Christmas improv

Wednesday evening saw the last Whose Opera is it Anyway? of the year in the new digs at Bad Dog Comedy Club.  Last month’s line up of singers; Rachel Krehm, Michael York, Gillian Grossman and Amanda Kogan, were joined by Adanya Dunn and an elf.  Natasha Fransblow was at the keyboard again.  Greg Finney; the thinking man’s Don Cherry, MC’d.  The format was as ever; a line up of improv games with audience input.  Highlights included the Three Minute Messiah, Adanya giving her mum a dildo and the deep, dark depths of Keith Lam’s Instagram account.  And beer.  And Greg’s suit.

The news is that LooseTEA now has a regular slot for WOIIA.  In the new year you will be able to catch them at Bad Dog on the third Sunday of the month at 9.30pm.  It’s a better venue than the old place and it’s a fun way to spend an hour and a half or so.




Whose opera is it anyways?!

Whose opera is it anyways?! is a comedy-improv-opera show from LooseTEA Theatre’s Alaina Viau.  Last night saw the second in what is being projected as a monthly series at the Comedy Bar on Bloor West.  So how does it work?  The “games” and associated players are decided in advance but each usually requires some kind of audience input such as a place or a mood or even the messages on someone’s phone.  The team then act out and sing a sketch on the prescribed lines.  Natasha Fransblow provided accompaniment on keyboards, though how much of that was planned and how much improvised I couldn’t tell.  In between numbers Jonathan McArthur MC’d accompanied by really obnoxiously loud pop music (not helped by the speaker basically being in my left ear).


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Century Song

Century Song is a 50 minute show combining music, movement and video projections as it takes us on an aesthetic journey through the last hundred years.  At the heart of the show is soprano Neema Bickersteth who does the singing and dancing.  The singing consists of vocalises by Rachmaninoff, Messiaen, Cage, Aperghis and finally, a piece composed for the show by Reza Jacobs.  The songs are accompanied Gregory Oh on piano and Ben Grossman on percussion and computer.  The musical interludes are structured improvisations originally devised by Reza Jacobs, Gregory Oh and Debashis Sinha.  The dance elements are choreographed by Kate Alton and use a very wide kinetic vocabulary.  Bickersteth’s constantly changing costumes further illustrate the time travel element of the narrative.


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