Pics and Press


Esmé Antonia Elizabeth Dilworth, née August 2013

Passion Play, Sheep No Wool, with Outside the March and Convergence, 2013

La Ronde, Soulpepper 2013

Penelopiad, remount, 2013

Terminus, Mirvish remount, 2012

Antigone Dead People, Small Wooden Shoe, 2012
 


Proud, Michael Healey, 2012
photos Sean Howard
"That brings us to Maev Beaty, whose Lyth is a delicious time-release capsule of a performance. She comes on all ditzy and sexy — Marilyn Monroe with a side order of poutine — but as the play continues, we come to realize that she uses men far more than they use her. It’s one more piece of superb work from an actress who is rapidly becoming one of the most valuable on our stages." Richard Ouzounian, Toronto Star

"As Jis, a name the PM flatly refuses to use, Maev Beaty is sensationally good: switching from ditziness to determination and back again, with a quick flash timing to match Healey’s slow burn. She’s always had presence; she now has control." Robert Cushman, National Post

"Maev Beaty plays Jisbella Lyth, a rookie MP from the fictional Quebec riding of Cormier-Lac Poule, a single mom and manager of a St. Hubert franchise until her recent foray into federal politics. The moment she bursts on stage in her hilariously brash entrance she is instantly likeable. The character is the perfect counterpoint to the dour, stuffy and rigid Prime Minister.
This is the third or fourth show I’ve seen Maev Beaty in recently and she is consistently brilliant. The scenes between the Prime Minister and Lyth are scintillating; Healey and Beaty have a great rapport." Wayne Leung Mooney on Theatre


Terminus, Outside the March, 2012
 
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"Modern Dublin is turned into a phantasmagorical carnival where good battles evil and everyone – whether they're looking for love, forgiveness or their next murder victim – speaks in rhyme. Mark O'Rowe's script is fiercely original and, despite several scenes of brutality, darkly funny and even touching, as when one character recounts her favourite memories as they fade away. By placing the audience onstage looking out at the Factory Theatre seats, director Mitchell Cushman disorients us, so the characters, creeping through the crevices of Nick Blais's abstract set to deliver their gripping monologues, continually surprise us. The actors (Maev Beaty, Ava Jane Markus and Adam Wilson) rise to the huge demands of the language and the heightened drama to create the visceral, heart-thumping experience that only great theatre can provide. Unforgettable."

Glenn Sumi, Now Magazine

Radical Practices: The Edward Bond Festival, Sheep No Wool Theatre 2012

Maev Beaty and Alan Dilworth organize Edward Bond Festival
 TARA WALTON/TORONTO STAR
Actress Maev Beaty and her husband Alan Dilworth, a director, have organized a festival to celebrate British playwright Edward Bond.
By Alison Broverman
When it comes to the independent theatre scene in Canada, you’d be hard pressed to find a more exemplary couple than Maev Beaty and Alan Dilworth.
Beaty is one of the hardest working actors in town. Theatregoers might recognize her from any of a number of recent shows: Another Africa, which opened the Canadian Stage season last September, or Soulpepper’s Christmas confection, Parfumerie, or Nightwood Theatre’s recent productions of The Penelopiad and The Happy Woman (which earned Beaty her fourth Dora Award nomination last week). And that’s just in the past eight months.
Dilworth, meanwhile, is one of Toronto’s hottest young directors. His production of If We Were Birds, Erin Shields’ Governor General’s Award-winning play, was nominated for a slew of Dora Awards last year and he was nominated last week for his recent production, Crash, at Theatre Passe Muraille.
And what’s this couple’s next big project? They’re bringing an old British playwright to Toronto this week.
Over dinner at their Junction home on the weekend, they talked about the Edward Bond Festival, a personal passion project that runs from June 12 to 20, with readings and workshops celebrating the work and philosophy of the controversial British playwright.
The festival is a labour of love fuelled by Dilworth’s fascination with the playwright. The year 2012 marks Bond’s 50th anniversary as a playwright; his first real play, The Pope’s Wedding, was staged at the Royal Court Theatre in London in 1962.
Dilworth first “discovered” Bond 10 years ago, when the Toronto-based Actors Repertory Company staged a production of The Sea, and he visited Bond at his cottage in England for a tête-à-tête several years later while working on his master’s thesis.
Despite Bond’s advanced years (he’s almost 78), his work remains vitally relevant and speaks directly to social justice, especially he disenfranchisement of youth, a topic that, with the Occupy movement and student protests in Quebec, is top of mind. Bond’s groundbreaking 1965 play, Saved, is about a group of working class youths suppressed by an economic system that offers them no way in. And Bond has continued writing: over the past 10 years he has produced timely work about a dystopian near future.
“The things that Bond is talking about, it seems like everyone is talking about those things, so it would be nice to have someone here who has spent his life thinking about these questions,” says Beaty. “All of (Bond’s work) is in service of questions about human justice, which is universally applicable right now.”
Bond himself will be present for many of the festival’s events, which include readings of his plays by local artists at venues all over town, and the festival’s centrepiece, a symposium on June 17 in which Bond and longtime collaborator Chris Cooper will discuss the state of society and how it intersects with drama.
Beaty and Dilworth have been amazed at the support they’ve had from the local theatre community in this endeavour: the biggest thing they’ve produced under the auspices of their tiny theatre company, Sheep No Wool (it’s a King Lear reference; they first met working on a terrible student production of the play).
When their grant applications for the festival were rejected, they launched an online fundraising campaign on IndieGoGo.
They reached their goal on Sunday. “It’s really become a community festival now,” says Dilworth. “So many people want to meet this guy!”

Happy Woman, Nightwood Theatre, 2012
photos by Guntar Kravis

"Her polar opposite is her daughter Cassie, a barmaid and performance artist (not, she insists and despite her brother’s insinuations, a stripper), who wears her heart not so much on her sleeve as on her entire body. As played by Maev Beaty, she’s alight with wit, warmth, pain and anger; this actress’s ability to take instant command of both stage and character has never been more electrically on display" - NATIONAL POST, Robert Cushman

"Beaty is striking as the restless Cassie, who works out her issues in nude, Karen Finley–style performance pieces" - Martin Morrow, The GridTO

*Dora Nomination for Oustanding Performance by a Female*

Penelopiad, Nightwood 2012, 2012 
photos by Robert Popkin


"vibrant, moving and darkly, explosively funny." National Post, Robert Cushman
"In the superb Nightwood Theatre production that opened at Buddies in Bad Times Theatre on Thursday night, the work’s potential to charm and alarm us in equal measure is displayed to its full power." 4/4 Richard Ouzounian, Toronto Star
"Fine female cast makes for a magical Penelopiad...Maev Beaty and Sarah Dodd are hilarious as a pair of endearingly irritating in-laws."3.5/4 Kelly Nestruck, Globe and Mail
Another Africa, Peggy Pickit Sees the Face of God, Volcano/Canadian Stage Co., 2011

Run – don't walk, skip or even scurry – to catch Peggy Pickit Sees the Face of God at Canadian Stage. German playwright Roland Schimmelpfennig's devastatingly funny satire concerns the after-effects of a couple's “wonderful and horrific” medical mission to Africa – and it's a strong contender for the best play to have its premiere in Toronto so far this decade...Three cheers for all four gifted comic actors...Director Liesl Tommy ties all the performances together tightly and makes ingenious use of a camera hidden in a African doll.- Kelly Nestruck, Globe and Mail

Under Liesl Tommy’s direction, which is both pitch- and pace-perfect, the two women give especially fine performances. Kristen Thomson’s Liz moves from a precarious comfort zone to total meltdown; Maev Beaty’s Carol is on crisis alert from the start, but with a top dressing of poise; and both of them can explode, or implode, at an instant’s notice and with frightening conviction - Robert Cushman, National Post


The future of the St. Lawrence Centre may be up in the air, but there’s no uncertainty about the Volcano Theatre production that’s just opened there. This Canadian Stage presentation will be a huge hit — and deservedly so....Original cast members Tony Nappo and Maev Beaty are back with even fuller performances, Nappo as the Mr. Tactless host who simply wants everyone to have a good time, Beaty as the troubled Carol who has faced some terrible decisions, unimaginable to those who haven’t been there. Robert Crew - Toronto Star

The technique demands perfect precision in timing and movement that is simply amazing to watch.  All four actors give outstanding performances...Beaty is an apprehensive woman who already seems on the verge of a breakdown when she first enters...The two plays were must-sees last year.  Now in their new, more congenial format, they invite you even more forcefully to shine your eye on the new face of drama in both the developed and developing worlds. Christopher Hoile stage-door.com

All four actors are phenomenal. This is truly an ensemble performance as the cast’s timing needs to be so precise for the piece to work and the timing of the four actors is spot-on. - mooneyontheatre.com
 

MONTPARNASSE, Groundwater Productions in association with Theatre Passe Muraille, Spring 2011

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Beaty and Shields are both accomplished actresses and have proven that in many productions…Both give fearless, dazzling performances….Andrea Donaldson’s direction and staging is fluid and never detracts from the story. It always enhances it…Every part of this production—the writing, the performances and the direction-is exquisite….Montparnasse is a play about art, creation, seeing what is in front of you and not seeing it, about inspiration; about the power of the muse. It is a wonderfully written, beautifully acted and directed play that must be seen. Slotkinletter.com, Lynn Slotkin

The theme and subject of Montparnasse is female nudity, and its most obvious attraction, though it has many others, is that it features two beautiful and talented women — the talent being part of the beauty — who spend a substantial portion of it with their clothes off….At its pyrotechnic highpoint, the show cross-cuts between two social gatherings…The transitions are done at dizzying speed, the two performers in multiple impersonations daring us to keep up. ..And the play leaves us with a bittersweet question: If a work of art continues to find an audience, what actually survives, the subject or the object? …A play celebrates another art form and in doing so glorifies its own. Robert Cushman, National Post

Fast-paced and seductive, Montparnasse deals with themes of voyeurism, sexual autonomy, nakedness, identity, ego, cruelty and the “Divine Muse.” Shields and Beaty both give outstanding performances, skillfully portraying several artists of the time, including Henry Miller, Sylvia Beech and James Joyce. The visually stimulating language combined with the 1920s costumes by Jung-Hye Kim and the wonderful lighting design by Andrew Moro bring the sights, smells and sounds of bohemian Paris to life. Shields and Beaty bare it all on stage — their bodies, hearts and souls. This is an extremely brave performance that deserves every inch of the praise it has received. At once funny, moving and titillating, Montparnasse took my breath away. If only every play was as artistically pleasing as this. Theatromania.com, 5 out of 5 

Who survives in the end? The artist who creates the painting or the image held tightly by the frame? That’s the central question in Montparnasse, the stunning new work by Erin Shields and Maev Beaty… To say that Shields and Beaty have created a stunning theatrical landscape is not hyperbole. To say their performances here flash with the incendiary heat you associate with productions on a much grander scale is not a lie….Go see it if you love theatre that excites the imagination and dares you to think and feel. Gary Smith Hamilton Spectator



Montparnasse is an effective showcase for its two versatile performers, full of witty writing and beautiful moments, and to be commended for its attention to detail, both historical and topical. Torontoist.com
The concept of examining exceptional art from the models’ perspectives, instead of the painters’, is refreshing and intriguing….Both women are exceptional in their roles. Without doubt, there is a provocative chemistry between the two…It’s a cure for the blues and an antidote to a spring blizzard. It is also great food for thought and visually stunning. MooneyonTheatre.com


The play works as well as it does due to the fine acting of Shields and Beaty and the firm direction of Andrea Donaldson in negotiating the many changes of mood. Shields suggests fragility beneath Margaret’s cultivated devil-may-care persona, while Beaty demonstrates her flair for comedy when Amelia starts out as a hick in the big city and her depth in drama when Amelia has her first affair.  Eye Magazine


Montparnasse, a play about women, art and creation, features a glamorous setting and an intriguing theme,…The chief reason for visiting this Montparnasse, however, are the two actors, who slip into and out of their colourful characters as quickly, comfortably and confidently as they doff their clothes. - Glenn Sumi, Now Magazine



They bravely bear their bodies, creating a strange intimacy with the audience, as they portray  sensual, groteseque, enchanting, authentic women.They are the female form, one of both vulnerable trembling fear and fierce determination…The writing here is memorable with some splendid imagery and lovely alignment of language. ..Montparnasse is a dangerously romantic and haunting piece. You can almost taste the decadance and regret. ginagoeson.com
Here's the bare-bones plot of Montparnasse: Two Canadian women move to Paris in the 1920s and become professional nudes. The movie rights, I'm sure, will be snapped up any moment now…Montparnasse's chief pleasure comes from the well-honed stage chemistry between Beaty and Shields, who created their characters and co-wrote the play with director Andrea Donaldson…Donaldson's direction doesn't double up on telling the tale, thankfully, instead backing up the words with contrasting and often metaphorical movement…Is there a difference between Mags and the cow carcasses Soutine paints? The question is left floating, and while I thought I knew the answer, now I'm not so sure. Kelly Nestruck, Globe and Mail

ASH, The MILL, pt 4, TheatreFront, Damien Atkins, January 2011


Ash is set in a sparse world, and the script is equally bare by intention, shorn of imagery and details. Much of the communication is unspoken, and this fine team of actors...expand the characters’ emotional richness as they reveal, under director Vikki Anderson’s careful shaping, the relationships in this unusual but recognizable nuclear family. - Jon Kaplan NOW Magazine

Beaty plays Beaver like an overlooked middle child, (she acts about eleven years old), who continually wants to be seen and heard, but harbours her resentment in feeling undervalued quietly… All five are vivid in their ability to bring integrity, sincerity and depth to their young characters in performances that never feel false or forced. - Amanda Campbell, twisitheatreblog.com

"D" WIDE AWAKE HEARTS Brendan Gall, Tarragon,  2010
The acting can’t be faulted...but the greatest is Maev Beaty as D, an icy blonde Valkyrie of a film editor who’s seen it all, and still kept hoping. “I’m not a weaver,” she says of her profession, “I’m a quilt-maker.”And from the brilliant, but patchy, dialogue Gall has given her, she creates a triumphant performance.
Richard Ouzounian, Toronto Star

Meanwhile, Beaty -- an actress who seems to grow more comfortable in both her characters' skins and her own with every performance -- comes close to stealing the show, despite the prodigious skills of her co-stars, as she taps into heretofore untapped wells of sensuality and sophistication to maximum effect. This is a performance that has 'leading lady' writ large on its every turn.
-John Coulbourn Toronto Sun

They are played by — reading from A to D — Gord Rand, Lesley Faulkner, Raoul Bhaneja and Maev Beaty, all of whose performances are alive and quivering…. Beaty’s late arrival, which has the combined impact of a cold shower and an electric shock. Poised and furious, she blasts Bhaneja for betraying her, Faulkner for letting him, and Rand for hiring her so that she’d find out. She is masterful too in the play’s last soliloquy, in which she (“a mere cutter”) lectures on the practical problems and responsibilities of her craft, not to mention its metaphorical significance
Robert Cushman – National Post
 
Maev Beaty as D is particularly outstanding, maintaining expert control of her character. After her emotional and physical scenes with A and C, her editor’s voice quivers but never loses its authoritative tenor. Life is a mess and we are quilt makers, she declares in attempt to convince herself and the audience.
Kerry Freek mondomagazine.net

The star of this show, however, is undoubtedly Maev Beaty, as the film’s editor and girlfriend of Bhaneja’s character. From the moment she bursts on the scene, teaming with bright intensity, she is immediately fascinating. Her character has profound depth, she is cold, aloof and protective of herself, but the audience is also aware of the layers that Beaty has plied her with that exist just below the surface. She has a line at the end of the play saying that her job as an editor is to be invisible, that she should not leave her mark on the film, the moment you realize that someone is there manipulating the way you see the story, the magic is gone. In many ways, actors too should be invisible; their performances should be that seamless. Maev Beaty is a perfect example of how powerful seamlessness is to watch in this production.
-Amanda Campbell, twisitheatreblog.com

As one character puts it in Brendan Gall’s Wide Awake Hearts, “Nice people make dull drama.” Happily, niceness never intrudes in this witty, sexy new work by the multi-talented Gall...Wide Awake Hearts is as striking to the eye as it is to the ear.  Which is wonderful.
Naomi Skwarna, Now Magazine

RITTER, DENE, VOSS,  One Little Goat, LaMama, New York City, 2010

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The action all takes place in the dining room, “the source of every calamity,” as Ludwig says. The room, hung with portraits of their parents and relatives (on Jackie Chau’s excellent set, they are naked torsos with partial heads or cutout faces), is something like the primal scene of European theater, a place for the characters to act out, watched over by mute, damaged ancestors.

The sisters are actually actresses, though they don’t work much. The older one (the excellent Maev Beaty), who has arranged for Ludwig’s return, bustles around preparing dinner, setting the table, fussing. RACHEL SALTZ, The New York Times.


Seelig's cast delivers the text with clarity and distinctive style. Jordan Pettle brings a compelling mix of arrogance and self-pity to the 'philosophical thug' Ludwig (a name that links the character to Wittgenstein, whom he resembles, as well as to Beethoven, whom he admires); Maev Beaty is touchingly natural as the older of his sisters, who dotes on him, and Shannon Perreault is aptly sharp-edged as the younger, who sneers and snipes from the sidelines. Adam Feldman, Globe and Mail

 Thomas Bernhard may be one of Europe's great postwar writers but his plays are rarely seen in the US. This is a shame. The production of his Ritter, Dene, Voss which opened last night at La Mama has percolated since 2006, and it is a thing of finished beauty. Bernhard's fluid yet joyfully abrupt language (translated by Peter Jansen and Kenneth Northcott) is the river from which the true, sad, spiritually ugly faces of the repressed Dene (Maev Beaty) and the looser, spiteful Ritter (Shannon Perreault) swim into startling focus. As Ritter indulges her obsession with reading the newspaper, passive-aggressively complaining about Dene's bossiness, Dene expands and dresses the dining room table as if by making it bigger and setting it she can sculpt a loving, or at least functional, family into being...Adam Seelig and his superb cast wear this wonderful work like a surgical glove. Jon Sobel, blogcritic

Every once in a while, you get a reminder of why you're in this business.  For me, that was Ritter, Dene, Voss... I would be remiss not mention the superb acting.  I haven't been this engrossed by a performance in a while. Seelig did a great job of assembling this group of young Canadian actors. If you don't know them yet, you will soon. The cast (Shannon Perreault, Maev Beaty and Jordan Pettle) did a splendid job of basically digging into the text and just going for it. Simple Acting 101 at its finest!  Trish Vignola broadwayworld.com


The dialogue turns and churns as the siblings face off with one another...The push and pull of caring and revulsion amongst the trio rearranges the relationships and the living space,¦ I am glad La MaMa has brought this young company to New York. My hope is that Seelig creates something else that follows in the footsteps of Thomas Bernhard by developing a work personally suited to Perreault, Beaty, and Pettle's particular talents. - Chris Harcum nytheatre.com

This is a terrific self-referential absurdist play, beautifully written and translated and superbly acted. It is downtown theatre at its very best. The three actors all do a superb job in their respective roles and director Adam Seelig deserves considerable credit for this production. Alan J. Miller theasy.com

The group had the guts to do the play, remind us of Bernhard, demonstrate a different kind of Absurdism, and give our sometimes prefabricated theatre ... meaning. Bob Shuman Stagevoice.com



THE TAMING OF THE SHREW, Theatre by the Bay  Summer 2010

Director Brett Christopher sets his production in the Mad Men-ish 1960s, when sexism was a given. He's cast well in the key roles: Maev Beaty and Andy Pogson have a chemistry that allows the sparring couple a means to change their relationship over time..And while neither the production nor its setting fully resolves that last speech of submission, Beaty gives it vibrant life, suggesting the power-sharing she recognizes in their relationship
-  Jon Kaplan, NOW Magazine


THE AFRICA TRILOGY, Volcano, LuminaTO  June 2010


GLO, by Christina Anderson
Directed by Josette Bushell-Mingo
Peggy Pickit see the Face of God, by Roland Schimmelpfennig, directed by Liesl Tommy

The actors, in a superbly rigorous production, are constantly required to switch tone, from polite conviviality to undercover bitterness, until the barriers drop and the moods converge. This is particularly true of the women, with Jane Spidell's Liz is moving inexorably towards hysteria and Maev Beaty's Carol turning brilliantly on a whole march of dimes.
- National Post
, Robert Cushman


Peggy Pickit Sees the Face of God is written by the accomplished, much-produced German playwright Roland Schimmelpfennig and is a fascinating study of a husband and wife who have spent six years in Africa as part of a medical aid team and who have been invited to a welcome-home party by another couple. It's cleverly written (and cleverly directed by Liesl Tommy), with freeze-frame action, video, overlapping, repeating dialogue and punchy, dramatic situations, as the booze begins to flow and secrets spill out.  Again the piece has been beautifully cast, with Maev Beaty and Trey Lyford as the returning, much troubled couple. - Robert Crew, Toronto Star



South African director Liesl Tommy gets incredible performances out of her cast, as her production masterfully lurches back and forth between hilarity and dread.  - J.Kelly Nestruck, Globe and Mail


BIRNAM WOOD, Theatre Rusticle March 2010
 
 The six performers in Birnam Wood are truly magical in their ability to evoke so much of the essence of Shakespeare's play without using his words and relying so heavily on their bodies to communicate often subtle and very dense ideas to the audience...Maev Beaty's dryad seems so fragile, it is as though she could snap as easily as a twig, and Beaty is sensitive and tragic as she calls out to the male dryad who sums up her worth in a To Do List of chores as she says repeatedly: "Item 1: Love me." Amanda Campbell twisitheatreblog.com

Maev Beaty, playing "Tree of Dreams - Critters".. has a piercing scene in which she oscillates between pleading for a man's attention and enumerating all the domestic things she has done for him. One of our best younger actresses...here, she's both disciplined and delicate. Robert Cushman, National Post


PARFUMERIE
, Soulpepper Theatre Co. December 2009

"Kevin Bundy delivers a suave outline of the establishment's resident cad and Maev Beaty an entertaining one of its aspiring flirt" -- Robert Cushman, National Post
 

"Those on the action's periphery also contribute to the show's heart, among them Maev Beaty as a blond who wants to bag a wealthy man" -- Jon Kaplan, NOW Magazine


THE MILL, Now We Are Brody by Matthew MacFadzean, The Huron Bride by Hannah Moscovitch, TheatreFront October 2009

"The productions -- Part I directed by Daryl Cloran, Part II by Christian Barry -- are outright superb: Maev Beaty is a serially intrusive biddy... it's hard to resist her sharpness of line, especially when standing and moving at impossible angles, and her whiplash verbal timing. She and Monteith, with complementary styles and personalities, are extraordinarily present actresses, and having them onstage together is a treat on its own" -- Robert Cushman National Post


The scene ... involves a huge circular saw that - thanks to Gillian Gallow's realistic set, Richard Feren's suggestive sound design and the hilarious twitchings and protestations of the play's villain (played gleefully by Maev Beaty)  almost matches something from a horror movie. It's big fun.
-- Jon Kaplan NOW Magazine

Eric Goulem's Alexandre and Maev Beaty's Rebecca both appeared in The Huron Bride as well and both Goulem and Beaty were fantastic in their ability to infuse their respective characters with all the pain and secrets of the past depicted in Huron Bride, which takes place twenty years earlier. Beaty's Rebecca has become a paranoid, stubborn, icy woman who refuses to let her guard down as she had once done with Hazel. Pain, fear and loneliness radiate from Rebecca mercilessly and ensnare her in a trap from whence she cannot escape. -- Amanda  Campbell, twisitheatreblog.com


MONTPARNASSE,  Co-production Groundwater Productions & SheepNoWool Theatre August 2009
SummerWorks Theatre Festival 2009


"Maev Beaty and Erin Shields have come up with pure gold! The script is as sophisticated as it is compelling, and the brilliant use of nudity gilds the lily. In fact, everything about this show is perfection."  -- Paula Citron, Classical 96.3FM

"This is a dynamic duo who make a habit of producing wonderful work.  Beaty and Shields capture that Hedonistic world of sex, art, booze and the obsessive need to paint. The writing is very fine. The characters are richly drawn and there is nudity. Lots of it." -- Lynn Slotkin, CBC Radio
 

"Maev Beaty, not only grabs immediate hold of each character, but nails and holds every one, while in her principal role she's astonishing, suffusing the theatre with her shyness, confidence, happiness and pain. -- Robert Cushman, National Post

"Paris.. is as much a character in the play as Margaret and Amelia, and the city, as well as many of its notables (including James Joyce, Sylvia Beach, and Henry Miller, among others), are brought vividly to life by Beaty and Shields' impressive and textured voices. Indeed, the vocal work was the most impressive to me, but it was only one part in an exceptionally crafted sum. This show embraces the concept of Gesamtkunstwerk fully, with beautiful but simple set design and excellent lighting design that perfectly captured the mood of the piece. This show was the best I saw at the Fest, and I hope it comes back for a longer run in the future."  - Matt McGeachy, mondomagazine.net

HAVING HOPE AT HOME, Theatre Aquarius, March 2009

"A fine cast at Theatre Aquarius connects beautifully with the play's sometimes soft, sometimes hard edge. Maev Beaty is wonderful as Carolyn, giving the play a strong centre. Her performance is so real she embraces every facet of this young woman. It is a performance to savour for its emotional truth and heartbreaking vulnerability."
- Gary Smith, Hamilton Spectator

"The actors do lovely work. The exquisite Maev Beaty, as Carolyn, has a voice which skips between angelic peal and demonic explosion with every contraction. Portraying the differently-abled is an impressive acting feat - as anyone who saw Toronto Mississippi will testify - but portraying the final trimester of pregnancy and the pangs of labour has to be as demanding of physical commitment. Her performance will have to receive the high praise due to the entire ensemble for the sake of this review".
-- Robin Pittis, TheViewMag
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2008 Year End Notices

"Great individual achievements in 2008"
"Maev Beaty was riveting as a bigoted white-trash soldier, based on Lynndie England, in Judith Thompson's The Palace of the End and later demonstrated her flair for comedy in Theatre Columbus's Dance of the Red Skirts." -- Christopher Hoile, EYE WEEKLY
"Top 10 Productions of 2008"
for The Palace of the End-- NOW MAGAZINE

MIDSUMMER NIGHT'S DREAM
, 2008 (HELENA)  Canadian Stage

"Of the quartet of lovers, Maev Beaty as Helena is the standout, as I gather she was last year as well; she gets her laughs from her neurotic, clear line readings, not just her stage business" -- Robert Cushman, Globe and Mail.

Dance of the Red Skirts, Theatre Columbus.


 "The acting ensemble of Maev Beaty, Greg Gale and Erin Shields, who helped create the play, is outstanding, and the three troubled characters they portray tug at the heart strings". Paula Citron, Classical 96.3FM
 "..three performers have a deeply ingrained habit of revealing their inner states through physical quirks and dancey movements that convey much more than their spoken words. Repeated words and images, particularly being drawn into an unseen sphere of mystery and uncertainty, make the connecting tissue between seemingly unrelated scenes. "Dance of the Red Skirts engages all our sensibilities with humour and grace". Susan Walker, The Toronto Star

".. Those involving Celia, who loses her schoolmarmish primness through a dalliance with the nebbishy Roger, are well-observed and very funny... the play, developed through improvisation, still exudes the freshness of that method because Beaty, Gale and Shields still seem caught up in the joy of discovery  -  EYEWEEKLY Magazine







PALACE OF THE END Judith Thompson, Canadian Stage, January 2008

''All of the performances are convincing and affecting. Beaty gives us a real, three-dimensional bully. We are never going to like her, but we do, perhaps, begin to understand her, and to see her as another victim of the conflict.'' --- Michael Posner, Globe and Mail

''..one superb performance...Thompson is brilliantly successful in getting inside her character's mind, understanding her without excusing her. So is her actress, Maev Beaty, playing here triumphantly against type: She's fleshy, querulous, allowing us to connect the dots that the woman herself is hardly aware exist.'' --Robert Cushman, National Post

''Thompson has written unlikeable characters before, but this GI, played powerfully by Beaty, is especially grotesque. The monologue begins with her Googling her own name - genius. But slowly, subtly, insights into where she comes from accumulate: a former Dairy Queen worker, abused by her fellow (male) soldiers, she suddenly gets cred and laughs when she starts abusing prisoners. It's Thompson's humanity that allows her to show the roots of her characters' inhumanity.''- -- Susan Cole, NOW Magazine (NNNN)

"The first monologue is fascinating because of the Soldier's nonchalant manner in describing the horrific events at Abu Ghraib Beaty gives a great performance as someone whose training and low economic background completely blind her to both the illegality and immorality of her behaviour.'' -- Christopher Hoile EYE WEEKLY

~~~~~~~~~~~~~
2007 Year End notices:


''What follows are lists of the five best productions in each of dance-theatre, theatre and dance:
Goblin Market (Toronto/Equity Showcase), Erin Shields and Maev Beaty, under director Allison Cummings, transformed the repressed sexuality of Christina Rossetti's famous 1859 poem into a palpable and erotic experience.''
-- Paula Citron,
Globe and Mail


Best emerging female actor 2007, MAEV BEATY
''Beaty's razor-sharp technique, light touch and emotional depth make her a chameleon-like performer with prodigious talent. She sparked a dizzily amorous Helena in A Midsummer Night's Dream, a cautious sister defying sensuality in Goblin Market and her own scripted trio of solo shows about self-involved male and female critics. Why haven't TV and film come calling? The camera would love her.''  --- NOW Magazine, NOVEMBER 1, 2007, Best of Toronto edition.

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MIDSUMMER NIGHT'S DREAM Dream in High Park, CanStage July-Sept 2007


 The best of the current High Park performances is in fact inherited from that third show. This is Maev Beaty's Helena, an earnest beanpole (she carries a yoga-mat around and executes a sun-salute in her first soliloquy), careering like a weather-vane from self-abasing to self-righteous and throwing her heart and soul into both extremes.''
-- Robert Cushman, National Post.

Maev Beaty is a real find as Helena, possessed of a flexible voice, goofy smile and endearing penchant for doing yoga at moments of stress.-- Robert Crew, Toronto Star

Of the young Athenian lovers, Maev Beaty's stressed-out Helena makes the strongest impression. Beaty, a stand-out in many SummerWorks shows and the recent Goblin Market, delivers her lines with a clear, pure voice and faultless comic timing''.-- Glenn Sumi, NOW Magazine


GOBLIN MARKET Erin Shields, Maev Beaty (After Rossetti) BELLTOWER THEATRE/GROUNDWATER


So effectively have they and director Allison Cummings marked out the space that you'll swear you see paths and hills once the women have trod the floors a few times. Beaty and Shields bite into their roles with fervour, suggesting everything from a Biblical allegory (Eve in the garden of Eden?) to a sensual vampire tale.''
-- Glenn Sumi, NOW Magazine

''Goblin Market is one hour of unadulterated theatrical bliss. Actors Maev Beaty and Erin Shields under choreographer Allison Cummings have brought Christina Rossetti's famous 1859 poem to life by transforming the work into a brilliant dance/theatre/performance-art installation that is as whimsical as it is disturbing.  Lizzie's encounter with the goblins is brilliantly done because she must show her ravishment by invisible assailants with only her own body to depict the assault. When she stands with her arms outstretched before Laura, she is Christ on the cross, sacrificing herself for the sins of others. The scene with the parched and eager Laura licking the juices off Lizzie's body is so explicit, it is almost painful to watch. Beaty and Shields are very compelling performers and gorgeous to watch. In their pretty white shifts, designed by Amira Emma Routledge, the women are able to capture the virginal innocence of the sisters. Nonetheless, they also grow in their characters. Shields's softened body slides into decadence, while Beaty's stiffening carriage shows she has a spine of steel. This production is not to be missed.'' -- Paula Citron, Globe and Mail (****)


USSR, Hannah Moscovitch, Hatch



As Elena, Maev Beaty flawlessly conveys the sardonic vulnerability that, to this date at least, is the author's hallmark; I said there was no better acting in Toronto than Monteith's in the first play but I didn't say there was none as good.-- Robert Cushman, National Post
 
Maev Beaty is wonderful as the distraught heroine in USSR.
-- Paula Citron, Globe and Mail


 A look back at some of the best performances of 2007 and the shows they came in: Michelle Monteith and Maev Beaty (The Russian Plays) A revived Hannah Moscovitch play paired with a new one, both inspiring virtuoso acting. - Robert Cushman, National Post


 RITTER, DENE, VOSS, Thomas Bernhard, ONE LITTLE GOAT November 2006

''Maev Beaty as Dene is best at this, giving her character just the right amount of stylization. She also had an admirable sense of comic timing.''
-- Christopher Hoile, stage-door.com

 

''Ritter, Dene, Voss takes place over the course of a single meal: the diners are Thomas and his two sisters (the excellent Shannon Perreault and Maev Beaty), two failed actresses with whom he shares a barely hidden sexual bond. If the show is hard work, it's a burden taken up entirely by the performers: Beaty in particular is especially good... It may sound heavy, but it's more fun than reading Tractatus - better cream puffs, at any rate.'' -- PAUL ISAACS, Eye Weekly

''Ms. Beaty has a resonant voice and acts with a veritable gleam in her eyes. -- Keith Garebian, Stage and Page 

''Shannon Perreault and Maev Beaty are wonderful as the sisters.''
--- Paula Citron, Classical 96.3 FM





September 2006
''But the Lab Cab sprinter's prize goes to Maev Beaty, who performed her own solo show Critic, about a food critic's affair with a chef, at 1 pm, and less than a half-hour later appeared in Hannah Moscovitch 's wonderful Mexico City opposite the entertaining Brendan Gall. Totally different characters for Beaty, and equally fine work. Both shows benefited from the talented directorial hand of Alan Dilworth''. --- Jon Kaplan, Stage Scenes NOW MAGAZINE


GARDEN, ANDREA DONALDSON Rhubarb Festival, February 2006

There's a bit of a feel of Christopher Durang to the proceedings, but with more estrogen. Garden offers a strange but fresh look at female sexuality, which is a difficult thing to pull off these days. (Don't worry, this is no Vagina Monologues!) And it doesn't hurt that Maev Beaty gives one of the best (and weirdest - but in a good way) performances I've seen all year.
--- Alison Broverman, National Post. Theatre Eaters: Arts and Life.-


'Garden starts tantalizingly enough; on a dark stage, human whispers and grunts become increasingly louder and more animated. Lights up and Diane, played by Maev Beaty, is getting humped on a chair by Peter, who it turns out in short order is her therapist. ''Fix it, fix me, pleeeaase!'' she cries out in genuine anguish. Tormented by insomnia and unfulfilled on the day of her wedding anniversary, Diane is a woman in pain. Through a tape of zen-like music and at her therapist's behest, she finds her inner garden, a dark, earthy, sensual place where she can finally find some comfort and some sleep. Beaty's performance, ranging from anguish to near primordialism is the strongest and truest on the stage.'' --Bruce DeMara, Toronto Star


MIDSUMMER NIGHT'S DREAM, Resurgence in Newmarket, July 2006

'Maev Beaty's Helena, pouting with frustration, matches her in furious funniness, ad the prescribed contrast between their statures could hardly by more graphically or wittily exploited: the quarrel scene is as disciplined as it's inventive and behind the gymnastics, each of the actors keeps a steady thought line going.''
--- Robert Cushman, National Post



'The pairs of lovers are like adolescents in heat, never near each other without their hormones going off the scale: the somewhat more modest women still throw themselves at the men. The result is a series of broad, funny scenes boisterously played by Maev Beaty, Tim Campbell , Christopher Morris and Irene Poole.''  -- Jon Kaplan, NOW Magazine. 


Angel's Trumpet, Theatre Junction, Calgary. 
''..the actors do a commendable job. As Zelda, Maev Beaty is alternately bright and nervous. She is sharp, irritable, fierce and full of character.''
--- Charles Mandel, The Calgary Herald (Angel's Trumpet)

''Maev Beaty is equally impressive portraying Zelda as a strong-willed, stubborn woman constantly teetering on the edge of reality.''-- Lisa Wilton, The Calgary Sun (Angel's Trumpet)

 
''..when she finally speaks, it's like a cyclone has hit. She roars, she hisses, she spits - thanks to Beaty's scenery-chewing performance. Her tall, graceful Zelda enters as a kind of pretty flapper cum butterfly: later, her fury unleashed she runs the gamut of derangement, finally, she gets to play Cassandra, quietly forseeing her death. Next to her, Leigh doesn't have much of a chance.''
--- Martin Morrow, Globe and Mail (Angela's Trumpet)

 
BELLTOWER THEATRE, co-artistic director

''The folks behind last SummerWorks' ma jolie, writer/director Alan Dilworth, performers Maev Beaty and Patrick Robinson, know how to tell ambitious stories with bold theatricality and playfulness.''
-- Now Magazine (Artists to Watch)





"His cast, Maev Beaty and Patrick Robinson as the couple; use movement, text and song with precision under Dilworth's beautifully detailed direction...


...Beaty and Robinson capture the tensions between the husband and wife, showing the fine cracks in their marriage even before the ground disappears.''--- Jon Kaplan, Now Magazine (NNNN, Critics Pick)

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