Technical elements of the production [Blood a Scientific Romance are], directed beautifully by Heather Inglis, add various shadings of style and mood, like the high-impact sound design of Darren Miller. Various gauze-like, see-through panels maintain the hospital feel and artfully serve as screens for the projections designed by Melanie Rogowski and Amberlin Hsu. The images chosen... are potent and intriguing.
Site-specific theatre—setting scripts in places that are not theatres—challenges these assumptions to an extent, but rarely do such offerings rival the uniqueness of what The National Elevator Project does: the Theatre Yes-curated cycle of short plays uses the titular setting to give a peculiar, active and engaging take on theatre itself. There’s a more direct connection to what unfolds, partly because it’s happening inches from you, under the same lights, and partly because here it’s so well-executed in such close-quarters.
Although CAFE DAUGHTER is a one-woman show, it doesn’t lack technical complexity. In fact, this is one of the most sophisticated solo plays you’ll ever see. The set, realized by David Granger, is dominated by a time-worn hallway. It’s a brilliant concept that gives the playing space incredible depth and symbolic weight, since so many doors are closed to Yvette while others open. Star Phoenix
Every element is carefully constructed and, eventually, it leads …to a strikingly gorgeous, haunting final image—one that’ll resonate more than bigger dramas I saw all year. THE LIST is quietly devastating.
Inglis’ production [of RACE] barely gives the audience time to breathe…the audience hangs on every word until the chilling climax. Few plays are rendered so artfully by a director. Superb acting, direction and staging give Mamet’s script all the power it needs to impress its vision on the audience.
Heather Inglis is one of Edmonton’s most fearless directors, staging plays that manage to be timely and poignant political statements without sacrificing anything in the way of dramatic ability [sic] or emotional resonance.
Inglis’s production captures Ravenhill’s cynical-but-sincere worldview perfectly, and each of these stories can not only go from bleakly funny to depressingly touching in a heartbeat, but also work on both the political and the personal level
…Thursday was just a preview [of BURN] but the cast was already cooking with breezy, confident performances all around. Director Heather Inglis steers this wealth of talent through some very tricky waters. The key moments when things hit absolutely won’t work unless you completely believe the acting, and you do. It’s almost unfair to single anyone out.
Brovold is incredible as Corrie. As everyday reality—writ large in the form of bombs, tanks and guns—begins to lay waste to Rachel’s carefully constructed persona, Brovold too sheds her skin, slowly revealing a girl-come-woman who is able to bear the world she sees by compressing her hope and optimism into a core of resolve. Brovold’s take on Corrie’s final speech is especially moving, at once disgusted by and hopeful for what’s going on around her. That the production does all of this while still making a sharp, tangible point about a serious political issue only makes it more admirable; if we’re lucky, a few other theatre companies will use it as a template.
The Enchantmentis a ravishing production…a seductive voluptuous and enveloping theatrical adventure…forget the world and give yourself over to this ravishing production.”
[THE MERCY SEAT is] A superior production one of the most rewarding nights of theatre this season.
ANXIETY - VUE WEEKLY COVER STORY
ANXIETY - AFTER THE HOUSE LIGHTS BLOG PREVIEW
ANXIETY - VUE WEEKLY REVIEW
ANXIETY - GIG CITY REVIEW
ANXIETY - EDMONTON JOURNAL REVIEW
BONE CAGE – EDMONTON JOURNAL REVIEW
BONE CAGE - AFTER THE HOUSE LIGHTS REVIEW
THE LAWS OF THERMODYNAMICS - EDMONTON JOURNAL
NATIONAL ELEVATOR PROJECT - EDMONTON JOURNAL REVIEW
NATIONAL ELEVATOR PROJECT - VUE WEEKLY REVIEW