The Last Man on Earth, Reviewed by Toronto Stage

Director Ginette Mohr has her sights set on funny in a presentation that’s every bit a cerebral awakening as it is smartly amusing and wondrously thoughtful. Relying on 2 black wooden cubes, 4 cream topped pies, and 5 performers, it’s slick, silly and stirring.

That’s because there really are no limitations to this physically imaginative slice of stage heaven. A dash of conflict, a splash of romance and a heap of comical intrigue keeps minds young and old firmly fixed to the unfolding storyline.

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The Last Man on Earth, Reviewed by Burke Campbell

It’s rare to watch an adult audience break into spontaneous applause throughout a play, like kids having too much fun to act like grown-ups. But that’s what Keystone Theatre‘s style does to people. You get to enjoy a good old-fashioned melodrama made specifically for the stage, and presented with such physical panache, the audience hardly notices there’s no dialogue.

Read the full review here!

Hamilton Spectator Reviews The Last Man on Earth

Here’s what the Hamliton Spectator had to say about Keystone’s The Last Man on Earth:

Keystone Theatre is a Dora Award-winning company that uses mime, dance and a measure of clowning to take us back to the comic worlds of Red Skelton, Ed Wynn and Lucille Ball.

This is comedy without words. Think silent screen pleasure.

It’s blessed with the lightning fingers of David Atkinson coaxing from an upright piano, sounds of pain and delirious invention.

There are snatches of The Jitterbug and Nature Boy lurking in the musical shadows of his witty score.

The performers are brilliant. Dana Fradkin’s Penelope is sweet and sad. Janick Hebert’s Minion is outrageously campy.

Stephen LaFrenie’s Devil? Think Bela Lugosi without quirky excess. Add Phil Rickaby as Gormless Joe and you have an everyman in love with life.

The Last Man on Earth is art, pure and simple.

The Last Man on Earth Reviewed by Mondo Magazine

Mondo Magazine reviewed Keystone Theatre’s new play The Last Man on Earth.  Check it out here.

Warning: this review contains an obscene count of the word adorable. There really is no better word to describe it.

The performance is staged as a live-action silent film. There are no words said aloud, but there is the occasional text block and adorable mouthing of words. David Atkinson sets each scene to his witty, well-timed piano playing, with a few post-modern touches as he changes up a bar or three to reflect the scene’ s events or interact with the Devil himself.

Review by TorontoStage has reviewed the Belle of Winnipeg, saying:

Only once in a long spell does a creation come along capable of snubbing conventional theatre. Hurray for grassroots art, Keystone Theatre knows how to seed the foundation.

Read the full review here.