Here at Toronto Standard, we’re done with year-end lists before we’ve even, well, done them. On to the next! And best. And worst. And weirdest. And so it goes. Here our theatre critic cherry-picks her favourite shows–that she has yet to see. 
Photo: Trudie Lee I’m a little bit psychic when it comes to celebrity divorces, but I’m useless at predicting the theatrical hits of the season. If you think that show pedigree’s the way to go, I would say yes, the boring way. I prefer to make my picks based on a nearly random cascade of Safari tabs and my own impeccable taste. And the show’s proximity to a heated beer tent. I Am Eagerly Anticipating in No Particular Order: 1. Winter Festivals. The cold-weather answer to those raucous summer fests. First up is Next Stage Festival (January 4 – 15), which now in its 5th year features some great-looking new shows – either revivals or premiers, including Uncalled For‘s 2011 Fringe hit Hypnogogic Logic, Ecce Homo’s Loving The Stranger or How To Recognize An Invert, and Red Betty’s The Washing Machine. And if the website is telling the truth, you can expect a heated beer tent!!!!!!!!! An entirely different but no less exhilarating fest is the 33rd annual Rhubarb Festival (February 8 – 19). For two weeks, Buddies in Bad Times becomes a roiling mass of experimental work as artists from all over the country stage strange, exciting, and occasionally disastrous works in development. This year, you can look forward to offerings from Birdtown and Swanville, Keith Hennessy, and a special presentation from legendary New York cabaret/performance artist Justin Vivian Bond. 2. Somber. Caroline, or Change (January 21 – February 12). Tony Kushner’s multi award-winning (Obie, Tony, Drama Desk, Olivier) musical gets what will undoubtedly be a beautifully produced and performed co-production from Acting Up Stage and Obsidian, two companies who recently scored big with Ride the Cyclone and Topdog/Underdog, respectively. Also dampening our spirits (but in a sexy way) is Mutual Friends’ Other People at the Young Centre (January 18 – 28). 3. Hilarious. The National Theatre of the World‘s brilliant Impromptu Splendor has been killing it the last Sunday of every month at Theatre Passe Muraille for a while now, but if you haven’t been out to see Matt Baram, Naomi Snieckus, and Ron Pederson do their spontaneous improvised plays on any number of themes (e.g. Mamet Night), do yourself a solid and catch the next one on February 26. Otherwise you’ll have to wait until they return April 29. 4. Epic. Marionette master Ronnie Burkett returns to Toronto with Penny Plain at Factory Theatre (January 20 – February 26), a show about the end of the world as experienced by an old blind woman and performed with 35 meticulously rendered puppets.Equally ambitious is Nightwood Theatre‘s adaptation of Margaret Atwood’sPenelopiad (January 10 – 29),Homer’s Odyssey through the eyes of Odysseus’ long-suffering wife Penelope and her twelve slain handmaidens. Directed by Kelly Thornton and featuring a stellar cast of women including Maev Beatty, Raven Dauda, Megan Follows, and Cara Gee, this is not to be missed. 5. Feel Bad About Your Body. I’ve only had the pleasure of seeingCrystal Pite‘s choreography a few times, so I’m pretty keyed up for Dark Matters at Canadian Stage (February 28 – March 3), which based on its amazing trailer, looks like a scene from Being John Malkovich. Also promising to incite shame is Peggy Baker’s The sound and feel of it at the Betty Oliphant (January 20 – 29), featuring a revival of Baker’s Dora Award-winning solo, Portal. 6. Happening in One Place. The company that’s going to take the city to town (theatre-wise) in 2012 is Harbourfront Centre World Stage. Tina Rasmussen has assembled one of the most ambitious and exciting seasons I’ve ever seen, including local artist Shary Boyle‘s stunning Everything Under the Moon, The Wooster Group‘s avant-garde take on Tennessee Williams’ Vieux Carr, Evan Webber and Frank Cox-O’Connell’s intriguing double-bill of Ajax & Little Iliad, and the show I’ve been waiting three years to see, Young Jean Lee‘s The Shipment. Naomi Skwarna is Toronto Standard’s theatre critic. Follow her on Twitter at @awomanskwarned.
