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THE MILL Part Three: THE WOODS
Written by Flip Publicity Thursday, 21 January 2010 21:02
Award-winning company THEATREFRONT continues their ghost story serial, THE MILL, with Part Three: THE WOODS, written by Tara Beagan and directed by Sarah Stanley.
Part One: NOW WE ARE BRODY, written by Matthew MacFadzean and directed by Daryl Cloran, and Part Two: THE HURON BRIDE, written by Hannah Moscovitch and directed by Christian Barry, which premiered in the fall, will return for the final week of THE WOODS' run. Part Four: ASH, written by Damien Atkins and directed by Jennifer Tarver, will conclude the cycle next season, with all four plays running in repertory.
THE MILL is the largest and most ambitious project to date for THEATREFRONT. Four plays, created by four playwrights and four directors, span four hundred years in order to investigate Canada's haunted relationship with its past.
What the critics have said about THEATREFRONT'S THE MILL so far:
"You'll probably have the shit scared out of you by Hannah Moscovitch's The Huron Bride. The second installment of The Mill, a four-part series of supernatural tales set in Upper Canada, is full of mysterious things that go bump in the night." NOW Toronto
"My heart was racing, my skin crawled, and my whole body tensed. I was at the Tank House Theatre and I was terrified." Twisitheatreblog.com
"When you walk into the theatre you see and smell wood, you smell sawdust, it's fantastic and incredibly effective. The Mill is a spooky romp, the cast is very fine, effects are eye-popping, and characters fly. It keeps the hairs on the back on your neck spiked!"
CBC Radio One
"Holly Lewis' Lyca, the frightfully alluring ghost figure is about as creepy as it gets. You'll be looking under the bed twice before turning off the lights tonight. Is it too early to speculate if The Mill is destined for Shaw Festival country?" TorontoStage.com
"The Mill, set in northern Ontario, is [Theatrefront's] Canadian project. So far, it's a winner. It may even have invented a new genre, Pioneer Gothic." National Post