b side
Traversing a Queen West laneway, two performers and a strolling audience highlight what often goes unnoticed. Accompanied by music and dance, audience-participants with deliberation place three important lemons to mark this urban landscape. The play concludes with a lemonade social.
|
Production Credits
Created and performed by: Molly Johnson and Meredith Thompson Sound Design by: Robbie Grunwald Production History SummerWorks Festival: Toronto, ON August 2018 
|
 Photo credit: Henry Chan. Photo source: Molly Johnson and Meredith Thompson.
|
Read more in PLAY: Dramaturgies of Participation: OSTRANENIE, GUIDES, JUICINESS, SECRET WEIRDOS, TEACUPS, BEING LOST, MAD LIBS
Photo credit: Henry Chan. Photo source: Molly Johnson and Meredith Thompson.
|
Photo credit: Henry Chan. Photo source: Molly Johnson and Meredith Thompson.
|
Photo credit: Henry Chan. Photo source: Molly Johnson and Meredith Thompson.
|
Press
"For the duration of our walk, whatever the eye beholds becomes theatre, and the boundary between art and spectator blurs." - Jen Norman
"I loved this show—I loved the brains and heart of it and the imagination with which it was created." - The Passionate Playgoer
"B-side was a lovely exploration that made me feel peaceful, serene, and fulfilled. As an outdoor piece that winds the audience through an alleyway, it both felt like the audience was one unit, one person, observing and seeing the space around them and at the same time I felt delightfully separated and on my own." - My Entertainment World
"I loved this show—I loved the brains and heart of it and the imagination with which it was created." - The Passionate Playgoer
"B-side was a lovely exploration that made me feel peaceful, serene, and fulfilled. As an outdoor piece that winds the audience through an alleyway, it both felt like the audience was one unit, one person, observing and seeing the space around them and at the same time I felt delightfully separated and on my own." - My Entertainment World
Articles
Meredith Thompson and Molly Johnson, “b side,” Canadian Theatre Review 197 (Winter 2024): 32-33.
