Text adaptation of Hamlet by Ghost Writer. MainLine Theatre; April 2020.
Acts To Grind Theatre Presents HAM, ALOT – A Lot Like Hamlet But Way More Awesome
– A.A. Cristi Mar. 10, 2020 – BROADWAYWORLD.COM
bathhouse : the musical !
by Esther Daack & Tim Evanicki. Cabaret Cleopatra; August 2019.
BHM was presented in both English and French (UdA) in Montreal. Toured in English to Ottawa and Toronto.
Un théâtre francophone de plus en plus musical.
Cette production présentée dans une ambiance volontairement cabaret fait la part belle au pastiche et propose plusieurs styles et genres musicaux avec des chansons très Brodway, Gospel, etc.
– Michel Joanny Furtin Août, 2018 – FUGUES
GLENGARRY GLEN ROSS
by David Mamet. MainLine Theatre; November 2018.
INTRIGUE – SUSPENSE – DECEPTION – CONTROVERSY
Mamet was influenced to write Glengarry Glen Ross out of a serious interest in the kind of people who quietly go about their lives, performing “regular” jobs yet endure indignities while doing so… It is an image of a society that Mamet obviously despises but finds fascinating.
– AB Oct, 2018 – THE SUBURBAN
Notoriously fueled by ‘the heat generated by men’, David Mamet’s searing 1983 Pulitzer Prize-winner Glengarry Glen Ross … is an exposé of the devastation wrought by toxic masculinity is more timely than ever. In any case, it is, on first glance, an unusual – and on second glance, pretty apt — choice for Acts To Grind Theatre.
– Jim Burke Nov, 2018 – Special to Montreal Gazette
NAKED BOYS SINGING
by Robert Schrock. Cabaret Cleopatra; August 2018.
Acts To Grind Theatre presents a Tim Evanicki & Davyn Ryall co-production, in association with Fierté Montréal Pride 2017, NAKED BOYS SINGING, written by Robert Schrock, Bruce Vilanch, Mark Winkle and created by Robert Schrock. Directed by Tim Evanicki and choreographed by Andrew Fiacco.
Si Naked Boys Singing attire des spectateurs et des spectatrices en raison de la nudité des artistes, Quentin Bruno affirme que les gens sont finalement surpris, car ils assistent à un véritable spectacle de danse et de chansons.
– Éric Clément Aug, 2017 – LA PRESSE
At times hilarious, at times sentimental, but always loads of fun!
– Noelle Hannibal Aug, 2017 – broadwayworld.com
Quentin Brn Talks about Touring with Naked Boys Singing
– Sinj Karan Aug, 2017 – MONTREAL RAMPAGE
TRUE LOVE LIES
by Brad Fraser. Calixa Lavalée; February 2018.
Toured to Gananoque Royal Theatre May 2018.
9 nominations for the Broadway World Review Regional annual awards.
Winner best supporting actor, Bryan Libero.
With a barebones set, seasoned director Davyn Ryall shows some fun creative staging in bringing us into the Sawatsky home, McMillan’s restaurant, and the streets of Yorkville, although a few extra props could help with the suspension of disbelief.
– Andee Shuster Feb, 2018 – BROADWAYWORLD.COM
Plan your 2018 Mother’s Day weekend outing by coming OUT to the Royal Theatre with your mom, your better half, or make it an entire family affair outing.
GOANAOQUE.CA – THE ROYAL THEATRE THOUSAND ISLAND
The rapidfire dialogue and action moves along at an incredibly fast pace, the language is very dense, almost like Shakespeare, and it’s filled to the brim with fantastic humorous Brad Fraser wit.
– AB Jan, 2018 – THE SUBURBAN
Play by Steve Yockey – Directed by Davyn Ryall
Presented at St-Ambroise Montreal Fringe June 2017. MainLine Theatre.
A Psycho-Thriller Melodramedy – The clash of love vs need
Perfect for the Fringe in it’s creepiness…a chilling experience perfect for a hot summer night.
Out Magazines’ Top 10 stage plays 2012.
by Patrick Marber. MainLine Theatre; April 2017.
Set in London 1997, four lives intertwine over the course of four and a half years in this densely plotted, stinging look at modern love and betrayal.
– bww news desk Mar, 2017 – BROADWAYWORLD.COM
Melodramedy – Closer, Acts to Grind Theatre
« In its cutting contemporary picture of sexual desire and emotional failure, Closer is a brilliantly unusual virtual reality that rings true… » — NY Observer
– Mar, 2017 – Les Arts Zé
“Closer is a brilliant and bracingly adult play from London… bruising and beautiful, shatteringly funny and devastatingly sad. The play’s dialogue has a raw emotionality rarely heard in art or life. It cuts like broken glass… full of bitter, intelligent, unvarnished truth.” — Variety.