The glass is blacked out by curtains, the doors are closed and the black and white sign out front is the only indication that the Scruffy Bunny Theatre is open for business tonight. I stand, intrigued with the other three participants of this iteration of The Intrepid Bazaar. I am the only improv novice in my group, with three seasoned performers as my companions.  Allowing only four member of the audience per 20-minute show, The Intrepid Bazaar provides a new style of improv comedy to what I have previously experienced.

​There is always something incredibly special about being at Circa Theatre, and tonight is no different. Gathered in the foyer, wine or beer in hand, we are here to see the opening night of Molière award-winning, The Father by Florian Zeller. The glitz and glam of theatre comes alive in our faces, a sparkle roguishly twinkles in an eye, dazzling smiles beguile, a sparking crackle of infectious laughter catapults through the room. Anticipation for Zeller’s black comedy creating a susurrus throughout the room... We sit, the lights dim, the play begins. I am immediately enthralled.
 
The Father is a black comedy surrounding the titular character André (Jeffrey Thomas) and his struggles with Alzheimer’s. His daughter, Anne (Danielle Mason), tries so hard to keep her father comfortable, while simultaneously attempting to lead her own life. In every scene, André is sure he is in his own flat, except the furniture and artwork continuously changes around him, so I know that can’t be true. The disintegration and reforming of what is true and what is not becomes a constant of The Father. I am forced to examine each new truth as André states them. We are in England, no, we’re in Paris. This is André’s flat, no actually, it’s Anne’s husband, Pierre’s. Zeller’s conceptual writing style creates a piece of art that looks disjointed and confused as I walk around it, but when I strike that perfect angle, everything lines up and makes sense. Sadly, this moment never quite comes for André and he wanders, endlessly lost, even as others consistently tell him he has seen it’s true form many times.

Among Strangers is the newest work from playwright Angie Farrow. Her show last year, The Politician’s Wife, had given me a lot of think about, and I was looking forward to seeing her newest offerings. Among Strangers is a production of three different plays, Breaking News, Esther, and August Moon, based off Farrow’s conversations with women aged 15-20 about how they see themselves in this world, these ‘changing times’ as the programme describes.
 
Breaking News centres around a young woman, Jolene, who is at the height of her journalistic career and feels the pressure of maintaining perfection. Esther portrays the return of a girl who went missing for three years; but is she really the same Esther? And finally, August Moon, a tale about the titular character who loses a mother. This is no dire portrait of loss, though; instead, we get a comedy for the conclusion of this showcase. It’s a curious experiment and as I sit, I avidly anticipate the beginning.