Samuel Du Bois

Endless cocktails, cigarettes, white shag-carpets, sideburns, orgies, subtly referenced cannibalism and eerie Abba covers are all parts in the kaleidoscope of debauchery and madness that is High-Rise, directed by Ben Wheatley.

In the end this becomes more of an academic work than an emotional one, and though all performances are excellent, and there is evidently great thought put into its production, Anton Chekhov—1890, can be no more than an interesting film, which is not quite enough for it to be a memorable one.

Members of the UBC Improv team took to the stage in the AMS Student Nest Blackbox Theatre to provide an hour of improv shenanigans with the aim of relieving all of the pent up election stress that is no doubt churning in the hearts of every politically-conscious student out there.

The finale was the aforementioned Shostakovich, and it was excellently done, thanks to the superb and amazingly entertaining conducting of Girard, who rather than limiting himself to his baton, directs his orchestra with his whole body, becoming as much a tool of expression for the work, as any other instrument.

When the lights came back on and the clapping had died, there was an immense feeling of exhaustion that permeated the theatre after seeing The Amish Project. The play is a one-woman act of 60 minutes with no intermission, and in that time it will take its audience on an intense, funny and often harrowing journey through Nickel Mines, Pennsylvania in the fall of 2006.

The lead vocals deserve the highest of praise for perfectly performed renditions. Scott Brooks (bass-baritone) and Matthew Gaskin (tenor) projected deep and rich notes that could be felt as much as heard. Charlotte Beglinger (mezzo) and Nicole Brooks (soprano) struck every one of the very high notes with pin-pointed accuracy and skill. It was also a nice touch that the screen above was showing english translations of the lyrics.

By all accounts, the celebration was a success, filling the Nest with around 120 people and providing an insightful example of Jewish celebration and traditions for all who wished to attend. The event was free and catered with potato-pancakes, apple sauce and donuts from Garden City Bakery — all of which were delicious.

Making its international debut from February 19 to March 5, Hardline Productions' performance of Bright Blue Future is sure to be the kind of play that speaks to the anxiety and frustration of young generations searching for meaning in their lives.

The midlife crisis has never been delivered with more humour and lively music than in the Gateway Theatre production of Closer Than Ever. It will affect audience members of all ages, either serving as relatable or cautionary experience.

There's a ramshackle quality to most of the structures and it's an interesting juxtaposition to see a group of men and women wearing their finer clothing while standing with the mountains and forests in the background, looking thoroughly out of place

"Don't Dress For Dinner" is a chaotic play, full of layers of deception, romance and alcohol. With a standout performance from Tess Degenstein as Suzette, and a story which escalades to feverish levels of craziness, this is a play sure to entertain.

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