theglobeandmail.com
Monks": Toronto Clown Show's Unexpected Success
Monks," a Toronto-based clown show by Annie Luján and Veronica Hortigüela, which has had three sold-out runs in less than a year, uses physical comedy and audience participation to explore themes of spirituality and absurdity, culminating in a surprisingly poignant conclusion.
- What makes "Monks" a critically acclaimed success, and what does its popularity reveal about current audience preferences?
- Monks", a two-person clown show by Annie Luján and Veronica Hortigüela, has enjoyed three sold-out runs in Toronto, garnering critical acclaim and a cult following. The show, about two monks counting lentils, uses audience participation and physical comedy to create a chaotic yet poignant experience.
- How does "Monks" use the seemingly simple premise of counting lentils to explore broader themes of spirituality and the human condition?
- The success of "Monks" suggests a growing audience interest in unconventional, interactive theatre, even amidst socio-political anxieties. Its blend of absurdity and genuine emotion resonates with viewers, demonstrating the power of seemingly simple concepts to explore complex themes.
- What are the potential long-term implications of "Monks"'s success for the Canadian theatre scene, and what innovative approaches to theatre might it inspire?
- Monks"'s success indicates a potential trend towards smaller-scale, innovative theatre productions gaining wider recognition. The show's unique approach to comedy and audience engagement could inspire similar productions, potentially shaping the future of Canadian theatre.
Cognitive Concepts
Framing Bias
The overwhelmingly positive framing of the review heavily emphasizes the comedic and entertaining aspects of the play. Phrases like "deliciously imbecilic," "zany, off-the-walls," and "maximum laughs" consistently portray the play in a highly favorable light. The headline's "Critic's Pick" designation further reinforces this positive framing. While acknowledging potential skepticism, the reviewer quickly dismisses it, reinforcing the overall positive tone.
Language Bias
The review uses playful and enthusiastic language ("deliciously imbecilic," "zany," "off-the-walls," "maximum laughs"). While subjective, this language conveys strong positive feelings, potentially influencing the reader's perception. However, the overall tone remains engaging and descriptive rather than overtly biased.
Bias by Omission
The review focuses heavily on the performance and comedic aspects of the play, neglecting deeper analysis of its thematic elements or potential socio-political commentary. While the reviewer mentions the play's context within "this disquieting socio-political moment of tariffs and flailing capitalism," this connection isn't explored further. Omission of potential audience demographic information or critical responses beyond the reviewer's own experience limits a complete understanding of the play's impact.
False Dichotomy
The review presents a somewhat false dichotomy between the seemingly chaotic nature of the play and its underlying structure. While describing the show as a "lawless party," the reviewer simultaneously highlights its "tightly choreographed" nature. This creates a simplified eitheor framing of the play's style, potentially overlooking nuances in its artistic approach.