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Theatre

No Exit’s fresh hell is diabolically inventive
No Exit’s cameras seek new angles on hell
Luminous Edge juggles playful enigmas
La Boheme breaks Vancouver hearts again
It’s fun to play a dork in Jason Bryden
Romeo and Juliet makes sharp turn into urban fable
Poster Boys a model of deep angst
Poster Boys explores sex, lies, and advertising

No Exit’s fresh hell is diabolically inventive

By Colin Thomas
A sophisticated new take on Jean-Paul Sartre’s faded classic projects huge yet intimate images.

No Exit’s cameras seek new angles on hell

By Colin Thomas
In director Kim Collier’s vision of Jean-Paul Sartre’s classic No Exit, a minor character called the Valet will try to convince the audience that the play is no longer relevant. At least that was Collier’s plan when I spoke to her recently over lunch.

Apparition lacks suspense for genuine horror

By Colin Thomas
By Anne Washburn. Directed by Joanna Garfinkel. A TigerMilk Collective production. At the PAL Theatre on Wednesday, April 23. Continues until May 3

La Boheme breaks Vancouver hearts again

By Jessica Werb
At the Queen Elizabeth Theatre on Saturday, April 26. Continues until May 8

It’s fun to play a dork in Jason Bryden's hip Dissemblers

By Colin Thomas
Michael Rinaldi’s character is a real-estate agent with a brand-new fauxhawk and a pierced eyebrow. He’s trying hard—really, really hard—to be cool, which, of course, makes him a goof. But in the world of Jason Bryden’s new script, The Dissemblers, the other characters are so much more cynical in their lies and successful in their posing that goofy Simon ends up looking pretty appealing.

Romeo and Juliet makes sharp turn into urban fable

By Colin Thomas
The Downtown Eastside take on the Bard is full of fun.

West Side Story rumbles with brilliance

By Colin Thomas
West Side Story

Volpone lacks emotional reality to be truly funny

By Colin Thomas
This production of Volpone tries so hard to be funny that it almost never is.

Brutal Pillowman fails to transform the horror

By Kathleen Oliver
Somewhere inside The Pillowman there’s an allegory that redeems its relentless brutality. But the deeper meaning that emerges isn’t enough.

No suspense in The View From Above

By Colin Thomas
It’s hard to build an engaging story without meaningful conflict or sympathetic characters. Without them, you get something that looks like The View From Above.

Poster Boys a model of deep angst

By Colin Thomas
Poster Boys

True West lacks authenticity

By Colin Thomas
True West