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Grab of the Week: a breezy open-back blouse for Toronto’s long, hot summer days

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“How am I supposed to get dressed for work when it’s too hot for clothes?” This is a style question we’ve been asked one too many times in the midst of summer’s hot hot heat. Looking easy, breezy and beautiful actually isn’t so easy when dealing with sticky humidity and high temperatures in Toronto.

Even harder is trying to arrive at work looking put-together and stylish (and not a sweaty disheveled mess). We bring this up now because if you don’t stock up on the right pieces in advance, you’ll be left kicking yourself in front of bare racks.

A key piece for summer is a sharp button-up blouse with the right cut outs that allow for, well, ventilation. From bike ride to office, this pleated open-back blouse by TFNC London will keep you cool and looking cute.

$58. Available at Shoppalu.com

Grace Carroll is a Toronto-based freelance writer whose work has appeared in ELLE UK, ELLEcanada.com, Plaid magazine and FILLER magazine. Keep up with her daily blog at www.graciecarroll.com.

Morning Throwback: this old-school Toronto “computer” room had the power of a dozen abaci

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With news that Apple's latest iPhone will have a bigger screen, thereby rendering all current iPhones obsolete, we look back at some really antiquated technology. Look at these two chaps fondly gazing at their old thingamajig, bidding it farewell. Touching it once last time. “She was a beaut,” says one. “She sure was, Frank. She was a fighter. She had a ribbon that wouldn’t break.” “Yeah… now, let’s throw her off the roof.”

Free pizza: the one thing in life that nobody has any business complaining about

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Patio season is upon us: that glorious season when temperature spikes, awnings are lifted, and everyone gets free pizza. Well, maybe not everyone. Mostly, just those people who happen to make their way to Queen West’s Piola tomorrow.

This past Monday, Piola debuted its new 28-seat patio, which promises an oasis of deliciousness amidst the hustle and bustle of Queen West. To celebrate the opening of its new patio, the restaurant is giving away free slices of its signature thin crust pizza to patio-dwellers from noon until 6 p.m. tomorrow.

Piola will also be showcasing a host of newly-unveiled menu items (including Sicilian sweet peppers stuffed with spicy ground beef and pork ragu, $10).

The only drawback is that free slices are limited to two per person. But easy there — this is free pizza, not an all-you-can-eat extravaganza.

Piola, 1165 Queen St. W. 416-477-4652

Band of the Week: Old Man Luedecke

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Don’t let his name fool you. Old Man Luedecke (a.k.a. Chris Luedecke) is a banjo-pluckin’, foot-stompin’ one-man-show — and arguably the most original solo act out there. His style is reminiscent of old school bluegrass and folk musicians such as Dock Boggs and Pete Seeger. It’s hard to pin the Torontonian-turned-Nova-Scotian’s music into one genre — is it folk, blues, roots, bluegrass or, dare we say it, country?

One thing we know for sure is that, whatever you want to call it, OML’s music is racking up major street cred: he’s now got two Juno Awards under his belt. But his old school sound also has modern charm. His powerful and meaningful lyrics invite youthful ambitions: just try getting through “I Quit My Job” without wanting to skip town and pull a Christopher McCandless.

His live shows are not to be missed. He’s expanded his sets to include a mandolin, violin and even an electric guitar. Expect loud sing-alongs (even if you don’t know the words) and serious stomp-alongs. We caught up with OML to talk about his upcoming album and his performance at Hugh’s Room tonight.

How did you first arrive at the banjo? It’s not the most conventional of instruments.
Right, and I guess it was fairly random. I’d always liked the sound of it and I didn’t really know anything about it. I was attracted to it because it’s so different from the guitar, and I wasn’t a kid who played guitar in high school. I bought the banjo from a fellow up in Dawson City in the Yukon, and it sort of jived with the spirit of camping and freedom.

I’m having some trouble placing you into a clear-cut genre. Maybe you could help me out?
I write fairly lyric-heavy songs, with sort of buoyant melodies, I guess. It’s all over the rhythm of the old-time banjo, there’s really a sparkling drive to what I do, and then it seems that that’s been a natural place for me to write songs.

Is it challenging to be trailblazing in your own style as a one-man show?
It is, well it has been. I’ve been travelling with a sideman [Joel Hunt], so I’ve been that way for quite a long time, and now I’m able to play out a bit, which has been fun. In terms of being in my own genre, I guess that’s why it works, that’s why I’ve been able to do it. I’ve been sort of expressing myself in this way, it has been easy, but it also has not been easy when you think about it.

I know a lot of your songs have more instrumentation — particularly the violin. Is that where your sideman comes in?
Yeah, he plays the violin and the mandolin, and the electric guitar a couple of times. For my records and stuff like that, I write songs for them to be played solo. The core of the song is just me and my banjo, and everything else is a satellite in orbit around that.

Did things change for you after winning two Junos?
Um, probably. I think things really changed for me when I had twin daughters, Delia and Wilhelmina. So I think my daughters overshadowed the Juno. It’s certainly a nice thing. I’ve won two Junos, and in both cases I was out of the country — I was playing in Texas the second time — I think a lot of people found out about this last one more than the first one.

Playing outside of Canada and even winning these awards — are those indications of a bigger market for folk music?
It seems like it. But at the same time, I don’t have anything to compare it to because I’m on the front of what I’m doing, I’m kind of hopeless, you know, I don’t have a choice [laughs]. Well, I guess I do have a choice, but I don’t think that it’s hopeless.

You’ve collaborated with a few other bands like The Deep Dark Woods and Lake of Stew. Is there anyone else who you’re currently working with or would like to work with?
Well the funny thing is, I just made an album in Nashville in January, and it hasn’t come out yet, and it’s pretty fun, and I was collaborating there with Tim O’Brien, who actually sang on my last album again. It’s a really exciting project.

Any idea when it will be released?
I don’t know! There are still a few things that need to be done before it comes out. My wife is scribbling at home, but she’s also at home with two babies and she’s supposed to be doing the artwork for it [laughs].

Are you excited to be back home in Toronto tonight?
Oh yeah, it’s going to be really nice. Hugh’s Room is a really great place to really listen to what’s going on. It’s a fun room to play in. They do a great job with the sound. And it’s set up really well for connecting with the audience.

What I Wore: head-to-toe denim with Bluenotes, Wrangler and Fitzroy Boutique

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This is embarrassing to admit, but up until last week, I didn’t know what National Denim Day was. Admittedly, I’d seen and heard little bits and bobs about it, but never processed what it was really about. This is ridiculous for a couple of reasons: one, why would a girl who loves denim ignore National Denim Day? And two, the annual day has been going strong since 1997!

After crawling out from under my rock, I discovered that National Denim Day was created by the CURE Foundation and occurs annually on the Tuesday after Mother’s Day. So what happens on this day of denim? Businesses, organizations and institutions across the country are encouraged to allow their employees, members and students to wear denim, donate $5 and help save lives in Canada. Did you know that an estimated 23,400 new cases of breast cancer were diagnosed in women, 190 new cases in men, and that 5,155 persons died of this disease last year alone?

Rest assured, I gave myself a good smacking on the wrist for previously ignoring such an important day. Like many others, breast cancer is a disease that has affected my immediate family and friends. Thankfully, these people are still with me today, but not everyone can say the same. This is why I partake in Run for the Cure, which I have vowed to run every year with my best friend since our first go at it last year.

This is what I wore for National Denim Day. Yes, that is a head-to-toe denim look you are seeing. What I’d like to point out most is the pair of cobalt blue jeans. If you think they’re a $200 pair from J Brand, they’re not. They’re a pair of $25 jeans from Bluenotes.

What is special about these jeans is not just that they look great, fit great and cost less than an average lunch date, but that purchasing these jeans meant $1 went to CURE and that a new pair of jeans was donated to a local charity. When was the last time spending $25 did that for you?

For every pair of jeans sold until Sunday, May 20, Bluenotes will continue to donate $1 to CURE and donate a fresh new pair of jeans to those in need.

Besides the fact that I think everyone needs a pair of these in their summer wardrobe (they come in array of other bright colour options too), how could you say no to supporting such a great cause through shopping?

What I Wore: Jeans from Bluenotes, sleeveless denim shirt from Fitzroy Boutique, vintage denim jacket by Wrangler, shoes by ALDO Rise, necklace by Blackbird, and sunglasses by Swarovski.

Grace Carroll is a Toronto-based freelance writer whose work has appeared in ELLE UK, ELLEcanada.com, Plaid magazine and FILLER magazine. Keep up with her daily blog at www.graciecarroll.com.

Theatre Review: The Real World?

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Whatever your feelings are about Conrad Black — genius, criminal, fine historian — you cannot deny that he had a way with words. He added to many vocabularies a few years ago when he was being interviewed and mentioned how, upon first seeing his future wife Barbara Amiel, his mouth “fenestrated” (a Latin-inspired way of saying it fell open).

I begin my review of Tarragon Theatre’s The Real World? with this recollection because my own mouth fenestrated through most of this 90-minute, intermission-less production. The acting is nearly all top-notch, but it is the play itself — by Quebec’s Michel Tremblay — that astounds with its beauty, power and intelligence.

The play focuses on Claude, a fledgling playwright who has penned his first work and has used the actual names of his parents and sister. It is not a flattering portrait, and when his mother, Madeleine (played by the magnificent Jane Spidell), reads it, she is understandably devastated.

Written by one of Canada’s most gifted playwrights, The Real World? is not entirely autobiographical, although it is written with such deeply felt emotion that it is hard to believe otherwise. Watching Claude, the playwright (played to perfection by Matthew Edison), argue with his mother and seeing his repulsive father, an unfaithful, ever-joking travelling salesman (played by an equally-good Tony Nappo) burst onto the scene is devastating.

But what makes this complex play a work of art is that Tremblay has fictional parents, “Alex 2” and “Madeleine 2” (played by Cliff Saunders and Meg Tilly), who repeatedly intrude into the “real life” characters’ existence, so that the audience must piece together the truth of everyone’s relationships.

I will flatly say that this production of a magnificent play — directed brilliantly by Richard Rose, the Tarragon’s artistic director — is one of the most entertaining, moving, even mind-boggling productions I have seen in nearly six decades of theatre-going.

Live theatre at its best can be deeply moving, profoundly insightful and even shattering to your soul. It can seem cliché to use one’s own family as the subject of poetry, novels or plays, but why not? As Sigmund Freud correctly pointed out, our first loves (and inarguably our greatest influences) are our parents, and this has been repeatedly seen on stage, from Oedipus Rex to Hamlet to The Real World? and, yes, I consciously put Michel Tremblay’s play among that impressive company.

I urge you to go and experience a rare, utterly remarkable evening of theatre. Bravo, Tarragon, our greatest supporter of uniquely Canadian theatre, and thank you again, Monsieur Tremblay!

Tarragon Theatre, 30 Bridgman Ave., 416-531-1827. To June 3. $20-$51.

The wicked ’wich of the East: the rise of the gourmet banh mi sandwich in Toronto

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Not too long ago, I ate one of the slipperiest, drippiest, messiest sandwiches I’ve ever had. It was at a Financial District nook known as The Gabardine, wherein a fat French baguette was stuffed with pulled pork, raw onions, julienned carrots and kimchi. It was, apparently, an Asian fusion submarine sandwich known as the banh mi. It cost $14, sides included. To anyone planning on taking the plunge: bring a bib. Possibly two.

The Vietnamese banh mi is one of the best sandwiches known to man. When French-inspired bread is filled with tried-and-true Asian ingredients, magic happens. And judging from the recent incursion of this street food onto Toronto menus, banh mi would probably be ubiquitous here if our streets weren’t bafflingly dominated by the hot dog instead.

Banh mi is one of the few good things to have emerged from French colonialism in Vietnam. After decades of French influence, the Vietnamese kept a few mementos: they chose to forgo snootiness and stinky cheese but decided that fantastic French bread — the baguette — was worth keeping.

What I had at The Gabardine was good, but it was not, strictly speaking, banh mi. Sticklers would call it banh mi–esque. An “authentic” banh mi starts with a baguette made with rice flour in the Asian tradition and wheat flour in the European tradition. This is key. The combination results in a singular baguette that’s light as air, with a thinner, crispier crust than a French one.

In Vietnam, these baguettes are spread with butter, mayonnaise or pâté, then stuffed with meats such as cold cuts, headcheese, grilled chicken or pork, along with fresh cilantro, cucumbers and sometimes raw jalapenos. A slaw of pickled carrots and daikon adds crucial balance.

Toronto has long been home to a good selection of traditional banh mi. In the east end, Rose’s Vietnamese Sandwiches is a long-standing favourite, offering fantastic subs for as little as $2.50. In Chinatown, where banh mi is everywhere, Banh Mi Ba Le makes a fine tofu sub for $2.25.

Authentic banh mi is impossibly cheap. But Torontonians will almost always shell out more for something that’s billed as gourmet or as being otherwise nifty (terrible beer, labelled as organic, sells wildly here). That’s probably why several new restaurants are offering banh mi at considerably jacked up prices. For what I paid at The Gabardine, I could buy five banh mi subs, plus a milkshake, in Chinatown. Is splurging worth it?

Many would say yes. At the newly opened Banh Mi Boys, formidable lineups are commonplace. Brothers David, Philip and Peter Chau — who worked at their parents’ Vietnamese sandwich chain for years — offer subs from $4.99 to $7.49. Such price points are sacrilege for banh mi purists, but these subs aren’t filled with thinly sliced cold cuts or other mystery meat. The boys do their legwork, offering grilled chicken thighs that have been marinated in soy sauce for 48 hours; pork belly that’s rubbed with Chinese five-spice powder, then slow cooked in cola and veal stock; and duck confit with crackling and onion chutney.

Several new restaurants are offering banh mi at considerably jacked up prices.
But is splurging worth it?

Meanwhile, the baguettes are a customized version of traditional banh mi bread from the family’s bakery. The brothers experimented for months to create a unique rice-and-wheat baguette, one that stayed fresh longer and held up to toasting better than the traditional stuff. These are authentic banh mi sandwiches on steroids, fine-tuned for the Queen West set, and are worth the extra few dollars and the wait.

In Little Italy, Fuel House offers two takes on the banh mi for $7.50 apiece. They are served on standard, not-too-heavy baguettes from Golden Wheat Bakery, and they are delicious. Co-owner and chef Mike Dolegowski rubs pork belly with salt, pepper, sugar and other spices before slow-cooking it in lard. Thick slabs of the fatty meat come with house-pickled carrots and daikon, fresh cucumbers, cilantro and a sesame-infused hoisin sauce. Alternatively, slices of seared tofu are shacked up with kimchi, pea shoots and a hoisin-Sriracha mayonnaise. Both are excellent sandwiches, and the price point is perfectly acceptable for pub food.  

This End Up (1454 Dundas St. W., 647-347-8700), one of the latest players to join the Dundas West restaurant boom, makes a variety of sandwiches plus cocktails and house-made sodas (try the pineapple sage, $3). Its banh mi has a big selling point: it’s made with cured pork belly that’s been house smoked for four hours over hickory. The meat is sliced thick — up to half an inch. And the baguette comes from a real deal Vietnamese bakery. It just so happens that smoky pork goes really, really well with a Vietnamese baguette, a carrot/daikon slaw and jalapeno mayonnaise. But at $12, it’s a good thing it comes with a side of salad or fries. For those looking to indulge, this is a quality, well-balanced, surprisingly authentic luxury sandwich.

So is shelling out worth it? Old-school banh mi is like espresso — it’s a light, quick, tasty pick-me-up. The gourmet banh-mi is a legitimate meal, and meals cost money. Still, at $14 — the equivalent cost of a Bentley, in the banh mi world — it would be nice to have somebody at The Gabardine, anybody, tuck my bib in for me.

Home is where the reno is: Answers to this season’s home décor questions

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Maybe you want to design your new home. Or maybe you want to redecorate your current place. You have a lot of ideas, but then it hits you: you’re no Jonathan Adler or Brian Gluckstein. So now you’re feeling more than slightly underqualified and, let’s admit it, more than a little stressed out. What do you do with that fireplace that’s never worked? It’s not like you can hide the huge gaping hole in the wall. Or what about those nice antique pieces you recently inherited from your father’s country home? How can you incorporate them seamlessly into your contemporary living room? We asked some of the city’s most well-known interior designers (including Brian Gluckstein) to answer the most common decorating questions. Read on: these could help you avoid a home-design disaster.
 

My living room has a modern feel, but I want to bring in some antique pieces. Do I start from scratch?
No. I think the most interesting spaces are eclectic. But with an eclectic space, there has to be a consistent theme with a few pieces. For example, for a contemporary space with a few antique pieces, they have to have the same design point of view — is it all French? Is it all rustic? Also, you need 85 per cent contemporary and 10 to 15 per cent antiques, and keeping the colour of the wood consistent is important. —Brian Gluckstein, Gluckstein Design

I have an old fireplace that no longer works — and I don’t want it to work — but what should I do with it?
I think you have to play it up like it’s a fireplace. Lots of people have fireplaces that don’t work. I like to fill them up with logs that are cut, so that the cut of the logs are showing. It gives the impression that you could light a fire at any given moment, like it’s an actual working fireplace. I’ve seen people stack books into the fireplace or a nice fern to make it look Victorian. Also, cylindrical vases with candles. If you have collectibles, you can display those, but you don’t want it to get cluttered. I’m partial to the logs. —Samantha Pynn, host of HGTV’s “Summer Home”

My large two-tiered deck has too much space for my grilling and dining area. What should I do?
You definitely need a nice lounging space in the backyard. In Canada, we have such a short-lived summer, so we have to make sure we enjoy the nice weather as best we can. Add some loungers along with some planters. You can have planters with tomatoes and strawberries, so that you can use them later in your kitchen. You can also add a water feature. There are great deck/patio water features that add some tranquil sounds to your backyard experience. —Heidi Richter, designer on HGTV’s “Decked Out” and “Deck Wars”


An eclectic living space and a cozy family room from the
show Summer Home on HGTV Canada.

How can homeowners mimic the reclaimed rustic wood trend?
Wood flooring is a big thing. We’re seeing a lot of engineered flooring, pre-finished pre-made, distressed wood. It’s a great way to incorporate the wood, and it’s very practical: it doesn’t show all the wear and scratching like a nice polished floor does. Another good way to incorporate the trend is with a dining-room table or accessories: bowls, candlesticks. With accessories, you can do it all. —B.G.

Is mounting a flat-screen TV on the wall above a fireplace just hideous, or can it work?
It can work. I’m more inclined to put it on the cabinet beside the fireplace and create symmetry with another cabinet on the other side. If it’s a working fireplace, you have to check with the TV manufacturer and whoever is installing if it’s OK to install it there. I suspect if it’s a rip-roaring fireplace, it can’t be. The thing is, if you have kids, and the TV is mounted above the fireplace, they are cranking their necks to watch it. I think a television should just be above eye level when you’re sitting down. That’s why I prefer the TV beside the fireplace. It’s not that it’s hideous, but I think when designers pull a room together, they believe in living well, so a television in a living room doesn’t suggest reading or talking or enjoying the room. But that said, we need to live, too. —S.P.
 

What is the general rule for hanging art?
Have the middle of the picture at average eye level. A lot of people hang art way too high. Of course, if there is a collage or mix-and-match artwork for an electic look, that changes things, but if you’re doing one piece of art, it should be at average eye level from the middle of the picture. —H.R.

How do you update your front porch for the most curb appeal?
You update it with a very colourful front door and paint it a shiny black along with brass hardware, or you paint it a bright blue for a Georgian house. Also, you could use a red, and then add big planters with beautiful flowering in them, along with great wall lamps on either side of the door. —B.G.

There’s a bare wall behind my bed, but I’m scared a painting will fall on me. What should I do?
Put up a poster. You can take a fantastic personal photograph of yours and have it enlarged and then you can paste it down like wallpaper. The finished product will be huge and blown-out and pixilated a bit, so it gives you a really nice soft focus. Or you can just put wallpaper back there in lieu of art, if you’re really concerned. —S.P.

What is an easy way to update a kitchen without tearing the whole thing apart?
Simple things: if you have good cabinets with a laminate countertop, update the countertop to a solid surface like granite. Something else that’s easy is if you don’t have a backsplash or you have an outdated backsplash add a new one. If you have a rental unit, which makes those changes impossible, then add some new popping accessories. Buy that lime green blender you’ve always wanted. And, of course, you can always update the hardware. —H.R.

Want to commemorate your pregnancy? Get a belly cast

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After seven-and-a-half months of pregnancy, I got totally plastered the other day. No, it didn’t involve happy hour. Instead, I got plastered during a belly-casting session to create a sculpture of my very-pregnant torso.

It is part of a growing trend among moms-to-be to find new and more creative ways to honour and celebrate the experience — from belly painting and belly blessings to henna and photography.

Dana Thomson is the founder of Mummies’ Tummies. She came to my house to do the belly casting. She started the business 14 years ago and since has done more than 700 belly busts. “I had a girlfriend who had seen belly casting done in the States, and she asked if she thought I could try it,” Thomson says. “I did and I really thought that people might enjoy this kind of art relating to babies.”

In my kitchen, in front of my daughter and, um, nanny (I’m pretty sure seeing me naked waist up isn’t in her job description, but she really loved watching the process, as did my daughter) I stripped off my shirt and bra.

All Thomson needs is to be near a sink with a bowl of warm water. She puts down a drop cloth, which I stand on, and the belly casting begins by me rubbing on a thin layer of Vaseline over my chest and torso. Then with dozens of pieces of plaster gauze, which she dips into warm water, she covers my belly and chest.

Plaster cast of Rebecca Eckler's pregnant belly

“At first, I targeted the midwifery clinics with women who were not only tuned in with their bodies, but didn’t worry what they looked like or their weight gain,” she says. “This is a very empowering time. Women who do this appreciate their curves.”

Some are extremely comfortable with their pregnant form. Thomson is often invited to baby showers where other women will help with the plastering. “I was once in a room during a baby shower with 50 women who were helping create the belly cast.”

But not every one understands belly casting, though interestingly many men or husbands do. “I get a lot of calls from men who want to set up belly casting sessions for their wives,” says Thomson. In fact, one proud papa even brought the finished belly casting to keep in his work office and hung it on the wall. (Strange, but true.)

“He was proud of his wife and what his wife had gone through.” But most people, according to Thomson, keep the belly casting in their bedroom or the nursery.

One thing is for certain, it’s definitely a conversation starter. “I have also done women who have had three children, and I’ll do a belly casting for each of their pregnancies. They don’t want to leave a child out.”

Thomson has the type of personality that can make anyone feel comfortable. During my plastering, we talk about work, children, family and moving. The entire process takes less than an hour, and she always goes to people’s houses. “It’s much more comfortable for people in their own spaces. A lot of the time, the dads will be around, and they’ll be taking pictures of the process or videotaping it.”

The plaster gauze dries quickly, and she pulls it off my torso and breasts. Then Thomson takes it home to put another layer of liquid plaster over the casting, to make it as smooth as possible.

After the cast is complete, customers choose how to decorate it. Usually, Thomson keeps it simple, as to not take away from the finished product. “I usually stick to painting the date of the baby’s birth, the name of the baby, or sometimes, over the belly button area, I’ll put on their birthstone, which is a really nice touch,” she says.

Prices start at $150, but Thomson also can get more detailed: plastering the mother’s arms around her stomach or the father’s arms around the mother’s torso.

While celebrities posing with their pregnant bellies on magazine covers is old, Thomson’s business is booming. “There’s definitely more awareness of what it is now. Even men know what it is when I tell them what I do,” she says. “Ideally, a cast should be made four to six weeks before the due date, but I always tell women to do it when they are comfortable with their size. I had one women who I did at five months, but her bump was pretty large because she was so petite.”

Thomson has also started to do moulds of a new baby’s bum, which is difficult, to say the least. “Often the baby keeps peeing, and I’ll have to do the casting three or four times,” she says. “But it makes for a really cute doorstopper, paperweight or candy bowl.”

I love my belly casting. In fact, I’d rather look at it than myself in the mirror, which Thomson says is something she hears a lot. Now I just have to figure out where to put the thing.

Maybe I’ll turn it into one mother of a candy bowl.

Mummies Tummies, 416-405-8362

Morning Throwback: in the early 1900s, Casa Loma brought the funk, the whole funk and nothing but the funk

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Since Casa Loma’s pretty much bankrupt, Sir Henry Pellatt’s great grandniece thinks the castle should go back to its roots and become a major player in the party scene again to recoup some dough. If this picture is any indication of the mansion’s former glory days, we think she’s onto something. Have you ever seen Casa Loma this blown up? And a zip line? By the looks of these crunked people, this place was off the hook. Whatever the heck a musicale is, we want another one.

Trending in Theatre This Week: Swan Lake, Home, Stockholm, Rent, Autogeddon

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Swan Lake

Though Black Swan pretty much scared the bejesus out of us (we’ll never look at a broken toenail the same way again), you can catch the inspiration for the film when Swan Lake pirouettes into town, courtesy of the world-renowned Bolshoi Ballet.
Sony Centre for the Performing Arts, 1 Front St. E., 1-855-872-7669. May 15-19.


Home

Five characters, while staying at a home for the mentally ill, express their desire for not only social contact, but, essentially, a home of their own in this world.
Young Centre for the Performing Arts, 50 Tank House Lane, 416-866-8666. May 17 – June 20.


Stockholm

Probing the psychology of the scary Stockholm Syndrome, this play explores a couple’s seemingly perfect relatonship, questioning the lines of love and lust, aggressor and victim.
Tarragon Theatre Extra Space, 30 Bridgman Ave., 416-531-1827. May 15 – June 3.


Rent Top pick!

Thanks to this Tony Award-winning smash musical, we now know there are 525,600 minutes in a year and have this song eternally enmeshed in our brains.
Panasonic Theatre, 651 Yonge St., 416-872-1212. May 15 – June 3.


Autogeddon

An alien visits Earth and instead of taking over the world, it wants to figure out the weird relationship that humans have with their cars. Hey, it’s not like we’re all Knight Riders (although that would be pretty sweet).
Dancemakers Centre for Creation, 55 Mill Street, May 17-27.

Asian comics on the rise and turning tradition on its head

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There’s been a lot of commentary about the lack of women in comedy, but one of the truly under-represented groups is the Asian community.

I’m thinking about this because this month I had the pleasure of working with Sheng Wang, a rising new star of American stand-up. Wang was born in Taipei, raised in Houston and “pays rent” in New York City. His act is dry, hip and laconic. There’s barely a reference to the immigrant drama of most second generation Americans. If anything, he seems assimilated to the point of being ahead of the cultural curve.

Wang has had the obligatory Comedy Central special, he’s performed at Just For Laughs, and NBC gave him a rare holding deal last year. He is modern, post-racial, more of an Aziz Ansari than a Russell Peters — there isn’t an obvious racial joke in his entire act.

I’m also thinking about the issue because I just opened a new Yuk Yuk’s in Vancouver, a city that seems to epitomize Pacific Rim culture. I saw 20 new comics in a local showcase and four of them were Asian. Two years ago, there were only two Asian comics in the entire city, Paul Bae and Jeffrey Yu, both excellent stand-ups that kept secure day jobs. Add to the list Julie Kim, a transplant from Toronto.

All of the aforementioned are of Korean heritage, as is one of Toronto’s leading Asian stand-ups, John Ki. I’ve been told that the Korean community is more assimilated to the traditions of Western culture. Oh, and the very popular comic Margaret Cho? Also Korean.

There isn’t much of a stand-up tradition in that part of the world. The Japanese have a culture so stratified by social convention that sheer physical slapstick bordering on humiliation seems to be the comedy that’s popular. I remember seeing the Tokyo Shock Boys at Just For Laughs years ago. Incredibly violent yet enormously popular in their home country, they were just too strange to conquer North America.

There’s no real stand-up tradition in China either, where comedy is expressed through “double-talk” routines reminiscent of Abbott and Costello. Amazingly, one of the biggest stars of the form is a Canadian, Mark Rowswell, known as Dashan.

I asked John Ki for his insights, and he noted that family ties count so much for Asians that no child would want to disappoint his parents by entering such an economically ephemeral career as comedy. (Actually, my parents weren’t too thrilled about it either.)

Nevertheless, there are always those willing to break with tradition. There’s a new group of comics with roots in the Philippines making waves in North America. Jo Koy can sell out theatres now, and here in Canada, Ron Josol, Art Factora and Keith Pedro are hot on the circuit.

But if you’ve never seen Chinese-American Byron Yee, you should. His one-man show, Paper Son, won the San Francisco Fringe Festival and has gone on to acclaim all over the continent. More ethnic still is Joe Wong. Wong’s immigrant-based comedy can seem dated and all too reminiscent of Yakov Smirnoff’s Russian shtick from the ’80s, but the fact that he’s Chinese and it’s never been done before makes it fresh.

He’s the opposite of Sheng Wang, but they both have something in common — a new voice in comedy.