Charlotte Corbeil-Coleman's Scratched (at Factory) has a review in the Globe and in the Star. The reviews differ in their assessment by half a star, which is apparently enough to make the difference between kind and unkind, but never mind. What bothers me is that Richard Ouzounian in the Star reveals the dramatic "climax" of the play.
J. Kelly Nestruck in the Globe manages to review the play without revealing too much. But in a earlier piece on the Guardian theatre blog, he reveals precisely how Christopher Plummer manages to leap to the Pharos Lighthouse in Caesar and Cleopatra at the Stratford Festival. (Spoiler: he doesn't. It's a trick.)
Which takes me back to a review in The Record of Alan Ayckbourn's Intimate Exchanges, at the former Theatre & Company, where the reviewer helpfully explained how body doubles were used to manage some tricky transitions.
The same reviewer earlier (and now we're hitting pay-dirt) reviewed my Yes or No! and revealed that one cast member hidden in the audience intervened in the middle of the play.
It was supposed to be a surprise.
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Theatre, etc. from a writer in Waterloo, Ontario
