanage and some foster homes after the death of his mother when he was ten. He found his mother dead and dragged her body into a closet in the kitchen and stayed with her for six days. A social worker also named Bert found him in the closet and took him to a hospital. One shudders at the terror of the experience. The real Bert left Kenneth but promised to come back. He never did and Kenneth created his imaginary Bert who was the same as the real one.

At eighteen he got a job in a bookstore owned by Sam. He worked there for twenty years until Sam sold the bookstore. Ryan Hollyman plays Sam and the bank manager Clay. As the bookstore owner, he treats Kenneth well, knows about his imaginary friend and deals with Kenneth fairly.

Clay is a very different character from Sam and as I said he appeared awkward and unsure of himself to the point of being clownish. Is he like Kenneth but with a good job? Hollyman acts superbly in both roles.

The fifth character in the play is Corinna (Khadijah Roberts-Abdullah) who works at Wally’s but befriends Kenneth. Like the other characters, she is a decent person who tris to help him. Booth does not create a villain in her play.  Khadijah Roberts-Abdullah plays an obnoxious bank customer and it is the closest Booth comes to creating a bad apple. As the obnoxious customer, she creates a huge argument with Kenneth which results in his dismissal from his job.

I will not reveal the whole plot.

The set designed by Julie Fox is simple but effective. The sign for the all-important Wally’s bar is shown on the right and a corner of seats is wheeled on and off the stage for bar interiors. There is a desk and a sign for Primary Trust and there is a musician on a keyboard at the back. Danilo Reyes is the musician and fifth member of the cast.

Director Cherissa Richards gives a nuanced direction to this subtle and lyrical play.

Primary Trust runs approximately 95 minutes with no intermission.
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Primary Trust  by Eboni Booth, a Crow’s Theatre and Grand Theatre co-production, will run until June 21, 2026, at Crow’s Theatre, 345 Carlaw Avenue, Toronto, Ontario.  http://crowstheatre.com/

James Karas is the Culture Editor of The Greek Press, Toronto

FUNNY GIRL – REVIEW OF 2026 SHAW FESTIVAL PRODUCTION

Reviewed by James Karas

The Shaw Festival’s big musical for this year is Funny Girl, the 1964 musical based very loosely on the life of Fanny Brice (1891 – 1951). The musical has some familiar marvelous songs and an episodic plot about Fanny as she rises to stardom as a singer, comedian and actress.

The musical starts with Fanny (Sara Farb) in her dressing room in the theatre waiting for her husband Nick Arnstein to be released from jail. We then flashback to her life from an ambitious young girl who wants to go on the stage but whose mother Mrs. Brice (Patty Jamieson) tries to dissuade her. She feels that Fanny is not pretty enough to succeed. Mrs. Brice and her friends sing “If a Girl isn’t Pretty” she should get a job and forget the theatre.

Fanny defiantly sings “I’m the Greatest Star” and Florenz Ziegfeld Jr. (Damien Atkins), the great impresario and producer of Ziegfeld’s Follies offers her a job. Fanny proves that she can act and sing as well as inject comedy in her performances. In other words, she is star material.

The musical has a large cast of people on stage but the main ones are singer and dancer Eddie Ryan played by Matt Alfano. Alfano is an excellent singer and dancer and a mensch. He is supportive of Fanny and a decent fellow who helps Fanny. Well done. 

Sara Farb as Fanny Brice with members of the 
Funny Girl ensemble. Photo by David Cooper.

Damien Atkins as Florenz Ziegfeld Jr is a tough man of the theatre but also a smart one. He is furious when Fanny turns a song into a comedy routine but is also smart enough to see a good thing. He helps Fanny’s career enormously.

Patty Jamieson as Mrs., Brice and her poker-playing klatch played by Sharry Flett, Alana Bridgewater and Janelle Cooper are an entertaining asset. 

Nick Arnstein (Qasim Khan) is Fanny’s lover and husband and she is waiting for him to be released from prison. He is charming, effusive, generous and a man who wants to become rich. When that proves difficult, he attempts a fast-buck method of fraud. He  takes and loses all of Fanny’s money and is convicted of committing fraud. She still loves him but their marriage is not working out.

The musical is well done. The dancers perform Parker Esse’s fine choreography skillfully  and the singing is marvelous. Unfortunately, there is a problem with Sara Farb’s voice. At certain points her voice squeaked. When she sang “Rat-tat-tat” with Eddie, Jenny and the ensemble. Her voice squeaked.  She gave a superb performance otherwise and the unpleasant sound seemed like an aberration and I can only conclude that she was having a bad afternoon. Funny Girl depends largely on the lead performer and Farb does her job superbly subject to a couple of glitches.

She does excellent work with her singing, dancing and comedy and you want to hear her do “I Want To Be Seen With You Tonight”  and “You Are Woman I am Man” , the duet with Nick.

Sets and Costume designs by James Lavoie are exceptional for the various locations and the costumes capture the circa 1930’s styles.

Director Eda Holmes does fine work with the episodic script, the scene changes and the overall pace of the work to give us a splendid afternoon or evening at the theatre.

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Funny Girl by Jule Styne (music), Bob Merrill (lyrics), and Isobel Lennart (book)  continues in repertory until October 3, 2026,  at the Festival Theatre, 10 Queen’s Parade, Niagara-on-the-Lake, Ontario. www.shawfest.com

James Karas is the Culture Editor of The Greek Press, Toronto

SLEUTH – REVIEW OF 2026 SHAW FESTIVAL PRODUCTION

Reviewed by James Karas

The 2026 Shaw Festival is up and running without the beautiful Royal George Theater which is under construction. The old Court House Theater which has not been used for years is back in service with productions of Sleuth and Jeeves and Wooster in Perfect Nonsense. A New Work In Progress is promised 

Funny Girl, Amadeus and One For The Pot are playing at the Festival Theatre. The Wind in the Willows, Heartbreak House and Ohio State Murders play at the Jackie Maxwell Studio Theatre.

Anthony Shaffer’s Sleuth is probably one of the best thrillers ever written. It opened in 1970 and has been adapted for two films, most famously one with Laurence Olivier and Michael Caine in 1972.

The play is set in a manor house in Wiltshire, according to the program, the home of Andrew Wyke (Patrick Galligan) a cultured gentleman and a brilliant writer of murder mysteries. He has invited Milo Tindle (Sepehr Reybod), a man of Italian origin and much lower social standing, to his house to discuss his adulterous relationship with Mrs. Wyke.  Wyke knows about the adultery and has no objection to Milo marrying his wife provided  he can take care of her. Wyke is a gentleman and he worries about Tindle and his wife.

Philip Mayfield as Inspector Doppler and Patrick Galligan 

as Andrew Wyke in Sleuth. Photo by David Cooper.

Milo may not have the financial wherewithal to do that so Wyke suggests that he rob Mrs. Wyke’s expensive jewelry, sell them and pocket a lot of money from it. The two begin planning the robbery with the expert Wyke doing most of the thinking. The plan seems failproof. The plot of the play proceeds from there and there are a few surprises. The main characters are Wyke and Tindle but there is also Inspector Doppler (Philip Mayfield), Detective Sergeant Tarrant (Liam McNulty) and  Police Constable Higgs (Stanley Rushton). I praise the performances of the actors but you will have to see the play with its incredible twists and brilliant plot development to find out what is going on with the police characters. It is jaw-dropping and I am not about to disclose any more details.

Galligan gives a bravura performance as the wily, polite, snobbish and devious Wyke describes himself as a sexual performer of Olympic status. But he is generously willing to allow Tindle to marry his wife. He is energetic, expressive and knowledgeable about murder and robbery. Wonderful work by Galligan.

Sepehr Reybod as Milo Tindle and Patrick Galligan 

as Andrew Wyke in Sleuth. Photo by David Cooper.

Tindle is no idiot but he is outsmarted and outclassed by Wyke. He is skeptical about the robbery but with Wyke’s brilliance and the help of whiskey he agrees to do it, but do not underestimate Tindle’s intelligence, perseverance and imagination. Reybod has a tough role and by the end of the play you will come to appreciate the brilliance of his performance and give him a standing ovation.

The set designed by Sim Suzer shows a very well-appointed living room with bookshelves, a fireplace and the usual coffee table and chairs. The costumes by Joyce Padua provides suits for the gentleman and a couple of other items of clothing as necessary.

Director Peter Fernandes maintains control of the action and the brisk speed of the play. He does not allow our attention to waiver.

In other words, Sleuth is an extraordinary production that you will enjoy and not soon forget.
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Sleuth  by Anthony Shaffer continues in repertory until October 9, 2026, at the Court House Theatre as part of the Shaw Festival, Niagara-on-the-Lake, Ontario. www.shawfest.com

James Karas is the Culture Editor of The Greek Press, Toronto

JEEVES & WOOSTER – REVIEW OF 2026 SHAW FESTIVAL PRODUCTION

Reviewed by James Karas 

Jeeves and Wooster are, of course, the immortal characters created by P. G. Wodehouse  and made famous in his books and television series. With Robert and David Goodale’s adaptation titled Jeeves & Wooster in Perfect Nonsense their fame has reached the stage as well and the Shaw festival has produced the adaptation at the Court House Theatre for its 2026 season.

The show is done by with only three actors Damien Atkins as Jeeves, Jeff Irving as Bertie Wooster and Travis Seetoo as Seppings who play ten (?) characters? I lost count. The play depends on the extraordinary imagination of the adapters and the outstanding talents of the actors and the adeptness of director Brendan McMurtry-Howlett.

That is complimentary but it does not say enough about the imagination and adroitness of the actors. Wooster (Jeff Irving) starts the show by telling us a story and his gentleman’s gentleman Jeeves (Damien Atkins) appears in perfect form for the role. Then the action picks up speed as Jeeves brings on the set (yes, he decorates the stage) and the other characters begin appearing. Atkins transforms himself into Aunt Dahlia in one of the numerous costumes that he will wear. The costume changes by the characters are done as quickly and efficiently as you are ever likely to see on stage. I should add that one of the characters has to get out of a bathtub. This is slower but even funnier.

Travis Seetoo as Seppings, Jeff Irving as Bertie Wooster
 and Damien Atkins as Jeeves in Jeeves & Wooster
 in Perfect Nonsense. Photo by Michael Cooper.

Inspector Spode comes on but we need more than a costume because he is tall. Grab some books from the bookshelf and he becomes tall. We then need him to become nine feet. Wheel in a stand where he can step on it and walk into a costume appropriate for a very tall man.

That is impressive and the costume changes hold true for the newt-lover Fink-Nottle, the nasty Sir Watkyn, his daughter Madeline, cousin Stiffy Byng the butler Butterworth, Mr. Spode and I am sure I have missed someone. We hit the target when we see Sir Watkin and his niece Stiffy appear simultaneously with the actor wearing the costumes of two characters on different sides of his body. He turns from side to side to represent each character as they address each other.

There is a plot of course. Uncle Tom, Aunt Dahlia’s husband has an obsession with owning certain objects d’art. He wants a silver cow-creamer which is in the possession of Sir Watkyn in his mansion. Wooster must steal it and deal with his friend Fink-Nottle’s engagement to Madeline and what do we do with Stiffy and the investigation into the robbery of the cow-creamer? Or with Madeline’s engagement. She puts Wooster on notice that if things do not work out with Fink-Nottle he is next in line in the game of matrimony.

The world of Jeeves and Wooster is the well-off English upper crust in the 1930’s and their silliness, such as the pursuit of the silver cow-shaped creamer and the game of love and marriage. Regretfully I cannot reveal any more information about the plot because you may not be a Wodehouse reader or Jeeves and Wooster fam and I do not want to spoil the play for you.

The sets starting from Wooster’s apartment in London to Aunt Dahlia’s house in the country, to the English countryside and a two-seater being driven there and the bedroom there and other locations that I may have missed are brought on with the same speed and comic aplomb as if  by magic. Set and Costume Designer Sim Suzer gets full marks. Kudos to Lighting Designer Kaileigh Krysztofiak for his imaginative work. 

The acting by Atkins, Irving and Seetoo deserves nothing less than a standing ovation. They speak with an English accent and they do it well and of course, representing men as well as women. A standing ovation describes their success. Director McMurtry-Howlett obviously had to orchestrate the almost countless moves to keep the show moving at a breakneck speed and producing the laughter that the play calls for.

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Jeeves & Wooster in Perfect Nonsense by Robert and David Goodale from the works by P.G. Wodehouse continues in repertory until October 10, 2026, at the Court House Theatre, Shaw Festival, Niagara-on-the-Lake, Ontario. www.shawfest.com.

James Karas is the Culure Editor of The Greek Press, Toronto