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Back 'Sequence' by Arun Lakra Produced by Thousand Islands Playhouse, Gananoque, and now on stage at the Firehall Theatre Credit: Randy deKleine-Stimpson. Pictured: Kevin Bundy and Krystina Bojanowski (back to camera) Joe Szekeres “I have no idea how to begin this review—absolutely no idea, as there’s so much brain- heady stuff going on. Just wait. Allow ‘Sequence’ to work its truth and reality over you.” Playwright Arun Lakra’s ‘Sequence’ fleshes out an understanding of good and bad luck. Is it genetic? If it is, can we change that luck? How mutable is our DNA? Are we stuck with the sequence of our DNA at birth, or can it be altered? Is there a God, and if so, what is that role in our destiny? Did God or that god create the universe, or was it the Big Bang Theory? Does DNA control our fate? Which came first – the chicken or the egg? After mulling over the Thousand Islands Playhouse’s opening night production for a few days, I realized that one doesn’t need a technical understanding of abstract mathematical, philosophical, or ontological concepts to complement seeing this thought-provoking production. Sometimes, a play simply needs to be experienced. That’s precisely the case at Gananoque’s Firehall Theatre. Kathryn MacKay finely directs a thoroughly engaging presentation of astutely intellectual and intelligent dialogue, encouraging audiences to think for themselves about what they have just seen. What a novel idea. Two clever stories run parallel. When one is in performance, the other remains still. The first involves Theo (Kevin Bundy), who Time Magazine calls the luckiest man in the world. He has been able to predict a perfect twenty-year record on the Super Bowl coin toss. Along with being the luckiest man in the world, Theo is also the richest because he has bet double or nothing every time. While giving a lecture on how to gain some of his well-documented luck, Theo meets Cynthia (Krystina Bojanowski), a young woman who has discovered she’s pregnant. Cynthia is quite concerned because she has a genetic eye disease that runs in her family, which can cause blindness. She carries a sealed envelope that contains the baby’s test results, and she wants Theo’s assistance, or his luck, to open the letter and read the results. The other involves Dr. Guzman (Julie Stewart), a science professor who likes to joke and poke fun. She has lost 92 percent of her vision due to her own genetic issues. Guzman missed it by ‘that much’ (for Maxwell/Get Smart aficionados) in identifying the gene that caused the disease, after which another scientist claims responsibility for the discovery. Guzman is visited by Mr. Adamson (Phoenix Fire), a faithful religious student who has had the bad luck of getting a failing grade on a test because he got all 150 multiple-choice answers wrong. Steve Lucas utilizes the Firehall Theatre’s performing space to its fullest extent for his clever set and brightly focused lighting designs. This time, the audience sits on both sides of the playing space. A beam crosses diagonally above the stage, which helps delineate the parallel stories' two playing areas. Both spaces advantageously use rolling ladders and see-through boards. An office desk and chairs for visitors are found on both sides. The checkerboard floor catches the eye. I sat at the far-left end of the auditorium, and it looked as if the checkerboards morphed into diamond shapes in the sloping middle. Richard Feren has selected some interesting musical compositions that add to the play's mystery. Kathryn MacKay’s fine direction remains taut. Her four actors passionately deliver clear-headed performances grounded in truth. As a practicing Catholic, I’m genuinely invested in any play’s question of God’s existence. As the student who receives a failing grade on a complete multiple-choice test, Phoenix Fire’s Mr. Adamson initially questions a divine being’s involvement in what occurred. This spills over into Guzman’s targeted and uncalled-for response. Julie Stewart’s Dr. Guzman counters those ideas head-on, sometimes a tad uncomfortable to hear, but they make great sense concerning God's existence. Stewart and Fire nicely handle the stage business of who’s in control. Cynthia and Theo’s story catches my eye the most from my seat in the audience since it plays out directly in front of me. Kevin Bundy’s Theo is masterly smarmy, but Krystina Bojanowski’s work as Cynthia shines brightly. Her Cynthia is the math ‘nerd’ that I never was. However, Bojanowski also brings a sultry, seductive look that she uses to her full extent, most noticeably in her direct conversation with Theo. Bundy inherently picks up when Bojanowski does this. It’s quite revealing to note how he deals with it. Final Thoughts: After the opening night show, I spoke with Arun Lakra briefly and mentioned that I had no idea how to begin my article. Mathematics was never my strongest subject in elementary school. The script references of the Fibonacci sequence go entirely over my head. Lakra’s response: “Why not start it [your article] that way?” As you can see, I did. That’s when it dawned on me that this brave opening night production got me to think for myself and not get bogged down by number patterns and sequences. Bravo, Thousand Islands Playhouse, director Kathryn Mackay and playwright Lakra for allowing audiences to do just that. To think. The theatre can do that exceptionally well. We need more of that. Running time: approximately 80 minutes with no interval/intermission. ‘Sequence’ runs until October 27 in the Firehall Theatre, 185 South Street, Gananoque. For tickets visit www.1000islandsplayhouse.com or call the Box Office (613) 382-7020. THOUSAND ISLANDS PLAYHOUSE presents ‘Sequence’ by Arun Lakra Directed by Kathryn Mackay Set and Lighting Design: Steve Lucas Costume Designer: Jayne Christopher Music and Sound Designer: Richard Feren Stage Manager: Rebecca Eamon Campbell Performers: Krystina Bojanowski, Kevin Bundy, Phoenix Fire, Julie Stewart. Previous Next

@szekeresjoe On Twitter Meet the Founder Joe Szekeres Involved in community theatre outside of the Greater Toronto area for over 30 years as an actor and director, Joe now reviews and comments on professional theatres throughout Ontario and Montreal. ​ Qualifications : Ontario College of Teachers (retired), Ontario Ministry of Education Additional Qualifications Dramatic Arts Parts 1 and 2 Bachelor of Education (Queen's University) Certificate of Honours Standing and Bachelor of Arts (King's College/University of Western Ontario) English Language and Literature Major/ French Minor ​ Theatre Ontario Workshop : 'Writing Reviews that Matter" with Lynn Slotkin ​ Theatre Ontario Workshop : "Writing Reviews that Matter" with Lynn Slotkin Our Story At Our Theatre Voice, we strive to be of service to write fair, unbiased and impartial reviews and commentaries. By doing this, we hope to encourage audiences to continue attending live theatre, an essential cultural format in community gatherings. Please send an email to us at ourtheatrevoice@gmail.com and we will get back to you in a timely manner. Meet the Original Web Designer Elodie Hraynyk For her work in building OUR THEATRE VOICE website, Elodie Hraynyk received the "Prix d'excellence academique Education cooperative" at her Grade 12 graduation ceremony. Congratulations, Elodie. She is currently updating our website and continues to do so to build OUR THEATRE VOICE's web presence. Elodie will begin her second year of undergraduate studies in Behavioural Science at Durham College. She will remain part of OUR THEATRE VOICE's team. Along with her interest in the theatre and all things arts-related, Elodie continues to make people aware of mental health issues through her own social media accounts. @el_hraynyk on Instagram Business inquiries: elodie.hraynyk@gmail.com Our Values These are our values. Please respect them. Respect ‘Our Theatre Voice’ includes all voices that will be heard and recognized with dignity and respect. Inherent Dignity ‘Our Theatre Voice’ recognizes the uniqueness of all individuals and will continue to reach out for their voice. Integrity ‘Our Theatre Voice’ believes in due diligence and we stand by what we say. Objective ‘Our Theatre Voice’ recognizes the importance of fair, impartial, and unbiased views of live theatrical performances. Meet the Guest Writers “I’ve known Dave Rabjohn and Geoffrey Coulter for over 30 years. Aaron Kropf was part of the Canadian writing team for OnStage Blog. These gentlemen have promised to be impartial, unbiased, and fair as they continue to work with me in sharing our commitment to you, the reader, what's happening on stage in professional theatre on Canada’s east coast, in Toronto, Stratford, London, Gananoque and Montreal.” ​ Contributing writers to OUR THEATRE VOICE: Peter Mazzucco, Louis Train, Olivia Jon Meet Contributing Writer Aaron Kropf Aaron has been a lover of the performing arts from a young age. He attributes that to growing up in Stratford and attending at least one performance at the festival from grade 4. Aaron has been involved with a number of community theatre groups, and worked for some of the largest theatre companies in the country. When not at theatre Aaron enjoys time with his family and living the east coast life. Meet Contributing Writer Dave Rabjohn As a youngster, I went to see a production of 'Who's Afraid of Virginia Woolf' at the old Colonnade Theatre on Bloor St. There were about five people in the audience - probably some special Tuesday matinee. I sat on a bench in the first row, my knobby knees sticking out into the playing area. Martha was literally on one side of my nose and George was on the other side. They were screaming back and forth over my head like I was the tennis net. Boom - fifty years of loving theatre ensued. Meet Contributing Writer Geoffrey Coulter Award-winning actor, director, singer, arts educator, and adjudicator. He is proud to add theatre reviewer to his credentials. Geoff has performed and directed in Canada and the U.S. for over four decades. He has served as an adjudicator for regional play festivals. He has been the artistic director of many youth theatre programs/productions with the hope of inspiring the next generation of artists. Geoff has appeared in theatre, commercials, TV series and feature films, and his voice can be heard narrating documentaries, video games and educational programs. When he’s not in a theatre or recording studio, he’s teaching TV performance at the community college level.

Welcome to Monthly Reviews All monthly reviews will be placed under this tab. Once a show closes, each review will then be placed into its separate thematic category. October Reviews 'London Assurance' by Dion Boucicault Click Here 'Sequence' by Arun Lakra Click Here 'Wonderful Joe' created and performed by Ronnie Burkett Click Here GOBLIN: MACBETH A Spontaneous Theatre creation Click Here “Salesman in China” by Leanna Brodie and Jovanni Sy WORLD PREMIERE Click Here 'Romeo and Juliet' by William Shakespeare. Presented by The Stratford Festival Click Here 'The Thanksgiving Play' by Larissa Fasthorse Click Here Come from Away Click Here Jesus Christ Superstar Click Here

Dramas 'Sequence' by Arun Lakra Click Here 'Doubt' by John Patrick Shanley Click Here 'Mary's Wedding' by Stephen Massicotte Click Here 'Isle of Demons' by Robert Chafe THE TORONTO PREMIERE Click Here 'Jim Watts: Girl Reporter' by Beverley Cooper Click Here Canadian Stage DREAM IN HIGH PARK presents 'HAMLET' by William Shakespeare Click Here 'Rosmersholm' by Henrik Ibsen. Adaptation by Duncan Macmillan Click Here 'The Diviners' based on Margaret Laurence's novel with text by Vern Thiessen with Yvette Nolan WORLD PREMIERE Click Here 'Get That Hope' by Andrea Scott WORLD PREMIERE Click Here 'The Saviour' by Deirdre Kinahan CANADIAN PREMIERE Click Here 'Witness for the Prosecution' by Agatha Christie Click Here 'Cymbeline' by William Shakespeare. Now on stage at The Stratford Festival Click Here

Back 'Sequence' by Arun Lakra Produced by Thousand Islands Playhouse, Gananoque, and now on stage at the Firehall Theatre Credit: Randy deKleine-Stimpson. Pictured: Kevin Bundy and Krystina Bojanowski (back to camera) Joe Szekeres “I have no idea how to begin this review—absolutely no idea, as there’s so much brain- heady stuff going on. Just wait. Allow ‘Sequence’ to work its truth and reality over you.” Playwright Arun Lakra’s ‘Sequence’ fleshes out an understanding of good and bad luck. Is it genetic? If it is, can we change that luck? How mutable is our DNA? Are we stuck with the sequence of our DNA at birth, or can it be altered? Is there a God, and if so, what is that role in our destiny? Did God or that god create the universe, or was it the Big Bang Theory? Does DNA control our fate? Which came first – the chicken or the egg? After mulling over the Thousand Islands Playhouse’s opening night production for a few days, I realized that one doesn’t need a technical understanding of abstract mathematical, philosophical, or ontological concepts to complement seeing this thought-provoking production. Sometimes, a play simply needs to be experienced. That’s precisely the case at Gananoque’s Firehall Theatre. Kathryn MacKay finely directs a thoroughly engaging presentation of astutely intellectual and intelligent dialogue, encouraging audiences to think for themselves about what they have just seen. What a novel idea. Two clever stories run parallel. When one is in performance, the other remains still. The first involves Theo (Kevin Bundy), who Time Magazine calls the luckiest man in the world. He has been able to predict a perfect twenty-year record on the Super Bowl coin toss. Along with being the luckiest man in the world, Theo is also the richest because he has bet double or nothing every time. While giving a lecture on how to gain some of his well-documented luck, Theo meets Cynthia (Krystina Bojanowski), a young woman who has discovered she’s pregnant. Cynthia is quite concerned because she has a genetic eye disease that runs in her family, which can cause blindness. She carries a sealed envelope that contains the baby’s test results, and she wants Theo’s assistance, or his luck, to open the letter and read the results. The other involves Dr. Guzman (Julie Stewart), a science professor who likes to joke and poke fun. She has lost 92 percent of her vision due to her own genetic issues. Guzman missed it by ‘that much’ (for Maxwell/Get Smart aficionados) in identifying the gene that caused the disease, after which another scientist claims responsibility for the discovery. Guzman is visited by Mr. Adamson (Phoenix Fire), a faithful religious student who has had the bad luck of getting a failing grade on a test because he got all 150 multiple-choice answers wrong. Steve Lucas utilizes the Firehall Theatre’s performing space to its fullest extent for his clever set and brightly focused lighting designs. This time, the audience sits on both sides of the playing space. A beam crosses diagonally above the stage, which helps delineate the parallel stories' two playing areas. Both spaces advantageously use rolling ladders and see-through boards. An office desk and chairs for visitors are found on both sides. The checkerboard floor catches the eye. I sat at the far-left end of the auditorium, and it looked as if the checkerboards morphed into diamond shapes in the sloping middle. Richard Feren has selected some interesting musical compositions that add to the play's mystery. Kathryn MacKay’s fine direction remains taut. Her four actors passionately deliver clear-headed performances grounded in truth. As a practicing Catholic, I’m genuinely invested in any play’s question of God’s existence. As the student who receives a failing grade on a complete multiple-choice test, Phoenix Fire’s Mr. Adamson initially questions a divine being’s involvement in what occurred. This spills over into Guzman’s targeted and uncalled-for response. Julie Stewart’s Dr. Guzman counters those ideas head-on, sometimes a tad uncomfortable to hear, but they make great sense concerning God's existence. Stewart and Fire nicely handle the stage business of who’s in control. Cynthia and Theo’s story catches my eye the most from my seat in the audience since it plays out directly in front of me. Kevin Bundy’s Theo is masterly smarmy, but Krystina Bojanowski’s work as Cynthia shines brightly. Her Cynthia is the math ‘nerd’ that I never was. However, Bojanowski also brings a sultry, seductive look that she uses to her full extent, most noticeably in her direct conversation with Theo. Bundy inherently picks up when Bojanowski does this. It’s quite revealing to note how he deals with it. Final Thoughts: After the opening night show, I spoke with Arun Lakra briefly and mentioned that I had no idea how to begin my article. Mathematics was never my strongest subject in elementary school. The script references of the Fibonacci sequence go entirely over my head. Lakra’s response: “Why not start it [your article] that way?” As you can see, I did. That’s when it dawned on me that this brave opening night production got me to think for myself and not get bogged down by number patterns and sequences. Bravo, Thousand Islands Playhouse, director Kathryn Mackay and playwright Lakra for allowing audiences to do just that. To think. The theatre can do that exceptionally well. We need more of that. Running time: approximately 80 minutes with no interval/intermission. ‘Sequence’ runs until October 27 in the Firehall Theatre, 185 South Street, Gananoque. For tickets visit www.1000islandsplayhouse.com or call the Box Office (613) 382-7020. THOUSAND ISLANDS PLAYHOUSE presents ‘Sequence’ by Arun Lakra Directed by Kathryn Mackay Set and Lighting Design: Steve Lucas Costume Designer: Jayne Christopher Music and Sound Designer: Richard Feren Stage Manager: Rebecca Eamon Campbell Performers: Krystina Bojanowski, Kevin Bundy, Phoenix Fire, Julie Stewart. Previous Next

Solos "As I Must Live It' written and performed by Luke Reece Click Here 'Age is a Feeling' written and performed by Haley McGee Click Here 'Guilt: A Love Story' written and performed by Diane Flacks Click Here 'Hypothetical Baby' written and performed by Rachel Cairns Click Here 'Monster' by Daniel MacIvor Click Here 'One Step At A Time' by Andrew Prashad Click Here 'A Christmas Carol' by Charles Dickens Click Here 'Dana H' by Lucas Hnath Click Here 'Here Lies Henry' by Daniel MacIvor Click Here 'Living with Shakespeare' by Jeremy Smith and Steven Gallagher. Presented by Driftwood Theatre Click Here 'No One's Special At the Hot Dog Cart' by Charlie Petch Click Here 'Prophecy Fog' by Jani Lauzon Click Here

Back 'Wonderful Joe' created and performed by Ronnie Burkett Now on stage at the Jane Mallett Theatre, 27 Front Street East, Toronto, St. Lawrence Centre for the Arts Ian Jackson Joe Szekeres ‘A story told with poignant compassion and heart-filled care. ‘Wonderful Joe’ reminds us of how important it is to show these human qualities to others in this time of giving thanks. Uplifting and emotional.” Ronnie Burkett is truly inspiring. His marionettes are captivating extensions of himself. His use of wit, humour, and a touch of naughty mischief prompts the audience to contemplate, think and ponder—and it's impactful when a compassionate artist achieves just that. That’s Ronnie Burkett. He’s ours. And he’s Canadian. The TOLIVE website states that Burkett returns to Toronto after performances of ‘Wonderful Joe’ in California and Edmonton. It is the story of Joe, a senior who is down on his luck and lonely. His loyal companion is his very old dog, Mister. Joe's landlord tells him and the tight-knit residents in the apartment building that they face eviction in one month. The working-class neighborhood will undergo gentrification with the construction of modern condominiums. Amid this devastating news, Joe ventures out for one last adventure. Although the news of eviction brings sadness, Joe chooses not to see it that way. He sees magic in the mundane, beauty amid brutality and life in the lost. Along his journey, Joe meets many people from the neighborhood. He experiences a troupe of homeless players in a cardboard theatre and shows a disinterested teen how to jump over the moon in a playground rocket ship. Burkett's clever story contains elements of a picaresque quality. Typically, the protagonist in a picaresque tale is a mischievous rogue who, through humorous details, experiences the life of ordinary people. I wouldn’t necessarily call Joe a mischievous rogue. However, the fact that he is a gay, middle-aged man, as are his close-knit friends, might lead some to view Joe as unprincipled because of who he is. I choose not to define Joe with that specific label. His sexual orientation and those of his close friends are of no concern and mean nothing to me. He is a human first and foremost. Joe walks through his neighbourhood and converses with people such as Mother Nature, Santa Claus, Jesus and the Tooth Fairy. Some of these moments are often hilarious. For example, there is what I thought was both a gentle but point-blank poking fun at the so-called demand of correct ‘pronoun’ usage. As a practicing Catholic, I didn’t find Joe’s discussion with Jesus disrespectful or sacrilegious at all. It’s funny, and I don’t want to spoil what occurs. Final Thoughts: It’s not Burkett’s wicked sense of humor that makes ‘Wonderful Joe’ memorable. Yes, there are moments of welcomed, appreciated laughter. That was the very reason my sister attended the production with me—she wanted to experience it again after seeing 'Little Dickens' last year. She and I discovered there’s more to ‘Wonderful Joe.’ Burkett gets his audience to think and to see things from another point of view. ‘Wonderful Joe’ is a vital reminder to reach out to others in a world that is often cold, cruel, and heartless. As a practicing Catholic myself, this emotionally moving production genuinely reflects six of the Catholic social justice teachings: ‘Life and Dignity of the Human Person,’ ‘Call to Family, Community and Participation,’ ‘Rights and Responsibilities,’ ‘Options for the Poor and Vulnerable,’ Solidarity,’ and ‘Care for God’s Creation.’ (Spoiler alert – it is the last moment of the play where the audience sees the teen jumping over the moon. Joe has reached out to this young person to give hope to him and the others he has met. That is precisely what Catholic Christians are called to do.) On this holiday of giving thanks, thank you, Ronnie Burkett, for reminding us of the dignity, worth, and value of everyone we meet and see. Running time: approximately 90 minutes with no interval/intermission. ‘Wonderful Joe’ runs until October 23 at the Jane Mallett Theatre, 27 Front Street East, Toronto. For tickets: visit tolive.com. You can also email at boxoffice@tolive.com or call 1-416-368-6161. TO Live Presents ‘Wonderful Joe’ Created and Performed by Ronnie Burkett Music composition and lyrics by John Alcorn Lighting Design by Kevin Humphrey Production manager/artistic associate: Terri Gillis Stage Manager/Technical Director: Crystal Salverda Associate producer: John Lambert Marionette and costume design by Ronnie Burkett Costumes by Kim Crossley Previous Next

Back 'Wonderful Joe' created and performed by Ronnie Burkett Now on stage at the Jane Mallett Theatre, Toronto, St. Lawrence Centre for the Arts, 27 Front Street East Ian Jackson Joe Szekeres ‘A story told with poignant compassion and heart-filled care. ‘Wonderful Joe’ reminds us of how important it is to show these human qualities to others in this time of giving thanks. Uplifting and emotional.” Ronnie Burkett is truly inspiring. His marionettes are captivating extensions of himself. His use of wit, humour, and a touch of naughty mischief prompts the audience to contemplate, think and ponder—and it's impactful when a compassionate artist achieves just that. That’s Ronnie Burkett. He’s ours. And he’s Canadian. The TOLIVE website states that Burkett returns to Toronto after performances of ‘Wonderful Joe’ in California and Edmonton. It is the story of Joe, a senior who is down on his luck and lonely. His loyal companion is his very old dog, Mister. Joe's landlord tells him and the tight-knit residents in the apartment building that they face eviction in one month. The working-class neighborhood will undergo gentrification with the construction of modern condominiums. Amid this devastating news, Joe ventures out for one last adventure. Although the news of eviction brings sadness, Joe chooses not to see it that way. He sees magic in the mundane, beauty amid brutality and life in the lost. Along his journey, Joe meets many people from the neighborhood. He experiences a troupe of homeless players in a cardboard theatre and shows a disinterested teen how to jump over the moon in a playground rocket ship. Burkett's clever story contains elements of a picaresque quality. Typically, the protagonist in a picaresque tale is a mischievous rogue who, through humorous details, experiences the life of ordinary people. I wouldn’t necessarily call Joe a mischievous rogue. However, the fact that he is a gay, middle-aged man, as are his close-knit friends, might lead some to view Joe as unprincipled because of who he is. I choose not to define Joe with that specific sexual label. His orientation and those of his close friends are of no concern and mean nothing to me. He is a human first and foremost. Joe walks through his neighbourhood and converses with people such as Mother Nature, Santa Claus, Jesus and the Tooth Fairy. Some of these moments are often hilarious. For example, there is what I thought was both a gentle but point-blank poking fun at the so-called demand of correct ‘pronoun’ usage. As a practicing Catholic, I didn’t find Joe’s discussion with Jesus disrespectful or sacrilegious at all. It’s funny, and I don’t want to spoil what occurs. Final Thoughts: It’s not Burkett’s wicked sense of humor that makes ‘Wonderful Joe’ memorable. Yes, there are moments of welcomed, appreciated laughter. That was the very reason my sister attended the production with me—she wanted to experience it again after seeing 'Little Dickens' last year. She and I discovered there’s more to ‘Wonderful Joe.’ Burkett gets his audience to think and to see things from another point of view. ‘Wonderful Joe’ is a vital reminder to reach out to others in a world that is often cold, cruel, and heartless. As a practicing Catholic myself, this emotionally moving production genuinely reflects six of the Catholic social justice teachings: ‘Life and Dignity of the Human Person,’ ‘Call to Family, Community and Participation,’ ‘Rights and Responsibilities,’ ‘Options for the Poor and Vulnerable,’ Solidarity,’ and ‘Care for God’s Creation.’ (Spoiler alert – it is the last moment of the play where the audience sees the teen jumping over the moon. Joe has reached out to this young person to give hope to him and the others he has met. That is precisely what Catholic Christians are called to do.) On this holiday of giving thanks, thank you, Ronnie Burkett, for reminding us of the dignity, worth, and value of everyone we meet and see. Running time: approximately 90 minutes with no interval/intermission. ‘Wonderful Joe’ runs until October 23 at the Jane Mallett Theatre, 27 Front Street East, Toronto. For tickets: visit tolive.com. You can also email at boxoffice@tolive.com or call 1-416-368-6161. TO Live Presents ‘Wonderful Joe’ Created and Performed by Ronnie Burkett Music composition and lyrics by John Alcorn Lighting Design by Kevin Humphrey Production manager/artistic associate: Terri Gillis Stage Manager/Technical Director: Crystal Salverda Associate producer: John Lambert Marionette and costume design by Ronnie Burkett Costumes by Kim Crossley Previous Next BACK TO TOP

Back 'Punch Up' by Kat Sandler Presented by Theatre on the Ridge at Scugug Shores Museum and Village 16210 Island Road, Port Perry Presented by Theatre on the Ridge at Scugug Shores Museum and Village 16210 Island Road, Port Perry Geoffrey Coulter, actor, director, adjudicator, arts educator "A sizzling start to Theatre on the Ridge’s 2024 summer season." “Punch Up,” a winning offering, gets Theatre on the Ridge’s 2024 season off to a sizzling start. The producers dallied to see what might happen despite the hot, sticky, and inclement weather encroaching. Happily, “the show must go on” attitude prevailed, the weather held, and the play went up. This fine remounting of Kat Sandler’s production from Ridge’s 2022 season returns with the same cast but a deeper connection to text and timing. This urban fairy tale/tragicomedy about three misfit loners in a hostage situation pushes the limits in this life-or-death comedy lesson, showing just how far you can go for a laugh! The uber-talented cast of three certainly delivers the delightful goods. Duncan (Landon Nesbitt) has always been dull, leading a simple life while working at a bread factory. He stumbles upon Brenda (Karly Friesen), a sad young woman about to end her life. Convinced he’s fallen in love, Duncan strikes up a desperate deal: if he can get her to laugh, she'll give life another shot, but if she doesn’t even giggle, he'll help her go through with her plan. There’s just one catch: Duncan isn’t funny. Not even a little. He “borrows” Pat (Henry Oswald Peirson), his second-favourite comedian, to help him come up with the perfect routine. The problem? Pat is having a hard time mustering his sense of humour after a bad break-up. The last thing he wants to do is teach a lonely loser the difference between knock-knock jokes and one-liners while chained to a table. Kat Sandler’s witty and gleeful script is a 90-minute romp that leaps and bounds through topics like suicide, alcoholism, and life's meaning. Her gift for naturalistic dialogue and colourful characters gives director Carey Nicholson and her cast all they need to take this little charmer and pull so much out of it. The pace is manic as washed-up comic Pat tries to get the naïve Duncan to understand comedy and find it in the tragedy that is his mundane and lonely life. Pace and timing keep this show speeding along; this cast understands that. Their timing and physicality never miss a beat – not even the oppressive humidity could slow them down! Although the action and dialogue are rapid-fire, the acting demands on this fine trio of performers cannot be overstated. Their chemistry is palpable (the fact they performed this show together only two short seasons ago helps), especially between Landon Nesbitt as Duncan and Henry Oswald Peirson as Pat. They run around the stage (which seems quite large with such a small cast) in almost dance-like unison, keenly in tune with each other’s space and motivations. Enter Karly Friesen as Brenda, and the dynamic changes. Her interactions with both men change their outlooks and desires in a way neither thought possible. Oswald Peirson nicely portrays Pat as angry and aggressive with a vulnerable, pensive side. He’s the comedian who’s lost his mojo and isn’t sure if he’ll ever get it back. Landon Nesbitt is a whirling frenzy of non-stop energy, portraying Duncan as both a psychotic dimwit with a syrupy-sweet fakeness and a harmless man pretending to be a killer. He does both instantly and convincingly. The contrasting physicality of both men is something to note. Oswald Peirson is clumsy and gawkish, blundering around the set, while Nesbitt flits around the stage like a kid on a sugar high. His boundless physicality while zinging one-liners in his bright clown-like costume reminded me of a young Robin Williams. Karly Friesen, as the morose and suicidal Brenda, keeps our rapt attention as she records flawless monologues, making her succession of bizarre tragedies more believable. Director Carey Nicholson adeptly handles the characterizations. For the most part, the blocking is solid, using almost every available space on the elevated stage. Her minimally- furnished basement apartment set sits dead centre. At the same time, ancillary scenes are played at the downstage corners and even on the ground in front, denoting changes in time and location. The only time this is unclear occurs when Duncan pleads with Brenda not to jump off the building. Additionally, the drugging of Paul is difficult to see, being played so far upstage. Regardless, Nicholson clearly had a lot of fun with her capricious cast, never letting them go too far above board, risking coming off as cardboard cutouts. Though their situation is farcical, these characters have dimensions and a story that needs to be told. I enjoyed the 2022 production, but this time around, I found a deeper connection to the actors and the narrative. Perhaps because the pandemic is further behind us, or maybe the tent venue contains performance energy more effectively than open air. I’ll go with the latter. Michael Williamson’s lighting design nicely offsets the setting sun's shadows by providing an even wash on the stage while giving impactful spotlights and moving instruments for colour and depth. Lyle Corrigan’s music design is appropriately lively. His pre-recorded comedy club announcer at the top of the show is a hoot. It was wise for Theatre on the Ridge to re-mount this production. It’s funny. It’s hectic. It’s a crowd-pleaser. It explores the nature of humour and the relationship of comedy to tragedy. If you want to punch up your understanding of laughter and love this summer, you should hotfoot it over to Theatre on the Ridge. Previous Next

Back Shauna Thompson “It is important to make ‘Bad Roads’ accessible to Canadian audiences while maintaining the integrity of the script’s Ukrainian roots.” ​ Joe Szekeres Artist Shauna Thompson is a multi-disciplinary artist. I’ve had the opportunity to catch some of her work on stage. She opens this month in ‘Bad Roads’ at Crow’s Theatre with quite an extraordinary cast and dedicated crew led by director Andrew Kushnir. Thompson completed her formal acting training at Montréal’s National Theatre School. She also took as many acting classes as she could fit into her schedule at Guelph University prior to attending the National, but she was not a theatre major. From the Factory Theatre website: “She’s played Romeo in Repercussion Theatre’s ‘Romeo and Juliet: Love is Love; she’s also performed in three seasons at the Shaw (‘Man and Superman’; ‘Victory’; ‘The Devil’s Disciple’ etc.) and has also appeared in several world premiere productions including George F. Walker’s ‘Orphans for the Czar,’ Michael Ross Albert’s ‘Beautiful Renegades’ and Paolo Santalucia’s ‘Prodigal.’ She also appeared in ‘Vierge’ at Factory. I connected with Shauna via email as she was smack dab into rehearsals for ‘Bad Roads.’ First, she told me she’s excited to be back in the theatre as it feels like coming home. She has made great reconnections with her fellow arts workers and audiences. When I saw the cast list for ‘Bad Roads,’ I could just sense how much excitement has been building for the production. I had the opportunity to profile Director Andrew Kushnir during the pandemic. Just this past summer, I also saw his ‘Casey and Diana’ at Stratford, which left me bereft of emotion. I’m expecting ‘Bad Roads’ to do the same. Shauna feels very lucky to be sharing the space with those involved on the stage and behind the scenes: “Everyone attached to this production has brought a ton of care, compassion, joy, vulnerability, thoughtfulness, and passion to the rehearsal process. Everything that makes for a great work environment and even better theatre.” Crow’s Theatre website provides information about this North American premiere: “In the Donbas region of Ukraine, a war is raging, and people want to understand why. Based on astonishing testimonies from the outset of Russia’s invasion of Ukraine in 2014, BAD ROADS explores the heartbreaking effects of conflict on intimate relationships and a country’s social fabric. Ukrainian playwright Natal’ya Vorozhbit deftly intertwines themes of love, sex, trauma, loss, and resistance through powerful and darkly comic episodes exploring, most of all, what it is to be a woman in wartime.” Thompson hopes that more than anything, audiences are moved by the immediacy of ‘Bad Roads’. It’s not a history or dystopian play. She says of the play: “This is now,” as stories such as the ones depicted in this piece are happening today. From her perspective, she sees Andrew’s vision for the play rooted in the relationships between the characters but with a very focused understanding of Ukrainian culture, language, and history. She also adds: “The chosen words in this translated version of the text will always come across differently depending on where and who is involved in the production because how people communicate with one another is influenced by how and where they were raised. So, it was important to make it accessible to Canadian audiences while maintaining the integrity of the show’s Ukrainian roots.” The show is broken into six episodes that present characters navigating loss, love, old and new varying relationship dynamics, and challenging decision-making, all in the context of an ongoing war in Ukraine. While the play is set and focuses on the war, Thompson says the subject matter stretches beyond those borders, especially today. She plays three very different characters: a teenage girl, an army medic and a young woman looking to right a wrong before the start of the war. Kushnir’s vision has enhanced her involvement because he continually offered vital insight and knowledge that only someone with a direct connection to both Canada and Ukraine could offer. He has been the vital bridge to both worlds that this production requires. She’s appreciative of this opportunity to present this story. This invitation has allowed her to explore and perform in a way that she feels like she’s contributing to the extension of that vital bridge. What’s next for Shauna once ‘Bad Roads’ completes its run? She’ll work on ‘Rockabye’, a co-production between ARC (Actors Repertory Company) and Factory Theatre. Well, another play features an exciting cast and crew led by ARC Artistic Director/Capitol Artistic Director (and director of ‘Rockabye’) Rob Kempson. Stay tuned for more information about ‘Rockabye’, which runs from January 26 to February 11, 2024, at Factory Theatre. ‘Bad Roads’ runs November 10-November 26 at Crow’s Theatre, 345 Carlaw Avenue. For tickets and other information, visit crowtheatre.com. Previous Next

Back Allen Kaeja, Co-Artistic Director of KAEJA d'DANCE Looking Ahead Courtesy of KAEJA website Joe Szekeres According to Allen Kaeja, we are all dancers. A recent enlightening conversation with Allen Kaeja, Co-Artistic Director of KAEJA d’DANCE, and his statement above allowed me to gain further understanding and knowledge about the art form of dance. Several weeks ago, I also held a conversation with Allen’s wife, Karen, and she was also present during the Zoom call. On the Kaeja d’Dance website, Michael Crabb from the Toronto Star stated the Kaejas: “have been called ‘a power couple’, ‘go-getters’ and ‘the coolest couple on the dance scene.” I liked Crabb’s descriptors of the two of them as I could sense these same sentiments as well. How’s Allen feeling about the return to the world of live dance given we’re still in the throes of Covid: “The world turns. It changes all the time. We adapt or die and for myself, when the world pivoted, the whole thing for Karen and I? We’ve been working in film for 25 years. We were working in Zoom years before the pandemic on other projects and I’ve already investigated live stream years before. When everything shut down, boom, we’re ready to go and within a few months, we were up and running fully as a company and with projects in our transition from live theatre back into film.” I asked them what has the overall response been from audiences about the return of live performances of dance. Karen has attended a few shows and she has found responses fantastic. She senses from what she has seen in the lobby there is a fresh sense of camaraderie. From her perspective, those audience members who are ready and prepared to go are relieved to be seeing something visceral that they can witness and that they know is ephemeral. Karen and Allen are in the contemporary dance field which they call experiential and immersive. Audience members must allow themselves to be flooded by the imagery, the physicality of the brilliant dancers and the resonance to embed itself. For Allen, contemporary dancers don’t work in a linear per se type of artistic field. Contemporary dance is an abstract form that deals with kinetic and majestic visual value. Yes, there is an intention behind the work, and the progression of the piece has its own series of arcs, but it is not something which says one has to think or feel certain emotions at certain points. What’s next for Kaeja d’Dance? In celebration of its 31st Anniversary, November 11-13 will see the world premiere of two deeply personal works: ‘TouchX + I am the Child of’ as part of the international contemporary dance series Torque. Fifty performers combined will be involved and 4 AR experiences. ‘TouchX’ will be choreographed by Karen. She has been working on this piece for seven years. It’s the largest piece she has made, the longest, and the most number of people and collaborators in it. There is a mix of professional company dancers with community dancers with whom she has worked in other site-specific ways. This is the first time she has brought all these dancers together on stage. For Karen, what’s exciting about ‘Touch X’, it’s new but it’s also a lot to be organizing. It is a massive project which is a challenge, and she thrives on challenges. From the release I received: “I am the Child of, choreographed by Allen, the first fully staged dance production in Canada to integrate Augmented Reality, examines the concept of perspective and delves into childhood memories - in particular those life-altering memories that shape who we are and live on in the body. Each of the nine dancers in the work was asked to share a profound memory that has shaped them. Memories from being left to hitchhike by a parent on the Highway of Tears in BC to learn how to rollerblade to childhood emotional abuse were exchanged and helped inform the creative and choreographic process.” In 2015 when Stephen Harper was Prime Minister, there was a crisis in the Middle East with refugees wanting to come to Canada. Mr. Harper started to say he was going to block these refugees. Back then Allen was rarely political in his social media posts, and he was driven to write a Facebook post that started with ‘I am the child of a refugee.’ Allen’s father, Morton Norris, was a Holocaust survivor in Auschwitz. His brother-in-law died in his arms. 90% of his family was murdered, many of them from the ghetto and Auschwitz. Morton witnessed his family being put on the gas trucks. In 1945, William Lyon Mackenzie King was an avid anti-Semite bringing in the policy of none is too many and Jews were not allowed in this country. In 1948, Norris came to Canada as a refugee with nothing. He built a life. He built a new family as he was married with children before the war. Norris made new connections and built a community. When he passed away, Morton Norris was made an honorary police officer for the work he had done not only for the Police Federation but for the community as a whole. This is what refugees do. They come here and build worlds; they work hard and build a community. That’s why Allen had written his social media post “I am the child of a refugee” which went viral. A couple of years later Allen was thinking about what he wanted to do as new work because he’s done a lot of work based on his family’s history and the Holocaust. His community is so filled with such essential voices and experiences that he wanted to invite these different individuals to begin to reveal and express their stories through dance and for us to interact physically and kinetically with each other. This is the inspiration for “I Am the Child of”. Allen also adds he has a brilliant cast of eight live dancers and five AR (augmented reality) dancers, so a cast of 13. During the performances, the audience will be invited to come in with their personal devices. They will have a choice to watch different sections where they will be cued to see multiple perspectives and viewpoints so make sure phones are charged. Audiences do not have to do this and can just simply enjoy what plays out in front of them on the Fleck Dance Theatre stage. For Allen, audiences who use their device will be given more context, and more information if they choose to do so. Audience members with educational backgrounds and training can see more in a dance and movement piece than those who do not have a strong background. In Allen’s opinion, what is it about dance and movement pieces that appeal to ALL audience members? “Because we live in our bodies. We are who we are, and in our world (but I won’t speak for Karen), all movement is dance and we are all dancers. Whether we pursue it professionally or not does not matter. All movement is dance and therefore we are intimately involved with dance whether we’re aware of it or not. As an observer dance moves us kinetically and viscerally.” Kaeja d’Dance 31 (TouchX + I am the Child of) will perform on stage November 11–13, 2022 at 7:30pm at Harbourfront Centre Theatre, as part of the international contemporary dance series Torque. For further information, visit harbourfrontcentre.com. You can also visit kaeja.org to learn more about Kaeja d’Dance. Previous Next

Back 'Dion: A Rock Opera' World Premiere Now onstage at Toronto's Coal Mine Theatre Credit: Dahlia Katz. Jacob MacInnis as Dion and members of the Chorus Joe Szekeres "A suggestively sexy seventy minutes of Dionysian pleasure. Electrifying dramatic staging. But it’s not for everyone. The stretching of sexual ethics might be troubling for some audience members." Based on ‘The Bacchae’ by Euripides and set in the City State of Thebes somewhere in time, Coal Mine’s world premiere of ‘Dion: A Rock Opera’ explores the myth of the god Dionysius, the son of Zeus and Semele (who died in childbirth). In this re-working adaptation, the self-proclaimed, non-binary Demi-God Dion (Jacob MacInnis) leads the Thebans out of the city to drink wine, get drunk and enjoy the Dionysian pleasures that come with it all. The arrival of conservative right-wing leader and King of Thebes, Pentheus, (Allister MacDonald), brings conflict because they have heard of Dion. Pentheus learns Dion is their cousin. Mother of Pentheus, Agave (Carly Street), and uncle, Cadmus, grandfather of Dion and Pentheus (Allan Louis), are two who ran away with the Thebans. We also learn a bit of the backstory behind Agave and Cadmus. Destruction ultimately reigns when Pentheus is seduced into ‘dressing’ as a woman and going to the hills to see what’s happening at all this Dionysian debauchery. ‘Dion’ is a suggestively sexy and sometimes violent seventy minutes of Dionysian pleasure that might make some audience members feel a tad ill at ease. That happened to me periodically. But that’s what theatre does. It pushes audiences to new perspectives, sometimes received and sometimes with questionable pushback. Peter Hinton-Davis is an artful director. He masterfully stages some electrifying and intensely dark visual scenes that are attractive and uncomfortable to watch, most noteworthy in grappling with the issues of sexuality. Kiera Sangster creates distinct choreographed ‘swivel and strut’ movements, especially among the Chorus. Thankfully, I could hear every word Composer Ted Dykstra and Librettist Steven Mayoff had markedly constructed, so a grateful handshake to Sound Design of Tim Lindsay. The double entendres in the lyrics, snappy dialogue, and gorgeous-sounding rock vocal work remain primo, thanks to Music Director Bob Foster. There are moments when I thought I could hear musical sounds akin to ‘Jesus Christ Superstar. ' The Chorus singing: “Dion, Dion, Dion, my God, Dion” is only one example. Scott Penner cleverly creates a practical set design within the intimate confines of the Coal Mine Theatre - an elongated brick walkway in the centre with the audience on both sides. The end of each walkway (which I will call Stage left and right) mirrors each other. A circular mirror hangs on each back wall, with two chairs underneath. There are two beautiful-looking backsides of Greek statues from the audience's viewpoint. One of these statues is male, and the other is female. Penner’s costumes vibrantly dazzle throughout the show, most noteworthy in the Chorus’s initial appearance at the top of the show and Dion’s shimmering gold lamé dress. Bonnie Beecher’s blood-red lighting hauntingly foreshadows what will come. It assuredly catches the eye with a striking visual effect as the audience enters the auditorium. Additionally, there is another striking visual moment where Dion and Pentheus appear in their own spotlight. This moment clearly reveals who is in control. This nine-member cast kept me riveted with their arresting performance work. I held my breath, though, and considered how far they might go in pushing the twisting of sexual ethics. There were a couple of moments when I needed air. Nevertheless, the cast is extraordinary. The Chorus of Max Borowski, Saccha Dennis, Kaden Forsberg and Kelsey Verzotti take their places onstage the last few minutes of the pre-show. They enter quietly and walk to their chairs, exuding confidence. Their ‘fashionable’ costumes also draw attention to them. When the performance begins, these four strong artists remain in synchronistic simpatico with each other throughout the running time. SATE plays Tiresias, a blind prophet and former advisor to Pentheus. She introduces the audience to an understanding of the word EVOE emblazoned in large dark letters on each of the costumes worn by the Chorus. SATE sings the opening number, ‘THE WORD IS EVOE,’ with a remarkable, understated, sensuous passion that might appear to boil over at any moment. Since the story is set in a Dionysian world, I wondered if EVOE might be a deliberate and twisted play on the misspelling of the word LOVE and all its connotations in our woke twenty-first-century world. Carly Street and Allan Louis represent the other side of this Bacchanalia frenzy, respectively, as Agave and Cadmus. While we have younger people singing about the gluttonous revelry of wine and intoxication, there is something unique about Agave and Cadmus. She is angry at her father, Cadmus. Yet, beneath her anger, there is an inherent sense of dignity and grace about Street’s Agave. Allan Louis is a smartly dressed yet very mysterious Cadmus. When the two finally join in the reverie, everything changes for both. Allister MacDonald and Jacob MacInnis deliver gripping work as Pentheus and Dion. They are another reason to see the production. Fearless and audacious, MacDonald and MacInnis attack their roles with a lustful gusto that raises the sexual chemistry in and of the moment. MacInnis struts and prowls both in a sinewy and feline-like seductive fashion. At first, MacDonald is the exact opposite. They’re enraged, hot-headed, and about to explode until Pentheus and Dion confront each other head-on. MacInnis and MacDonald’s vocal work are sublime in their musical numbers. Neither of them sounds hoarse or ragged. However, MacDonald and MacInnis push this twisting of sexual ethics and mores. Pentheus’s ‘dressing’ as a woman might or could be viewed as becoming a woman in our woke world. I hurriedly scribbled down a line one of the characters sang during the performance: “The truth is…What is the truth?” Is this what it’s come to? Our woke twenty-first-century world cannot state what truth is even within sexual ethics. These questions can make for an exciting discussion, perhaps at a talkback after a performance. I hope Coal Mine has scheduled some. And Another Thing: Some audience members of religious persuasion might find this mythical re-telling and adaptation somewhat sophistical and dubious. Potential theatregoers may not be as accepting of the implications of the sexuality presented. Let’s not forget that good theatre must continue challenging its audiences to new perspectives. ‘Dion: A Rock Opera’ does just that. But be prepared for any pushback from those audience members who might disagree. Running time: approximately 70 minutes with no interval/intermission. ‘Dion: A Rock Opera’ runs until March 3 at Toronto’s Coal Mine Theatre, 2076 Danforth Avenue. For tickets: https://tickets.coalminetheatre.com/ WORLD PREMIERE ‘Dion: A Rock Opera’ Composed by Ted Dykstra and Libretto by Steven Mayoff Directed by Peter Hinton Davis Musical Director: Bob Foster Choreographer: Kiera Sangster Set and costumes: Scott Penner Lighting: Bonnie Beecher Sound by Tim Lindsay Band Piano: Bob Foster; Guitar and Percussion: Haneul Yi; Bass: Kat McLevey Performers: Max Borowski, Saccha Dennis, Kaden Forsberg, Allan Louis, Allister MacDonald, Jacob MacInnis, SATE, Carly Street, Kelsey Verzotti Previous Next

Back G. F. Handel's 'The Resurrection' (Film) Opera Atelier Bruce Zinger Joe Szekeres Please Note: I hold no background or education in opera or ballet so I will not comment on this highly trained area of expertise in these two performance art forms. Instead, I will comment on the staging and the production elements used in ‘The Resurrection’. Although the Easter celebration for Christians and Roman Catholics has concluded, the messages of G. F. Handel’s ‘The Resurrection’ are still aptly appropriate for those who hold a belief and trust in the faith as I do. The influence of the Catholic Church when this opera was first sung, I’m sure, would have probably had audiences completely mesmerized with gasping and bated breath. Historically, Christian catechesis pervaded the lives of individuals who were judiciously aware of the saving graces of Christ versus the damnation of souls into Hell. A story focusing on the resurrection of Christ most certainly needs to be shared with as many as possible. I have had the opportunity to attend a few operas so I was interested to see how Handel’s story would be shared online since Covid cannot allow us to be in a theatre to hear these exquisite voices soaring to the rafters. This story of ‘The Resurrection’ requires immense space to create the world of Heaven, the world on Earth, and the suggested world to where Lucifer would soon be banished. Could this ambitious design be created for an operatic digital platform? Under the skillful hands of Set Designer and Art Direction Gerard Gauci who utilizes the playing space of the St. Lawrence Hall to its fullest, Opera Atelier made it work. Splendidly, I might add. From the Opera Atelier website: “Handel’s ‘The Resurrection’ details the events between Good Friday and Easter Sunday with the forces of darkness and light often in metaphorical duel and conflict that is heightened through highly specialized vocal tour-de-forces.” Marcel Canzona’s film editing at the opening of the production created an impressive heavenly atmosphere of light and sound which transported me away from the confines of my chair at home. This ‘Resurrection’ production was filmed in the Ballroom of Toronto’s St. Lawrence Hall and Gerard Gauci’s set and art designs and direction were used to full advantage to create these three immense spaces. At one point, I admired especially the celestial light which streamed in from the three windows. Whether it was perfectly or naturally timed, it was a breathtaking effect that I can still recall. Stylized work in costume design in this production added further details to the specific characterizations. Michael LeGouffe’s costumes effectively utilized opposing light and dark colours for grand effect. The dazzling white costumes of the Angels in the first number contrasted with the dark earth tones for Lucifer were highly effective. At one moment the Angel (Carla Huhtanen) and Lucifer (Douglas Williams) are perched behind their platforms and are magnetically and intensely focused on their courtroom like and accusatory charges of good and evil are fiercely flung at each other. To maintain this keenly heightened and focal intensity to propel the story forward, director Marshall Pynkoski and Choreographer Jeannette Lajeunesse Zingg always maintain a consistent control of the story’s artistic vision. Movement and staging of individuals and the corps de ballet are gorgeously stylized to watch. Characterizations are subtly distinct with fine nuances. Mr. Williams’ Lucifer is suavely and seductively debonair. Ms. Huhtanen’s Angel reflects Godly and goodly righteousness with strength and charisma. Meghan Lindsay as Mary Magdalene and Allyson McHardy as Cleophas are women of fortitude and tenacity as they grow from unspeakable grief and sadness to knowing that the death of Christ (and of all) is not the end. As St. John the Evangelist Colin Ainsworth’s radiant smile and reassuring vocal presence reminded me of the power of having faith and belief in the heavenly God when it appears we are in the darkest hours. Final Comments: Glorious to hear and divinely to see, Opera Atelier’s production of Handel’s ‘The Resurrection’ becomes a triumphant and dazzling spectacle of sight and sound with a strong underlying tone that darkness will cease and lightness will shine forever. Opera Atelier presents G. F. Handel’s ‘The Resurrection’ Featuring Soprano Carla Huhtanen, Soprano Meghan Lindsay, Mezzo-Soprano Allyson McHardy, Tenor Colin Ainsworth and Bass-Baritone Douglas Williams, Handel’s The Resurrection also showcases the incomparable Artists of Atelier Ballet, and Tafelmusik (Elisa Citterio, Music Director) under the baton of Opera Atelier’s Resident Music Director, David Fallis. Stage Director: Marshall Pynkoski Choreographer: Jeannette Lajeunesse Zingg Set Designer/Art Director: Gerard Gauci Film Director/Editor/Director of Photography: Marcel Canzona Costume Designer: Michael LeGouffe Streams online to June 20, 2021. For tickets, please visit www.operaatelier.com . Photo of Douglas Williams and the Artists of Atelier Ballet by Bruce Zinger. Previous Next

Back I GOT THE JOB ! Songs From My Musical Past Lucie Arnaz Luckinbill with Ron Abel at the piano ​ Joe Szekeres VOICE CHOICE Keep playing your song again and again, Lucie Arnaz. Thank you for sharing your joy of music with us each time you got the job from the past. Lucie Arnaz Luckinbill is one hell of an entertainer and performer who has taken to heart the advice of two very dear people to her. The first is from her father, who told his daughter years ago that she should develop an act showcasing her song versatility. At that time, she jokingly told him she only had two Broadway shows under her belt. But she remembered her father’s words and has since amassed a glorious musical repertoire. The second pieces of advice came from her dear friend, the late Marvin Hamlisch: “You have to respect the instrument you were given.” and “Find humour in life because it’s so precious and short.” Tonight’s show indicates that she has done just that. In between musical numbers, Lucie regaled the audience with some very funny bits where she unabashedly drops the ‘f bomb’ with such class and pizazz. Atta girl. Arnaz continues reiterating how grateful she is to return to New York’s 54 Below after four years with her show “I GOT THE JOB: Songs from My Musical Past.” She also appreciates those whose tickets changed umpteen times because of Covid and who could make it to the show. As a Canadian fan, Lucie, keep playing your song again and again. I was honoured to be in the audience tonight, and I sincerely hope Toronto will be playing your song very soon. Arnaz looked terrific tonight in what appeared to be an aqua-blue top with form-fitting slacks and dark shoes. There were moments, however, when her top's colour appeared magically to change to green depending on the stage lights at any given moment. Her passion is performing live, which was oh so gloriously evident in several musical numbers. Arnaz doesn’t just sing. She feels the consonants of each word and tastes its meaning before breathing that healing force of music and sound toward the audience. A couple of people sitting around me were indeed affected. I saw one big burly fellow wipe tears from his eyes. His guest at the table put his hand on his friend’s shoulder. What a lovely selfless act of compassion and trust. A couple of musical moments touched my heart. Lucie played Annie Oakley years ago in “Annie Get Your Gun” A beautiful moment from the end of ‘I Got Lost in His Arms’ had her looking lovingly and longingly at her wedding ring. Everyone in that room just sensed and knew there was a moment between her and her husband, Larry Luckinbill, and that no explanations were necessary. The second occurred with the song ‘I Still Believe in Love’ from the show “They’re Playing Our Song” where she got the opportunity to create her character, Sonia Walsh, from scratch. At the song's end, Lucie blew a kiss skyward to Marvin Hamlisch and again no explanation was necessary. That’s the power and reach of music. I had the opportunity to see her perform in London’s West End in “The Witches of Eastwick”. I learned producer impresario Sir Cameron MacIntosh wanted Lucie so desperately for the production that he offered her any of the lead roles in the show. Lucie comically stated she wanted to play the devil before she said she would play Alexandra, the mother. Arnaz’s comic genius inherited from her father and mother was evident in how she sang ‘Who’s the Man?’ The piece de resistance of the evening (or the eleven o’clock number)? Lucie was contacted when the revival of ‘Pippin’ went on its national tour. She was asked if she would play Pippin’s grandmother, Berthe. Even though the grandmother doesn’t have much stage time, Arnaz jumped at the chance after speaking with her husband. She loved ‘Pippin’ when she saw the Bob Fosse original many years with Irene Ryan (Granny Clampett) playing Berthe and singing the song: ‘No Time At All.’ Another reason why she performed the role on tour? She got to play on a trapeze bar high above the stage during the song. And when she sang ‘No Time At All,’ tonight, I found myself mouthing the words while several around me were swaying in their chairs, keeping time to the music. I loved that Lucie left us this message at the end of I GOT THE JOB. Don’t regret wondering if you should do something. Do it now because life is so short. Appreciate its preciousness and wonder of the moment and in the moment. That’s what Lu did. And she wants us to do that too. See I GOT THE JOB: Songs from My Musical Past. It’s a Voice Choice from me. Running time: one hour and 30 minutes with no intermission. The show runs until July 22 at 54 Below, 254 West 54th Street, NYC. I hear the show is sold out, but if you are in the area and would like to try and get tickets, visit http://www.54below.org . The show is to be streamed on Saturday, July 22 so if you can’t get tickets, learn more about how to stream the show. Visit Lucie’s website: www.luciearnaz.com to learn more about the actress and see where I GOT THE JOB: Songs from My Musical Past will be performed next. Previous Next

Back 'The Resurrection' by George Frederick Handel Presented by Opera Atelier Bruce Zinger. Soprano Meghan Lindsay as Mary Magdalene and Artist of Atelier Ballet Edward Tracz. Joe Szekeres Please note I have no educational background or training in the world of opera and ballet. I will comment on the staging of the production. A visual and sumptuous telling with grace and dignity. Exquisite to watch and extraordinary to hear. News of Christ’s death has invaded Heaven. The Archangel (Carla Huhtanen) and Lucifer (Douglas Williams) hold a heated argument with the latter claiming victory over Christ’s death while the former insists that death is a victory for heaven and all of humankind. On earth, Mary Magdalene (Meghan Lindsay) mourns Christ’s death. The arrival of Cleophas (Allyson McHardy) leads these two women to consider what they have seen during the last hours of Christ’s life: the crown of thorns, the nails that pierced his feet and his face. St. John the Evangelist (Colin Ainsworth) arrives and reminds the women that Christ said he would return to them. He encourages the women to visit Christ’s tomb while he goes to care for Mary, Christ’s mother. In heaven, the Archangel calls from purgatory all souls who have existed prior to Christ’s crucifixion and encourages them to follow in the Lord’s footsteps. The Archangel leads them out of purgatory triumphantly. In turn, the Angel celebrates Christ’s resurrection and invites all the world to rejoice. Lucifer is both horrified and defeated by the news and continues to threaten vengeance on all humanity. He soon realizes he is defeated and without recourse falls once again into the depths of Hell. The women arrive at the tomb and are greeted by the angel in white who assures them Christ has risen. The angel encourages the women to spread the joyful news. St. John meets Cleophas and describes his meeting with Christ’s mother – Christ has revealed himself to his mother. There is a great joy. In conclusion, the entire company celebrates the resurrection which allows Earth to rise to Heaven. Gerard Gauci’s set design and Kimberly Purtell’s lighting design resplendently create a wonderful world of hues, tones, shades, and magnificent colours. There are two opposing stands on stage left and right from which the Archangel and Lucifer hurl operatically awesome debates back and forth. Christ’s tomb is centre stage covered with a gold curtain. It is a two-level set. There are staircases left and right from which some of the performers ascend and descend. Beautiful golden drapes at the top of the stairs indicate Heaven from which the Archangel descends to speak with Lucifer. The richness of Alessia Urbani’s costume designs is another visual feast. My eyes were continually moving when new characters entered. An initial look of ten seconds can give a strong first impression and this was most present in Douglas Williams. His dark t-shirt fitted his muscular structural frame. Long black boots and tight-fitting pants indicate a character who is in complete control. Marshall Pynkoski directs the production with an effectively controlled passion for the work. Jeannette Lajeunesse Zingg’s avowed respect for dance and movement has been finely captured in the work of the Atelier Ballet artists. I recognized two names of artists whom I’ve seen in other productions. I hope I can catch the names of the other artists whom I did not recognize in other shows in future. It was also marvellous to catch Jeannette Lajeunesse Zingg on stage at one point doing what she obviously loves doing. David Fallis conducts the music with a passionate and emotional intensity. Douglas Williams is a sexy and seductive Lucifer who, at one point, tries to win over the Archangel with his suave and debonair nature. As the Archangel, Carla Huhtanen remains a vocal powerhouse in the back-and-forth vocal debate about who remains in control of Heaven after the death of Christ. Colin Ainsworth offers an extraordinary contrast to Douglas Williams’ Lucifer. Ainsworth’s St. John the Evangelist remains grounded in temperance and faith in not losing hope in a promise made. Allyson McHardy and Megan Lindsay credibly respond and react to each other as Cleophas and Mary Magdalene. They are incredible women of strength and fortitude. Final Comments: This production of ‘The Resurrection’ had been gorgeously filmed during the pandemic. It was fine to watch the filmed adaptation but nothing beats a live performance. I do hope to see more of Opera Atelier in the future. Running time: 115 minutes The production has now closed but I encourage all of you to attend Opera Atelier productions. For more information, visit operaatelier.com. OPERA ATELIER presented George Frederick Handel’s THE RESURRECTION at Koerner Hall, Telus Centre for the Performing Arts and Learning. Conductor: David Fallis Stage Director: Marshall Pynkoski Choreographer: Jeannette Lajeunesse Zingg Resident Set Designer: Gerard Gauci Lighting Designer: Kimberly Purtrell Head of Wardrobe: Alessia Urbani Production Stage Manager: Tamara Vuckovic Company: Colin Ainsworth, Carla Huhtanen, Meghan Lindsay, Allyson McHardy, Douglas Williams. Artists of Atelier Ballet: Eric César De Mello Da Silva, Juri Hiraoka, Elizabeth Katashnikova, Kevin Law, Courtney Law, Kealan McLaughlin, Julia Sedwick, Cynthia Smithers, Edward Tracz, Dominic Who, Xi Yi, Jeannette Lajeunesse Zingg Previous Next

Back Herbie Barnes Theatre Conversation in a Covid World Red Works Photography Joe Szekeres Toronto’s Young People’s Theatre new Artistic Director Herbie Barnes talks about the movers and shakers of the next generation to follow him at the end of this profile. Even before this occurs, I am eagerly anticipating and waiting to see where he will take Young People’s Theatre just over the next five years itself because I would also call him a ‘mover and a shaker’ in the theatre industry. According to YPT’S website: “Mr. Barnes is an accomplished playwright, performer, director and arts educator whose 30-year-career spans stages across North America. He was among the generation of young Indigenous artists in the 1990s breaking down barriers to forge professional careers in Canadian theatre. Mr. Barnes will officially begin his tenure at YPT in the fall of 2021.” An Anishinaabe theatre artist from Aundeck Omni Kaning First Nation on Manitoulin Island, Mr. Barnes was raised in Toronto. His theatre career began in 1989 with Debajehmujig Theatre Group, touring Ontario with the first run of Drew Hayden Taylor’s Toronto at Dreamer’s Rock. Since then, he has collaborated with some of North America’s largest theatre companies and was nominated for a John Hirsch Director’s Award. His new play, Bent Boy, was workshopped at YPT and shortlisted for the Sharon Enkin Plays for Young People Award in 2020. We conducted our conversation via Zoom. Thank you so much, Herbie, for the interview and for sharing your voice to the discussion: We’re now one year without live theatre where the doors have been locked for who knows how long, Herbie. How have you and your family been faring during this time? I have to say I’ve been one of the lucky ones, knock on wood. It started out where I thought it was going to be a two-week holdup when we got sent home from Magnus Theatre in Thunder Bay. And I went, “Oh, this is okay. I’ve been working a lot, and this is good, I’ll take a two-week break and then I’ll move on as we were supposed to take a tour from Magnus down to Nova Scotia.” I further thought we’ll pick up the tour in Nova Scotia and we’ll be fine and then I was going to go off last summer to work at the Charlottetown Festival. No thought of this closing down for a year. And then it just kept going. So, I took a little bit of a break at the beginning and then I thought I should find some work since I’m not working. I ran around and did a bunch of things online. We did children’s mysteries on the telephone through the Ministry of Mundane Mysteries. We would call kids on the Monday, Tuesday, Wednesday, Thursday, and Friday and create this mundane mystery. It was a great idea and the kids just latched right on to it and we got to play so many different characters. Brilliant, brilliant idea. So much fun. I started teaching and taught all the way through. I did a program online where I was teaching young people. Theatre that I just filmed in this crawl space in my basement where you see me now that I get to kick around in. I’ve been very, very lucky. My partner Marjie has been working almost straight through. My two kids were lucky, and they’ve been working right through too. Everyone’s healthy. What we did was we took the pandemic seriously. The hardest thing: my two kids live outside the house and so they weren’t part of our bubble. We have been masking from the porch to see them. Their grandparents put a big heater in the garage for visits. I can’t wait until we can hang out with our kids again. Outside any theatre stuff, what have you been doing since the industry has been locked up tight as a drum? I’ve been doing a number of interviews and have been teaching in the evening from 3 pm – 9 pm. My afternoons are full so I’m booking a lot of morning events. I’m also writing for Charlottetown Festival right now and also sorts of little things all over the place. I didn’t realize I was going to be that busy. One of the things I did I took a writing course for ‘Writing for Television’. I decided I was going to take guitar lessons online. I’m in the midst of building a guitar. I kind of got heavily online. We have three storeys in the house. Marjie’s got the upstairs level where she is teaching classes in an office space she has. Down here, this has always been my space. I come down in the morning, make a pot of tea and then get lost down here for most of the day and then realize it’s 6:00 pm. so I go upstairs for supper. Marjie’s been great because she does all the cooking. I’m a horrible cook. Every day, Marjie takes me for a long walk. We got to know our neighbourhood really, really well. Every once in awhile we’ll drive to somewhere else and walk around that neighbourhood. The late Hal Prince has described theatre as an escape for him. Would you say Covid has been an escape for you, or would you call this time something else? This is definitely not an escape. I haven’t escaped theatre. I’ve escaped…this is an awful way to put it but I’ve escaped the audience. Unfortunately, they’ve been on the other side of this screen which is totally different. As a theatre artist THIS (Herbie points to the screen where we are talking) doesn’t compensate for what the theatre does. There’s nothing like a live audience. Even when I did film and television, I was always performing for the camera guys or the lighting guys. I never thought of that little box recording all of that. If the crew was laughing, then this must be working. I miss the audience. I miss sitting beside somebody and having that same effect as the person next to me. I’ve been telling this story quite a bit. We know the audience’s heartbeat is synchronous while they watch a show so that all 150, 300 whatever number of people, their heartbeat beats at the same pulse during theatre. That’s an amazing feat live theatre accomplishes. I love that. What I’ve been doing is developing. I’ve been working really hard having stuff lined up here; I’ve been teaching classes. There’s going to be a group of students coming out of this pandemic hopefully more prepared. My writing: I’ve finished writing a native adaptation of ‘Tartuffe’ which is getting produced this year at Magnus Theatre at least. I’m also doing an adaptation of ‘My Fair Lady’ in a native context as well. I think it’s really interesting how the white guy or the settler in that case is saying that your language isn’t good enough and what it did to the First Nations people. And also preparing to get ready to take over Young People’s Theatre in Toronto in October. I’ve been more busy now since I haven’t been travelling. What travel used to do to me was I could block off three weeks while I was directing in Vancouver and not take work since I was directing. Now I’m free so I can take work up until 230 pm. I’ll write that, direct that, teach that and there are days when I come out of my basement Zoom tired. I’ve interviewed a few artists since the pandemic began who have said they cannot see live theatre returning fully (or what might some call ‘normal’ or ‘back to normal’) until at least 2022. Yes, there may be pockets such as what the Stratford Festival is proposing. What are your thoughts about this? Will live theatre return before 2022? I think theatres will open. I think by September 2021 we’ll start to see a crack with public spaces being open. I think audiences are thriving to be together. I firmly believe that. But… Audiences will be a little afraid to get into a space with each other. That will happen. Certainly, we will know, not in my case with YPT, a lot of theatres rely on older audience members. They’re going to make sure they’re safe first. But I think the audiences are striving for that feeling. I think we are a communal animal. I think we need each other. We desperately need each other, and people are missing that. That’s the big thing. A lot of people are willing to risk in order to be with human contact. I’m hoping it comes back even stronger. I fear for our film industry. I think our film industry, and we’ve realized we can watch most movies on our home systems because we’ve got these great tv screens and being able to hook them up with incredible sound systems which don’t need to be that expensive, but the more expensive the better the sound. You can build a theatre in your own basement now with very little money. Superhero movies are the big blockbuster now. They aren’t making the great small screen stuff now. Our tv shows are phenomenal. ‘Game of Thrones’ would have had to be a movie 25 years ago. Now we can watch this incredible journey. I fear for our film industry, but I don’t fear for live theatre because there’s nothing like being in the same space waiting for that production to begin and feeling the same thing. I had a discussion with an Equity actor who said that not only should theatre entertain, but more importantly, it should transform both the actor/artist and the audience. How has Covid transformed you as a theatre artist and in your new role as we all move forward post pandemic? It’s given me a huge respect for theatre, that’s one thing for sure. I miss it. I’ve been working in the theatre for over 30 years now. It’s been something that’s been a part of me. We’ve all had goals to do film and television, and I’d love to do more film and television because it pays well, it’s lucrative, there’s the instant gratification of knowing who you are. Whereas in theatre, you slug it out. Theatre, you’re a plumber. You go to work every day, put a satchel over your shoulder and walk into the theatre. Few people recognize you. Even after the show, you can walk past people out into the middle of your audience, and they don’t know who you are because they are not on that stage. With tv, it’s the instant recognition perhaps in a commercial. Yes, we do go into the arts in order to get recognized a bit. Being without theatre and that fear of it never coming back, yes, it’s a little bit but it’s still there, it’s re-grown my love for the theatre. I love being with the audience. I love opening nights being unsure of what the product you’ve got, that edginess. I come from an improv background. When you’re out on that tightwire, not knowing how an audience will react, it’s the best. There’s nothing like it. The late Zoe Caldwell spoke about how actors should feel danger in the work. It’s a solid and swell thing to have if the artist the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid, and how will this danger influence your work as we re-emerge from the pandemic? Do I agree with Ms. Caldwell? I somewhat do. We’re going through a different time right now. I grew up in an era where actors who were constantly put in danger emotionally, psychologically (it’s like pushing the envelope and trying to get deeper and deeper into the character). Now, when we’re training, we’re doing less of that. Safety first, everything is about your emotional well being. I’ve seen lots of trauma in the theatre. Many of the actors before and during me endured a trauma being misdirected or harmfully directed in that sense. We’re taking greater care now to ensure actors can get on with their lives as students and as people in the arts. I think theatre should push as far as we can. I think emotionally that’s our job to take audiences on an emotional journey. That’s it. Other than that, any of the arts – music, painting -it’s not about painting inside the lines. Great painters don’t paint inside the lines, they colour outside the lines. When I see a certain painting, I might go ‘Wow! Okay! I don’t know why but that’s different than that.” Same with music. Right now with all of these television competitions, I hear amazing voices. What I miss is the emotion attached to it. When Neil Young and Joni Mitchell sing songs, I go “Wow!” Levon Helm didn’t have the greatest voice, and you can’t hear ‘The Night They Drove ol’ Dixie Down’ without welling up. Or Rick Danko in ‘Makes No Difference’. You can hear the hurting and heartache behind the song. So that’s our role. The actor must take the audience on an emotional journey and feel like there’s danger. I tell my students when I’m writing or directing in the theatre or acting, I want my audience to pay for the whole seat but only sit on the corner of it. I want the audience to feel like they can save the person who’s about to die on stage or to stop that woman from falling in love with that bad man. We need to push the emotion, but we must also keep the actor safe. How is it going to transform after Covid? I think we’re going to be surprised where theatre is when we come out of Covid. I think we’ve had an incredible amount of protesting that’s gone on in this time. A crazy amount of change is going to happen. People on the fringe are going to be let in IN A HUGE WAY, and theatre will transform. We won’t throw the European framework away completely, but we’ll explore other forms of theatre and be able to welcome. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. How has this time of Covid made you more sensitive to our world and how will it impact your life when you return to the theatre in your new role as Artistic Director? Marjie and I were talking about this the other day on our walk. There is no way that we cannot think globally anymore. We have all been included in this pandemic and there are no borders and no walls. Those borders are false borders so it’s amazing how quickly the pandemic spread. It makes me aware of countries in the world that are different than me and how I have to be aware of them, how I have to be open with them, and how I have to exist with them. I’ve said this before: I don’t believe in a minimum wage. I believe in a maximum wage. I truly believe we should set up a system where you’re only allowed to make a certain amount of money, and once you’ve hit that level of money (and I don’t know what amount it should be) you have to stop working and travel the world so that you get to see it. And you hit those countries not the Riviera, not England or Hawaii, you go to countries that are desperate and I think you start to see where that cheap piece of clothing comes from or that electronic device and this will change your outlook on life. Covid has made me aware of how much I need people, aware of the rest of the world and aware of how much I want to be a part of it. And we’ve come full circle back to the late Hal Prince who spoke of the fact theatre should trigger curiosity in the artist and the audience. How has Covid sparked curiosity in you as an artist and what will happen with your curiosity as you return in your new role as AD of Young People’s Theatre? Curiosity? I want to hear 100, 000 different voices. That’s my curiosity. As a teacher, I’m interested and want to hear the voices of young voices, BIPOC voices LGTBQ2 voices. My goal is to go into areas we haven’t tapped into yet. As a First Nations artist, I want to go North and go into the communities in the North. I know, growing up on the reserve, young people had little to do. We were good at playing sports, and the fear of going outside that, especially in the arts. We need strong people to keep the interest in the arts going. We need strong teachers and educators to keep that energy going. Those are the curiosities I want to seek out. I’ve always been a curious person so it opens conversations and I want to be a listener in a big way as the Artistic Director of Young People’s Theatre. I think I have a couple of years of just hearing what the world is saying. That’s going to be my job there to listen to what the world is saying and then try to pass it on to the next generation of young people so they are the changers, the movers and the shakers. That’s it. To learn more about Young People’s Theatre, visit www.youngpeoplestheatre.org ; Facebook: @YoungPeoplesTheatre Twitter: @YPTToronto Instagram: @ypttoronto Previous Next

Back Adam Paolozza Canadian Chat --- Joe Szekeres Last time I saw Adam Paolozza perform on stage was during his years as a student at Father Leo J. Austin in Whitby. He was part of an amazing ensemble who performed ‘The Serpent’. That was in the 90s. Adam has gone on to do many things since then. From his personal web page: He is a graduate of École Internationale de Théâtre Jacques Lecoq, Ryerson Theatre School and has studied Corporeal Mime with the Decroux company Intrepido in Paris. He also studied Commedia Dell’Arte with Marcello Magni of Théâtre de Complicité. In addition to creation work, Adam is a dedicated teacher. He's been a sessional instructor at the Soulpepper Academy, taught at Ryerson University and the University of Toronto. He has given independent workshops in Scotland, France, India, and China as well as all over Canada, using his own unique interpretation of the Lecoq pedagogy. Adam's goal as instructor is to help students develop a spontaneous mind and body connection through a coupling of formal technique and improvisation. In 2014 Adam created BAD NEW DAYS to produce his own projects and explore his vision of a contemporary poetic theatre of gesture. He states: “I believe theatre has the potential to open up new space for radical thinking precisely because it is an art where meaning is held 'in suspense', so to speak, as pure potential." Adam and Bad New Days have been nominated for 18 Dora Mavor Moore awards, winning one personally for performance. We conducted our conversation via Zoom. Thank you so much for your time, Adam: Could you share one teacher and one mentor for whom you are thankful. Tony Labriola and Jim Shea, (two of my teachers at Father Leo J. Austin Catholic Secondary School in Whitby) were a good combination. They introduced me to Samuel Beckett, James Joyce, existentialism, absurdism, all different kinds and aspects of theatre history. They really supported my exploration and journey into becoming an actor. They definitely opened the door for me. I’m trying to think positively that we have, fingers crossed, moved forward in dealing with Covid. How have you been able to move forward from these last 18 -19 months on a personal level? How have you been changed or transformed on a personal level? I really took it as a chance to stop and pause and focus on personal change that was not happening at the same rate as some professional change. I wanted to line up some personal goals and professional goals. It was an existential pause. I had more time to exercise and got in better shape than I had been before which felt good, especially for being interested in physical theatre and to prepare when things opened up again. It was a time to re-examine things I really cared about and say goodbye to some things and create space for new things. It was a time to get myself together before coming back. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? (Adam laughs) Well, I’ve yet to see the full results. I have been lucky to have performed twice already. A friend of mine who lives in Estonia, we’ve been working on a show for the last couple of years which got delayed by Covid; then in August – September I was able to go there and perform in this puppet show we were working on. I just got back from Montreal two weeks with a show I’ve been working on. I thought a lot about art and theatre during Covid, and you start to realize when you’re in your forties like me, life starts to move fast and you start to realize how long things take, and you have to do things that you want to do. I thought it’s good to go back to basics after Covid. It’s made me decide what do I love? What kind of work do I want to make the most? Instead of worrying about what I ought to do rather than what my passions felt, I thought it’s time to follow that and let people follow if they do. In the show we did in Montreal, at the beginning I have a moment where I come on stage and stand in front of the audience in silence for quite a long time. I really felt the personal work I had done during Covid was very useful in that moment, and it allowed me to be more present and enjoy it. You can’t think too much when you’re performing, and I’m really trying to absorb as much of this as I can. It’s such a pleasure to be back on stage, and it’s left me with more gratitude and sense of wanting to slow those moments down. We’ll see how that transforms into the practice and the technique. There’s definitely a renewed sense of spirit, of purpose and enjoyment. Hopefully, we’ll be doing the Montreal show in Toronto soon as we were supposed to do it back-to-back before Covid. We’re planning to do the show at the end of April, and it’s called “Italian Mime Suicide”. In your professional opinion, how do you see the global landscape of professional theatre changing, adapting, and morphing as a result of these last 18 months? I think it’s still happening. I can tell you what I hope will happen. My big “concern” about theatre in Canada is being so focussed on the text and on a certain way of a certain kind of Canadian naturalism. My friend, Jacob Zimmer, calls it “upper Canadian naturalism” because I’m not speaking for all of Canada but Ontario and Toronto-centric which is the place I’m coming from. I wish, and what I try to do in my work (successfully or not) is to create theatre with what is possible theatrically, not what is just possible with text but with all the meaning that escapes text or is under the text, above it, beside it. My experience in working with theatre schools and with younger people is that we don’t see a lot of that work in English Canada. I always thought in Quebec that theatre is more visually or physically engaged with those aspects, but even there when I brought the work, I was told it is refreshing to see that work relies on gesture just as much as it does on text. I don’t know if it’s an anglophone thing or a British repertory model that has come down to us. I’ve always been inspired by commedia dell ‘arte. In a historical way, I love masques and how they organize things but what I take in a more contemporary way is the philosophy of when we’re in the space we improvise together. We usually have a plan, but it’s about that ‘liveness’, that danger (if you want to call it that), and we had that autonomy and anything can happen, really. I think that’s why theatres have been dangerous places during revolutions or traditionally there was talk to shut theatres down during times of social unrest. I think only focusing on text…hmmm…I can get that from a newspaper article but what can you give me from the theatre that’s different. I love that we’re talking about important issues and I never want to stop that. I want to encourage more of that, but I wish there was more theatrical thinking about that. I have always hoped and continued to hope that kind of meaning is only created by ‘liveness’, by being in a room and having the experience of being together of gathering. My sense is that people feel the loss of that and are really craving that, as I am as a spectator and as performer. I hope that more work starts to be created with that in mind of what is possible when people are in a room together. I hope we can use theatre to open up different ways of thinking for people more. A lot of inequality and shitty things became very clear to people during the pandemic, and then when things break down it creates a new space and new way of thinking or new ways of organizing. I’m hoping that kind of echo with people start re-organizing and coming together again in order to create work inspires that, and there is a sense that things don’t have to be the way they were before in broad strokes. What intrigues, fascinates, and excites Adam Paolozza post Covid? I just saw a concert at the Danforth Music Hall the other night, and just the moment when the lights go dark and a body comes on stage, you’ve hooked me already. That’s my favourite moment. I just want to see what are we going to do with that now? How are you going to take me on a journey? That’s the thing I love about theatre – that it’s extra and surplus from life, that we don’t need it “per se” but we do in a sense that we examine who we are by representing ourselves in the flesh. It’s a strange metier to work in. I’m just intrigued and hope that more companies don’t just reflect reality in a verisimilitude kind of way, but I want to see the response to reality. I want the imaginary world that I feel is connected to what’s going on that allows me to dissociate from the harshness of reality and enter into the space where meaning is held in suspense, and I can think about things at a distance rather than really just presenting things in a realistic way which has a place. Yes, there is a great tv, theatre and film representing this, but to me it’s just one choice of many so I would be intrigued to see more people looking for other ways, and other choices. What frustrates Adam Paolozza post Covid? I’m not into the online shows. To me, they can be cool but they’re not theatre. It’s a necessity for sure, and I love that it gives access to people with physical accessibility issues or neuro-diverse people where it’s hard to be in public. I hope that it doesn’t go away, but I was kind of frustrated. You could take a risk by stopping what you were doing for a little while if you’re lucky and privileged enough to survive which I was economically and all that. I just wish theatre creators wouldn’t rush so quickly into the next thing and think more about how you could use Zoom in a way that is more interesting???? I don’t know. I’m tired of the online stuff. That’s my frustration but more stuff is opening up. I hope we can go back into spaces and be safe. I understand why the world needs to recover but that hustle that people complained about before Covid (gas prices, groceries, and prices) is starting to return in a worse way catching up for lost time. Let’s stop and re-examine and not blindly go back with the horse pulling the situation rather than the person controlling the horse. I hope more positive change comes rather than reaction or people digging their heels in on the right and polarization. A sprawling answer, Joe, I know. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I credit the late James Lipton and “Inside the Actors’ Studio’ for this idea: If you could say one thing to one of your mentors or teachers who encouraged you to get to this point as an artist, what would it be? Thank you. You don’t realize so many small gestures, those little, small things you said had such an impact and continue to inspire. Thank you for being generous and supportive in a time it was really important and instrumental. If you could say something to any of the naysayers in your career who didn’t think you would make it as an artist, what would that be? I enjoyed this one when I read it earlier. What I would say would be, “Screw you” to some of the faculty at Ryerson Theatre School when I went there. (Note: this university is no longer called this name) when a young, impressionable Adam went in for his interview at the end of second year and was really excited to talk about art and my work, and they said to me, “Have you considered jaw surgery?” I have a bit of an underbite. The staff at the interview told me my work is fine but they were thinking I should get jaw surgery so I could be more palatable for television and film. I was lucky I had enough self esteem at the time to not be thrown by that. I’m a teacher now at the university and I couldn’t imagine saying that to a 21- or 22-year-old. Ryerson, the faculty and staff are better now. (Please note this name of the university is changing) When Perry Schneiderman took over, things improved dramatically. What’s your favourite swear word? Probably ‘Fuck’. I guess I’m pretty average. Maybe ‘shit’, but it depends on the kind of day. For exclamation or frustration, I would go “Shit”. If I wanted percussive impact, I would use “Fuck”. What is a word you love to hear yourself say? Exacerbate. I use this word in rehearsals as much as I can. What is a word you don’t like to hear yourself say? Brewery. I have a hard time with those r w combos. I like going to them, but I don’t like saying the word. With whom would you like to have dinner and discuss the current state of the live Canadian performing arts scene? This one was a tough one. I’m going to have to make the table bigger, cheat and give you three names: Walter Benjamin, Jacques Tati and Hans Thies Lehmann. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? “Stop worrying about how you’re perceived on what you ought to do and really have confidence and dig deeper into what it is you’re passionate about. Trust that this will bring people closer to you.” With the professional life experience you’ve gained, what would you now tell the upcoming Adam Paolozza from years ago who was just in the throes of beginning a career as a performing artist? “Don’t become jealous of the success of others and try not to let that be something that drives you. Think about the connections you make with other people and the collaborations. Hold on to that because that is a source of strength. Nourish that.” What is one thing you still wish to accomplish both personally and professionally? Professionally, I would love to tour more and to have my work seen by bigger audiences, bigger festivals. I would also really love to perform more in other people’s work. That’s not something that has happened as much as I would have liked. I would just like to be an actor in other people’s processes more. What do I hope to accomplish personally? I would like to be in a place where the pleasure of working and the practicing of art is really the main driver. There’s obviously going to be a certain amount of satisfaction gained by praise. But as I get older in my life, I want to focus more on what it is about the work that nourishes me, so my delicate emotions don’t get thrown around by the winds of criticism and opinions. I just want to have more inner strength. Name one moment in your professional career that you wish you could re-visit again for a short while. Maybe in theatre school. When I was there, I was aware that was a special time at that time. More important in my life would be after theatre school when you start to become idle and don’t have much work right away, I would want to talk to that younger Adam and tell him not to get so bogged down in the negative. Just have faith and all is happening in movement even though you don’t see it. After Ryerson, I went to the LeCoq school in France and it was just exactly what I wanted to study. I remember sitting in a class and the teacher was teaching something that I had really wanted to learn about pantomime. I just remember thinking, “I’m here. I made it at the exact place where I need to be as professional and aware and soak up as much of this as I can. So pay attention. You’re lucky you’re here.” What is one thing Adam Paolozza will never take for granted again post Covid? Being able to be in front of an audience. I miss that so much. Not being able to do that during these last 19 months made things difficult sometimes and what’s the point. This is a privilege and pleasure I never want to take for granted. Would Adam Paolozza do it all again if given the same professional opportunities? Yeah, I think I would. Besides certain people, I don’t think I love anything in life as much as I love theatre. I feel good about my choice. To learn more about Adam, visit www. https://www.badnewdays.com/adam-paolozza To learn more about Bad New Days Theatre: Facebook: @badnewsdaysperformance. Instagram and Twitter: @badnewdays Previous Next

Back Sarah Orenstein Looking Ahead Howard J Davis-Haui. Joe Szekeres Sarah Orenstein’s extensive and impressive resume caught my attention. I saw her work in ‘Oslo’ and a simply fine production of one of my favourite scripts ‘God of Carnage’ through the Mirvish series – a fascinating play with tremendously talented artists who soared that performance high. We shared some good laughs while I listened to Sarah’s at times candid and frank responses. Born in Halifax into a well-known local arts family, her mother an actress, father a visual artist, Sarah began her own professional career at five years old. She is a familiar face on stages across Canada. She studied at the Vancouver Playhouse Acting School. By email, Sarah stated it was a “fantastic institution. Short lived, but amazing group of artists came out of it.” Veteran of The Shaw Festival (13 seasons) and The Stratford Festival (6 seasons), Sarah has starred in ‘Possible World’, ‘Heartbreak House’, ‘The Millionairess’, ‘Shakespeare in Love’, and ‘Playboy of the Western World’. She makes frequent appearances on Toronto stages, most recently in ‘The Normal Heart’ (Studio 180 /Mirvish) ‘The Message’ (Tarragon). She is thrice nominated for Dora Mavor Moore awards for her work in ‘The Retreat’, ‘The Hope Slide’ and ‘The Collected Works of Billy the Kid’ and won for her roles in ‘Patience’, ‘After Akhmatova’ and ‘Scorched’. She won the Capitol Theatre Award for ‘The Doll's House’. Other favorites are ‘My Name is Asher Lev’(HGJT) and ‘The Glass Menagerie’ (Grand Theatre, London, Ontario) Sarah is committed to development of new Canadian works over the decades and giving her time as script dramaturg and actor in writing workshops in Vancouver, Banff, and Toronto. Recently, Sarah starred in the independent feature film ‘Albatross’ and co-stars in Incendo's ‘You May Kiss the Bridesmaid’. She is currently filming Paramount's ‘Station Eleven’. She makes her home in Toronto with her husband, actor Ric Waugh. We conducted our interview via Zoom. Thank you for adding your voice to the discussion, Sarah: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. I would say utterly. Not to be overly dramatic, but my new mantra is ‘I don’t actually know anything about anything anymore’. I used to think I knew things, and I don’t know anything about anything. I grew up in the theatre (my first gig was at Halifax’s Neptune when I was five). I grew up in a family that worked in the theatre so it’s where I went after school instead of babysitters and waited for my mother if she was at a rehearsal before we went home. I’ve been lucky enough that I’ve worked in theatre all my life. I think this is the longest time (aside from finishing grade school) that I’ve been not involved in a production of some sort at same level. I only took a year out when I had my children, and this pandemic has made things longer. So, it’s a bit like walking around in an alien world. I don’t understand myself without that. It’s been a time of huge reflection, some days great and some days not, sometimes I’m quite philosophical about it but it is a little bit of going, “Well, who is Sarah when she’s not in the theatre?” I don’t have an answer for that yet. I was going so full tilt with a very heavy schedule, not just acting but doing some assistant directing and script work that it really took a while to realize that I felt quite lost. Now that doesn’t mean I don’t love my life and my family and there’s always stuff as I keep very, very busy. Personally, it has been incredibly challenging to re-define myself, I suppose. That’s the long answer. (and Sarah and I share a good laugh) I’ve been very lucky as I’ve also been doing some filming so it’s not that I’ve been without work. 98% of my work is in theatre. I’ve quite enjoyed the filming and I’ve been involved with some Zoom readings and some Zoom script work. Every time I do it, I enjoy the connection, but it doesn’t replace it. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? I will say I feel it is yet to be revealed. Truly. I know absolutely that theatre will come back. It’s just who we are as human creatures – we need it. It’s how we tell stories and we’ve always done it in some version, and we always will. Theatre can’t be replaced digitally because it is a very different experience for the audience, and what society and humans get from going to the theatre with that hope of being transformed and carrying away, in the best cases, we’ve placed a little flame or little idea in everybody who has agreed to come together to be transformed. And then you take it away and people process it as they do, sometimes immediately, sometimes it takes years, and we still say that story stays with us. Why does it? In that sense, I do know that theatre will always be. But because of the shuttering stoppage, it’s like stopping an ocean liner in the middle of the ocean, that start up is going to be a little messy. I don’t think everyone will come back. Some people will do it of their own choice, some will not. Some theatres won’t be able to come back. I worry about some of the smaller theatres, but I hope they do. There will probably be a few lean years in the start up again. But my hopeful side is that change is in the air. Change is always good; it is also very scary. The particularities of that change, I think we can guess that some of them will lie in the opening of walls which is always good for art, inclusionary practices but not just with the faces on the stage but right up to the administration. I think some of that was starting before the pandemic hit, but it’s really sharpened the pencil on that. All of the arts, including theatre, love to be on the van guard of society must change so, goddamn it, so are we. I imagine there will be some missteps and some mistakes in moving forward, but I think in the end it will give us a lot more richness but there’s certainly going to be some rough times in getting everything up. I’ve been lucky enough, and I don’t mean decision wise, but to be involved in a lot of the conversations towards what Stratford is doing. I imagine all theatre people everywhere who are responsible to keep the institutions going, when I hear how exhausted they are by how many white boards they have made, erased them, started again, and erased again, and wiped and redone. The spirit is very alive to open the arms of theatre to all of the social changes that must be addressed but also with that desperate awareness of how hard it is to pay the bills on a theatre. I am full of hope. When everything is up and running, I know in the theatre we will have some rough times. I think it’s a brave act of hope with every shortened production, smaller casts, being outside. A brave act of hope. As a professional artist, what are you missing the most about the live theatre industry? Every single part of it because I’ve been around it so much all of my life. I miss the buildings. Of course, I miss the people. I miss the rhythms of rehearsal, that’s my calendar usually. I miss the collaborative and the collective way of living because every single show has its own set of problems that you come together to solve to tell the story, whether full production or just a reading. When I think of it, I truly miss everything, I miss sitting inside empty auditoriums before everything is happening. And why is that? I think it harkens back to when I was a kid and wait for my mom to be done work, and I’d sit at the back waiting, and there’s a certain sound and a certain air, a theatre that’s not ready for the public yet. I miss the tannoy being turned on and hearing the audience talking and mumbling. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? I think it will be how much I need other people to tap into my own creativity. I suspected it, but I didn’t realize how deep that symbiotic relationship was. Describe one element you hope has changed concerning the live theatre industry. So much has been happening with change right now over this last year. This has been part of my awareness since I was young because I am a woman in the industry. And I’m not even going to say that I’ve been particularly or poorly treated in a certain kind of instance, but I’m always looking for and hoping for more women in directing and, therefore, that leads to artistic directorship, not as a replacement but it’s not equitable, and there are very different stories that will come out. I’ve joked with my very dear, dear friend David Fox (he’s older than me) that over our careers of working together that I’ve played his daughter. I’ve moved on to play his wife. We keep pretending if I’m ever going to play his mother. It has something to do with the seven ages of women are yet to be truly explored. I don’t want to discount some of the roles that are out there for women because it is part of society, but they start tapering off because you can’t be the love interest. More women in writing, directing, and at the artistic directorship level, please, so that we can explore the female stories later in life without it just being Grandma making something in the kitchen. Explain what specifically you believe you must still accomplish within the industry. That is the hardest question you gave me to think about before our conversation today. The flip thing is I wouldn’t mind a fantastic run in a show that I’m a lead in that’s an amazing Tony award winning, writing piece of Broadway or the West End. That would be nice (and Sarah makes this wide grin that makes me laugh) On a serious note, I just want to work for as long as I want to work AND as late in life as I want to work. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as a theatre goer yourself. I will elaborate. I do not think this will happen. (and Sarah emphasizes each of these words) I don’t, at least I hope it won’t. We are so tired of it all. Everybody’s home is a 12 act play on experiencing Covid personally. It’s not to ignore it, but personally I would not be rushing to theatre to see shows that I know are someone working through how they lived through Covid. That being said, I think it is undeniably part of the fabric of any story that is written from here on. I don’t think we need to shoehorn it into every re-staging of ‘Taming of the Shrew’ or something. I think anything written from now on, even if it’s not a central theme, it will have to refer to that time, or where you were, or what happened to you, or what crazy psychological thing that character is wandering around, in the same way that wars have done that or political movement or any kind of trauma. A lot of people are getting through this pretty good. Depends on who you talk to. Some are messed up, some aren’t. We also recognize how lucky we are if we’re able to hold on to your stuff and not have to sell anything and figure something out. In the best case, this time of Covid will become fodder for good writers to find another universality for us as humans. If a writer gets the right idea of what Covid and the pandemic shutdown, loss and the mismanagement and what it has done to society, that kind of theme if it finds it way into some real psychological drama, that would be interesting to see. I want to stop talking about Covid when this is all over. As an artist, what specifically is it about your work that you want future audiences to remember about you? Oh, you’re wicked…. (and we share a good laugh again) Let’s hope they find my work fahhhhhhbbbbuuuullloouussss. (and another good laugh) Okay, if I’m going to be good and serious, I would say I hope that the people, because I do a lot of mentoring and coaching, I’ve worked with whether they’re actors or from other departments of the theatre, remember me as someone who delved deep into the work with them, but also helped pass on the trade. I really believe in that. I come from a family of creatives and different aspects. One of my sisters is in textiles, costumes, and designs. We talk about we find it interesting that we are at the point of our careers where we are really passing on the trade, without formally teaching in a classroom which is also good. Acting is a trade. The best way to teach someone is to do it in front of them and have a little conversation about why that is tricky over there. I’d like to be remembered that way by my fellow workers. I just hope audiences, even if it’s not remembering me, I hope my work resonated enough that they remember a moment on stage, a scene, a play. (I can attest at this point Sarah is correct as ‘God of Carnage’ at the Panasonic Theatre was astoundingly good.) Previous Next

Back Dreamstage Live 'BROADWAY: STORIES & SONGS' (With Ted Sperling & Friends) Guest: Jason Danieley Website Joe Szekeres Wow! I am so grateful and appreciative to have had the opportunity to chat several weeks ago with both Ted and Jason before I saw tonight’s concert. You can find both of their profiles here in Our Theatre Voice. This evening was an artistic culmination for me to hear two professional artists collaborate and briefly reminisce about some of the moments they experienced in the world of performance. Most importantly, after fifteen months of lockdowns and bubbles, ‘Broadway: Stories & Songs’ just put a big ol’ smile on my face to listen to two incredibly talented guys entertain us tonight with some Broadway showtunes. I hadn’t heard of several titles, so I was pleased to be introduced to them for the first time. Messrs. Sperling and Danieley appeared naturally comfortable with each other as the cameras rolled for this near hour-long concert. For me, just to watch their personal demeanor towards each other showed they clearly held respect for each other’s talents. Ted and Jason have also been friends for over 25 years as Jason met his late wife, Broadway artist Marin Mazzie, through Ted so this bit of knowledge adds even more believability to their relationship. (May 28 and 29, Jason Danieley) Danieley wore a grey suit with white open collar shirt while Sperling wore a dark coloured suit with white open collar shirt. Good to see this as wearing a tie would have made things seem just a tad too formal (along with the fact that wearing said tie would not be useful in singing). For most of the concert, Sperling played the piano and offered back up vocals when necessary. Just watching Danieley ‘become’ the different characters in each of these songs was fascinating and inviting. I especially liked his Irish accent in the opening song ‘On the Streets of Dublin’ from A Man of No Importance. Danieley became the character in the song and, as he appeared to finish the number, I almost got the impression he was ready to say, ‘C’mon, let’s have a beer. I’m paying.” This opening song was a perfect ice breaker for the concert. I loved the tribute to ‘Sara Lee’. I don’t know if we have ‘Sara Lee’ dessert products here in Toronto. (I’ll have to look in the frozen section next time I go to the grocery store). These two attacked the song with great fun and ease, and at one point Mr. Danieley completed a pelvic thrust which made me laugh for a few seconds. At one moment, the mood became poignant as Mr. Sperling stepped back and allowed Jason to sing ‘We Will Always Walk Together’ which he sung at his late wife’s memorial service. Just watching Danieley engage in this vocal moment with a resilient emotional strength as he looked up and sang to his beloved wife was highly moving. He paused for a few seconds at the end, and I thought I saw a glisten in the corner of his eye. A truly human moment that was shared with all of us. ‘They Can’t Take that Away from Me’ fittingly concluded the event for both gentlemen. The pandemic may have stopped them momentarily in their love of performance, but Covid can’t and won’t take away that connection each of them made with me tonight through songs and stories. Jason Danieley’s concert will be re-broadcast again May 29, 2021, at 2 pm. EST. Dreamstage Live continues BROADWAY: STORIES & SONGS with artists Victoria Clark on June 4, 5 and Meghan Picerno and John Riddle on June 11 and 12. For further information on tickets and to learn more about DREAMSTAGE Live, visit https://dreamstage.live Photo of Jason Danieley, Ted Sperling and Ticket from Dreamstage Live website. Previous Next

Back Cliff Cardinal "Artists have the right to say what they want, but great artists take responsibility for what the audience hears." Courtesy of Cliff Cardinal Joe Szekeres Born on the Pine Ridge Indian Reservation, Cliff Cardinal has been called controversially subversive and a cultural provocateur. He has studied playwriting at Montréal’s National Theatre School. His website (cliffcardinal.com) also calls him a polarizing writer known for his black humour and compassionate poeticism. He doesn’t seem bothered by these labels and calls them lovely. Cliff grew up as a punk rocker and played in punk bands. He loved George Carlin and Richard Pryor. Cliff doesn’t live in the mainstream of society. He says he still has this outsider perspective, and that happens whether he goes to the rez, the suburbs of the city or travelling. He’s always the outsider perspective, which is natural to him. Where Cliff comes from, this is what he talks about within his family. He doesn’t consider this controversial at all. We chatted via Zoom recently just before his show ‘(Everyone I Love Has) A Terrible Fate (Befall Them)’ opened at VideoCabaret on 10 Busy Street, Toronto—more about the show shortly. Who encouraged and influenced Cliff to continue in the industry. He said candidly: “Everyone who doubted and tried to stop me and withhold resources…and everyone who said I wasn’t good enough. I truly could not be here without all of you.” I couldn’t help but burst into instantaneous laughter. Cliff had this sly grin and relished the opportunity for me to laugh with him. He grew up the son of actress Tantoo Cardinal CM. When he dropped out of high school, he showed up at the back of a theatre company, just ‘shut up,’ and listened at this theatre for his Grade 10 year. He spoke fondly of his mentors Layne Coleman, Michael Hollingsworth and his partner, the late Deanne Taylor. The latter two co-founded Toronto’s VideoCabaret, integrating videotape, music, and theatre. He also spoke dearly of his director of ‘A Terrible Fate’ Karin Randoja. Cliff smiled and said they had been co-parents of all these shows they’d done together. She’s taught him a lot already, has come through, and is sometimes one step ahead of him. For Cliff, Randoja understands the craft of theatre in a way he doesn’t. I was first introduced to Cliff’s artistic work in his two one-person solo productions of ‘The Land Acknowledgement’ at Toronto’s Crow’s Theatre and later at Mirvish Productions. The former production created a wave of controversy within the theatre community. The latter was an entirely different iteration but still used the exact text. I wanted to explore this understanding of controversy within the theatre industry further and asked how far an artist can push the envelope regarding being controversial. Cliff resolutely stated theatre doesn’t work as propaganda. If this is the objective for the artist, then he/she/they has/have the wrong medium. He elaborated further: “A theatre artist’s job is to be entertaining, exciting, dazzling, and marvellous and to present both sides of the argument. The theatre is an industry where we have a lot of people in the seventies show up. These people have read a lot more than I have.” The idea that Cliff will teach someone in their 70s something or bring them around to his politics is naïve. How far can a theatre artist go for Cliff, then? “It all depends on the artist's relationship with the audience and how many times they have given the performance. You have to really try and listen as you have these ideas you fight for. Are they making the jump with me? Can they still suspend disbelief and project their imagination onto this moment, or have they checked out? Do they hate what’s happened to them?” For Cliff, artists have the right to say what they want, but great artists take responsibility for what the audience hears. I attended the opening night performance of ‘A Terrible Fate.’ When I asked him how he felt about opening night, Cliff said he had no idea what they all did. He knows opening night occurred but can barely remember it. He calls ‘A Terrible Fate’ a compelling exploration of being the guy in this position and asking Robert to inhabit him in this solo piece. To go on this journey and explore it is an exhilarating opportunity. Cardinal has unending praise for VideoCabaret and Crow’s Theatre, the two companies that have produced ‘A Terrible Fate.’ He further adds: “I’m just trying to soak up, be inquisitive and be curious about what is there. Maybe at the end of November, I’ll stop and ask, ‘What the fuck was that?” And again, I’m laughing at his frankness. Ironically, he and Jenn Stobart, the show's Stage Manager, were in Perth and just started talking about how everyone they have loved who had a terrible fate befall them. Thus the genesis of 'A Terrible Fate' was conceived. Cliff writes daily and said, “As soon as I tell you I love you, watch out because you’ll get sick, get hit by a car, or an anvil will fall from the sky and land on you. Watch out.” What Cardinal finds intriguing is the redundancy, the idea he is presenting himself as this traumatized guy. Yes, Robert’s trauma occurs quicker than others, but that is the story of all of us. Cliff calls ‘A Terrible Fate’ a satire and magical realism but also a redundancy. He’s hoping that he can use the comedy to step outside of ourselves and look back at how we’re dealing with the worst fundamental truth, which is that this will end for all of us. I love the candidness in that last line because it’s true. And again, I started laughing, and Cardinal was smiling. He said: “See, you and I are laughing, so it’s all going well.” What messages is he hoping audiences will take away from the play: “We should be holding onto each other. We should be coming together. We should be more honest. We’re not good at grieving about those we have loved and lost in this culture. Great stories shouldn’t silence the room. Great stories should provoke us to tell stories to others. If that doesn’t happen, I hope audiences will leave having enjoyed a few laughs and a good time and purchase some artwork in the lobby.” In true artist style, Cliff also added: “I hope people are offended, and those who want to be offended are. Those who need to be triggered, come on down and get triggered.” It’s not Cliff’s way to conduct audience talkbacks, so don’t expect there will be one after the performance. There’s something about audience talkbacks that doesn’t feel right. He’s hoping ‘A Terrible Fate’ will tour other Canadian cities after the VideoCabaret run. It depends on how the show will develop from its incubation at 10 Busy Street. And what’s next once ‘A Terrible Fate’ concludes at VideoCabaret? A movie adaptation will be made of his ‘As You Like It’ by William Shakespeare. He’s a tad coy about sharing anything else regarding the film now, except that he is working on it with his friend, Daniel McIvor. This film adaptation is one to keep an eye on in the future. ‘Everyone I Love Has’ A Terrible Fate (Befall Them),’ produced by VideoCabaret in association with Crow’s Theatre at the Deanne Taylor Theatre runs to November 12 at VideoCabaret, 10 Busy Street. I hear tickets are selling very quickly for the remaining shows. Visit crowstheatre.com for further information. Previous Next

Back Ahmed Moneka Canadian Chat --- Joe Szekeres Iraqi artist Ahmed Moneka has been described as “a cultural force to be reckoned with” as he is working towards his Canadian citizenship. His background on how he arrived in Canada fascinated me and I wanted to learn more about him. And I hadn’t even spoken to him as of yet. Ahmed arrived in Canada on September 10, 2015, and left Iraq for 10 days. He was invited to the Toronto International Film Festival to screen the movie in which he both co-wrote and appeared. The movie was about homosexual rights in Iraq, and there was a wave of events regarding the issue in 2011 in Baghdad. When the film was screened in 2015, Ahmed received threats from the militia in Baghdad and was forced to stay in Canada in order to save his life. Moneka has collaborated with many professional companies including the Canadian Opera Company, Tarragon Theatre, Aga Khan Museum, Tafelmusik, Driftwood Theatre Group, Toronto Jazz Festival, Koerner Hall, Modern Times Stage, Jabari Dance Theatre, Toronto Laboratory Theatre, Theatre Centre, and TRIA Theatre. He is one of the founders of the band Moskitto Bar and is the creator and leader of Moneka Arabic Jazz – a 2019 Stingray Rising Stars Winner at the Toronto Jazz Festival. And he has also learned English in his association with these fine institutions. Ahmed next appears in Crow’s Theatre production of ‘Bengal Tiger at the Baghdad Zoo’ which hopefully opens January 26. There are some fine artists in the production with him and I am sincerely hoping to get to see the production live. Ahmed and I conducted our conversation via Zoom. Thank you so much, Ahmed, for taking the time and sharing your voice: From glancing at your personal web page, I can see your love of the arts of music and theatre has indeed flourished as you have collaborated with many fine Canadian performing arts institutions. Please describe one element or one moment in your life where you instinctively just knew that your path forward would be as an artist. To be honest, I studied theatre in Baghdad for nine years and had an amazing career there. The plan when I came to Toronto was to stay for a short period of time with TIFF. I then had the opportunity to stay so I had to figure out my life. The adjustment with the English language was a huge portion of my life throughout six years. I wanted to see ‘Blood Weddings’ by Lorca directed by Soheil Parsa through Modern Times Stage. This production was amazing. I’m very familiar with Lorca’s work. I went to speak with Soheil with my broken, limited English. I told Soheil how much I loved the production, the transitions. It was amazing. Soheil asked me if I know theatre, and I said that I did know theatre. I told him I’m a newcomer here and that I would love to be in a rehearsal hall. Soheil said to come over as there was a workshop for ‘Waiting for Godot’. I didn’t have any money for the workshop. Soheil asked me where I was from. When I told him I was from Iraq, he said he was from Iran and to come to the workshop of Godot for a free welcome. This was my first workshop in Canada with Modern Times Stage. After the two-day workshop of ‘Godot’, Soheil hired me after that. It was this moment where I believed that I could have a career here in Canada as a theatre artist. I shifted the gear with music as well as it was a huge part of my healing experiences and circumstances, and it was my hope to continue music in sharing my culture with the Toronto community. Do you have a particular preference either of music or theatre to share your narrative voice or do you find as an artist there is a gelling of the two? To be honest, Canada taught me how to be a musician. I learned music from my family. We sang and danced for our rituals, but here in Canada for the first three years, music was a big hope for me. Music was the only language I knew how to share with people. But I’m a theatre artist. I love acting. I love theatre. I love artists. I love that complicated process of theatre. Now I feel like I’m being able to express myself and act in English, and now I consider both music and theatre very close to my heart. I’m hooked. Both music and theatre are powerful ways of delivering stories as a narrative. Would you name one teacher and one mentor for whom you are thankful as an artist, and how these individuals influenced your life as a performing artist. One teacher who has influenced me is d.b. young. I was part of the Soulpepper Academy and d.b. young was with us every Monday of the seven months we were studying. She’s awesome in the way she opened us up and built us up with confidence, especially within me and my ability to push myself towards a theatre career by being honest and real about it. That helped me a lot as an immigrant to be able to trust myself again, be confident again in what I believe and what I love by being a part of the Canadian theatre scene and being part of my new home here in Toronto. As a mentor, my friend, Zac, but also in theatre specifically Jeremy Smith (from Driftwood Theatre). I was connected with Jeremy through an amazing opportunity through the Toronto Arts Council mentorship program for newcomers and refugees. It was a bridge between a newcomer artist and an established artist in Canada. It was a good potential because there was money paid for this entire process. Jeremy was my guide. He introduced me to a lot of people, and we had many meetings where I met many people, going and seeing different shows and meeting individuals there. I also became an Artist in Residence through Driftwood, and they were working on ‘Othello’ that year. As an Iraqi/Arabic, I did some research on the jealousy and what Shakespeare would have meant by the jealousy in the play. My involvement was paid for. When I finished my residency, Jeremy asked me to accompany the group on tour in Southern Ontario. It was beautiful for me as it gave me an opportunity to see southern Ontario and to connect with Ontarians everywhere. I also got to connect with Jeremy and his family. I was very lucky as I felt safe with Jeremy as I was learning English while I was involved with something that I loved – the theatre. Jeremy and I are also in collaboration on future endeavours. The global pandemic has certainly changed our view of the world we once knew. How have you been able to move forward as an artist during these tumultuous times? To be honest, it has been very tough, very tough. But as an Iraqi artist, I believe that art has a purpose and a mission more than action. I have faced many obstacles back home in Baghdad and that made me flexible and adjustable to any circumstances that faced me. I’ve played a lot of music; we’ve played in the park and open venues to create something in order to keep surviving. Toronto is a very expensive city, and I’m a father now. I have a daughter with my wife and my family just came over last year. I receive so much from my family in my push and desire to grow as an artist, as a father, as a son, as a brother, as a husband. At the same time, it’s been very tough financially in that would I have to quit making art and do something else. I don’t want to quit art. I want to keep going. I’ve been writing some theatre pieces, working on an album and also I’ve been thinking about creating a television show about my life here in Toronto and Canada combined with the music scene to shine Toronto. Toronto is a beautiful city with everyone here harmonized here in love and peace. I’ve been taking advantage of sending emails and having interviews, so I want to thank you, Joseph, for this opportunity to connect with others. Theatrically, I’m connected more now than I was before the pandemic hit. I’ve applied for a lot of auditions. I’m getting work. I just finished Soulpepper Academy. After I finish Bengal Tiger at Crow’s, I’m performing next in Orphan Song at Tarragon Theatre. I’m pushing and trying to figure things out, but it’s disappointing to see how the government treats theatre artists. There’s not enough financial support. There’s not enough acknowledgement and recognition towards arts and culture because that is dynamic to the hope of the city. We need to consider art as something important in terms of what’s happening now. Although I haven’t seen ‘Bengal Tiger at the Baghdad Zoo’, the plot intrigues me and I am quite curious about it. There are two parts to this question: Please share what it is about ‘Bengal Tiger’ that attracted you to the piece as an artist. ‘Bengal Tiger’ is about Iraq and takes places in Baghdad in 2000. I was in Baghdad in 2000. I witnessed the war. I heard the bombs; I saw the destruction and how the war destroyed the city. This was my second war as I also witnessed the Gulf War. War is disgusting. I hate war. I hate guns. I hate money that goes to war. ‘ ‘Bengal Tiger’ talks about the war, talks about the disease of war from different perspective which is wonderfully written between the dictatorship of Saddam and the pressure towards the Iraqis and the Americans when they came when the city was destroyed and took the city out and allowed the chaos to happen. I play Musa, an Iraqi translator, who used to work as a gardener creating a topiary. The ghost of Uday Hussein who once employed Musa murdered Musa’s sister, Hadia. Through the journey there is a gold gun that Tom, a soldier, took when he killed Uday. Uday tells Musa he must use the gold gun as “leverage” against the Americans. While working as Uday’s gardener, Musa created a beautiful topiary garden that has since been destroyed by the war. The topiary garden, also the site of Hadia’s murder, becomes a gathering place for ghosts. There’s trauma, there’s ghost haunting, there’s the killing of the tiger. There is a crazy, psychedelic spiritual world. The play talks about Iraqi society are victims between Saddam’s dictatorship and the American invasion of Iraq. There are so many character arcs in the play that drew me to the play. I feel it is part of my journey through the play to share this story of the Iraqi people, their voice and to show that Iraqis are not terrorists, not involved in any terrorism even in 9/11. The Iraqi people were tired of Saddam and opened the door to the Americans; there was hope of the dream to Iraq being connected to allies and open to the western world. Unfortunately, none of this happened. What message do you hope audiences will come away upon seeing ‘Bengal Tiger’? I hope they will believe that Iraqi people are not bad people. The Iraqi people are good people. That is why I said yes to this script and being involved with it. And also I’m so glad to say that I am the first Iraqi involved with this production of ‘Bengal Tiger’. Robin Williams played the tiger in the Broadway production. To be honest, this Toronto cast is incredibly talented…there is zero production rehearsing in Toronto right now and we continue to rehearse with safety protocols in place. But in taking these safety protocols to heart, we are also taking the risk to hope to do this show in public. We are refusing to film it or do it online. We are rehearsing the show with the hope of performing it live beginning January 27. We will be ready to go by then. Everyone is on top of their work. Audiences will be blown away because it’s really amazing this production is a masterpiece – there’s conflict, there’s trauma, there’s love, there’s comedy. There are all the elements of theatre. Yes, there are moments where you will feel uncomfortable and will make you question certain things. There will be moments where you are on the edge of your seat sitting forward and absorbing as much as you can of the action and the characters. I’m helping members of the cast with the accent and so is my sister. I’m so eager and excited to have this show open to the public and to share this story with everyone, and let audiences then decide how they will respond to what is presented before them. Someone once told me the life of an actor and artist is not all sunshine and autographs, but a life of ups and downs personally and professionally. In light of the sometimes-precarious world and life of the actor/artist: What intrigues Ahmed Moneka? Exactly. You said it. We are like a lottery and that intrigues me. We audition. We show up fully on our game. This is the case with the artist. We must be prepared all the time and decide how we want to be involved and with which projects do we want to be involved. We have to believe in ourselves, and listen, listen, listen to any potential opportunity that could come I will create my own opportunity if none is created for me. What frustrates Ahmed Moneka? Sometimes it’s the system that frustrates me. There’s rules of work here that I sometimes think are lame. For example, three weeks of rehearsal is not enough time to shine. I know there’s tech, there’s preview, but the rehearsal is the most fun thing at least for me. In rehearsal you try, you try, you try until you find it. We need to create a star system here in Canada. We need to believe in our own artists here in Canada much like there is the belief in the artists of Hollywood and New York City. Toronto is so unique and there are so amazing artists. I want to listen to them and hear them. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I credit the late James Lipton and “Inside the Actors’ Studio’ for this idea: If you could say one thing to one of your mentors and teachers who encouraged you to get to this point as an artist, what would it be? “Thank you so much for trusting.” If you could say something to any of the naysayers in your career who didn’t think you would make it as an artist, what would that be? “Look at me now.” What’s your favourite swear word? Fuck! It’s amazing. What is a word you love to hear yourself say? “Love” and I have a sentence I always say: “Love is the main reason for a creative future.” What is a word you don’t like to hear yourself say? Hate unto others. With whom would you like to have dinner and discuss the current state of the live Canadian performing arts scene? Justin Trudeau What would you tell your younger personal self with the knowledge and wisdom that some life experience has now given you? Oh, my, this is going to bring me to tears. I would say thank you for choosing hope and life and peace. With the professional life experience you’ve gained, what would you now tell the upcoming Ahmed Moneka from years ago who was just in the throes of beginning a career as a performing artist? Thank you so much for resisting and for telling your father, “No, I want to do theatre instead of cinema.” What is one thing you still wish to accomplish both personally and professionally? Personally, I want to be a wonderful husband and good father and good son, brother and friend. I want to be a good human in listening to everyone around me. Professionally, I would really like to enter the television and film industry. Name one moment in your professional career that you wish you could re-visit again for a short while. Being in the same room with Wajdi Mouawad. I worked with him in the Canadian Opera Company. It’s crazy how he’s convincing. He’s like a little boy but he is so talented and so humble. I want to learn more from him. To learn more about Ahmed Moneka, please visit his page: www.ahmedmoneka.com . To learn more about Crow’s Theatre, visit www.crowstheatre.com . Previous Next

Back 'Paul and Linda Plan a Threesome' by Jane Cooper Ford WORLD PREMIERE Presented by HERE FOR NOW THEATRE at on the grounds of the Stratford-Perth Museum, 4275 LINE 34, Stratford, ON. Presented by HERE FOR NOW THEATRE at on the grounds of the Stratford-Perth Museum, 4275 LINE 34, Stratford, ON. Joe Szekeres NOTE: I attended the Saturday, June 22 matinee performance, which was moved indoors due to the heat warning outside. There were no lighting cues but a few sound cues. I’m unsure if others were missing. “Coyly suggestive script.” “Smartly directed by Megan Watson with nifty performances.” In the Programme Note for Stratford Festival’s ‘Twelfth Night,’ director Seana McKenna writes she rarely reads Director’s Notes before she sees a play. She wants to see ‘the thing itself’ without any preparation for it. She wants to receive the play as it unfolds without any preconceptions of what it might be. I wanted to do the same with this world premiere of ‘Paul and Linda.’ Even though I had a possible preconception of what it might entail (and I’m sure the same thing went through everyone’s mind), I did not want to know anything else. I told my guest to remove the programme from my hands or gently tap my wrists if she saw me looking at any notes inside. What did I already know about playwright Jane Cooper Ford’s world premiere of ‘Paul & Linda Plan a Threesome’? It received a workshop production at Toronto’s Buddies in Bad Times in 2015. We find ourselves in the upscale living room of Paul (David Keeley) and Linda (Laura de Carteret). They’re an affluent couple who enjoy a good life, and Rebecca Chaikin’s set and costume choices appropriately indicate that. Keeley sports a comfortable-looking aqua blue dress shirt with rolled sleeves, Khaki pants, and dress/casual shoes. De Carteret wears a nice-looking dress and appropriate shoes. The living room setting is tastefully decorated in a minimal style. A matching loveseat and chair in ivory-looking fabric are centre-staged. Both furniture pieces are slightly angled. In front of the loveseat is a circular coffee table with a charcuterie board. There are also four drink coasters. The hilarious plot twist behind this idyllic look? Paul and Linda’s marriage is in trouble. To salvage their relationship, Linda invites the eccentric Sienna (Shannon Taylor) as part of a threesome to save the marriage. Linda is open-minded about this possible menage à trois. One of the most noteworthy elements of Taylor as the interloper are her eyes. As she listens intently to responses in conversation, her eyes become quite hypnotic. Initially, Paul hesitates but appears to give his consent to this ‘arrangement’. The arrival of Paul’s sister, Gwen (Stacy Smith), then completely changes the dynamics; however, will Paul and Linda see their choice through with Sienna? Will Gwen somehow be involved as well? Megan Watson directs Jane Cooper Ford’s smartly crafted script with a coy wink and a smile. Watson knows there's more here. There are some wonderfully funny jokes – the one about the golf shirt still makes me smile. Watson keeps the play’s pacing moving along where it doesn’t feel dragging. The at-times hilarious, back-and-forth banter begins to unravel secrets upon secrets. This fine ensemble finds genuine human reactions and behaviour underneath the characters' choices. Are these choices flaws? Are they signs of something else the characters don’t realize about themselves yet? Shannon Taylor is delightful as the eccentric Sienna. Her makeup is perfect, almost too perfect. It looks as if perhaps she is not of this world. One captivating element of Taylor are her eyes. As she listens intently to responses in conversation, her eyes become quite hypnotic. Sienna wears a white dress with a unique design on her coat. She knows her identity. She seems to have this innate sixth sense and isn’t afraid to share what she knows with Paul, Linda and Gwen. Taylor’s Sienna can size something up in seconds and respond immediately or wait until the appropriate moment. She immediately senses that Paul and Linda are trying to save their marriage and asks them point-blank questions. Sienna has also sized Gwen up to ask questions that might seem as if they are nobody’s business. Stacy Smith bursts on the scene as Gwen. She’s robust and lively. The moment she initially realizes what her brother and sister-in-law have been contemplating with Sienna is quite amusing. However, Sienna’s involvement with Gwen deserves closer examination, which I’ll speak of shortly. Laura de Carteret and David Keeley are realistic and believable as the troubled Linda and Paul. Their blocking throughout the approximate 70-minute running time resembles an interesting and shifting dance between the two. It is fascinating to see how each one holds power and control at any given moment. Paul and Linda might appear to have it all together when they don’t, and Sienna ultimately makes that reality apparent to them. Is that perhaps why Paul appears to be thinking about giving his consent to this ‘arrangement’? Has he become hypnotized by Sienna’s seductive eyes? Hmmm… And Another Thought: The Programme bills this 2024 season under the theme: ‘Season of Self-Acceptance.’ Hmmm…this theme gets me thinking further about Ford’s script. Is it appropriate that ‘Paul and Linda’ opens Here for Now’s summer season? Near the end, the topic of love is raised as a point of conversation. What does it mean to love? All that matters is the love. Did you love? Were you loved? Well, in this uber-permissive twenty-first society of sexual behaviour, dubious mores and 'Pride' bandwagon,’ the connotation of the word ‘love’ takes on a different meaning for different people. From this logic, the same exists for the term ‘threesome’ which takes on a different meaning. And why can’t it? Or is the play a social and comical comment on this uber-permissive society in which we now live? Or is it a social and comical commentary on the logic? It's all of these combined. Using 'woke' logic, 'Paul and Linda' becomes a social and comical commentary on the uber-permissive society in which we now live. To refer back to the question, yes, the choice to open the season with ‘Paul and Linda’ appears appropriate. The ‘woke’ world we live in constantly takes words and adjusts new meanings and connotations, regardless of whether we want that to happen. Without spoiling the plot for future audiences, ‘threesome’ means something entirely different in Ford’s play. Even Megan Watson says in her Director’s Note that working on this wild play has been layered, and the premise leads to unexpected places. Yes, I did read the programme eventually. This premise certainly raised my eyebrows, but it’s clever. Running time: approximately 70 minutes with no interval. ‘Paul and Linda Plan a Threesome’ runs until July 13 on the grounds of the Stratford-Perth Museum, 4275 LINE 34, Stratford, ON. For tickets, visit www.herefornowtheatre.com . HERE FOR NOW presents the World Premiere of ‘Paul and Linda Plan a Threesome’ by Jane Cooper Ford Directed by Megan Watson Set and Costume Designer: Rebecca Chaikin Stage Manager: Sam Snyders Performers: Laura de Carteret, David Keeley, Stacy Smith, Shannon Taylor Previous Next

Back Jeannette Lajeunesse Zingg Choreographer and Co-Artistic Director of Toronto's Opera Atelier Courtesy of Toronto's Opera Atelier Joe Szekeres What a delightful chat I had recently with Choreographer and Co-Artistic Director of Toronto’s Opera Atelier, Jeannette Lajeunesse Zingg. Last year I had the opportunity to interview her husband, partner, Director, and the other Co-Artistic Director Marshall Pynkoski. The two of them were delightfully charming and engaging, and I could tell they were both very keen on having not only me but also many new audience members attend the opera this coming year. Many Torontonians who attend the opera call Marshall and Jeannette ‘royalty’. I now understand why. Jeannette is gracious, open, and articulate. Her passion and dedication to the opera and ballet were strongly evident during our conversation. The theme for this year’s Opera Atelier season is ‘Passion Returns’ which is an appropriate one. It is the company’s passion for returning to the theatre through productions of ‘Dido and Aeneas’, a passionate love story and ‘The Resurrection’, the story of the Passion of Christ. I began our conversation and asked her how she felt about being called Toronto’s ‘opera royalty’: “Well, we’re very flattered, to begin with. We have dedicated our lives to Baroque Opera, French Baroque in particular, and we will continue to bring Baroque Opera to Toronto and worldwide.” Like all the artists who have been asked this same question about the gradual return to the performing arts given the unknown about Covid, Jeannette did point out one thing clearly that I respected: “The media is not our best friend when it comes to things like that for sure.” However, Jeannette remains quite optimistic going forward. The subscription goal was modest but Opera Atelier had reached it. Now the company is selling single tickets. Opera Atelier has done quite a bit of reaching out to newer markets. For example, at the beginning of our conversation, Marshall also appeared on camera to say hello for a few moments before he dashed off to students from Catholic schools who were attending workshops today. Jeannette would join him once our conversation had concluded. The workshop involved some demonstrations and a very brief background on how dancing fits into Baroque Opera. Then to top it off, the workshop concluded with students getting up to dance the minuet. Jeannette was pleased there was full and active participation from these Grade 6-8 students who asked very intelligent questions along with active participation in the dance and who are eager to learn since the pandemic cut down on this type of experiential learning over the last two-plus years. What a terrific way to get twenty-first-century youth interested and involved in the world of opera where they can experience things up close first and ask questions about the art form and receive an immediate response in a small group. Jeannette also spoke of the work Opera Atelier does in Europe quite frequently. Productions there sold out and masks are optional and rarely worn. She recognized that North America is always a bit behind but will follow suit. Going forward, we must ensure people are not so frightened when they attend a live theatre production of any kind, especially older people. Yes, this fear does come from the media, but Lajeunesse Zingg confirms we have to start somewhere getting back, and this appears to be the first logical step going forward. Once again, she remains optimistic people will want to come for a good show, and there is no need to be fearful as we return. What a marvellous choice Opera Atelier has made in selecting ‘Dido and Aeneas’. The story itself is from Books 1-4 of Virgil’s ‘The Aeneid’. Dido, the Queen of Carthage, has been widowed and has sworn never to marry again. Aeneas has been fleeing his burning city of Troy with a group of men and lands there and he thinks perhaps it’s his destiny to re-found Troy. Dido’s courtiers are pushing her to marry Aeneas because he has fallen in love with her and she is with him. The courtiers feel it will strengthen their kingdom which at the moment is a little unstable after having lost her husband, the King. Of course, it is not Aeneas’s destiny as his destiny is to found Rome, but he doesn’t know that. The destiny is put into the form of witches who want to undo Dido in this particular telling of the story, so they trick Aeneas into thinking that Mercury, the messenger of the Gods, is telling him he has to move on after he has already committed himself to Dido. Aeneas comes to tell Dido he has to leave, and she is appalled and very angry. Aeneas says he will change his mind to defy the gods, but Dido says it’s too late and he has to go as she has been spurned and humiliated. Aeneas leaves and his men are happy to leave and get back out on the sea and find a new place. There’s a lot of dancing as the men are happy to return to the sea. Dido feels she has been so humiliated that she feels she has to take her own life. There is that very famous aria at the end of ‘Dido’s Remorse’ that many great opera singers have as part of their repertoire. And what is it about the beautiful art of opera and ballet that still fascinates and intrigues Jeannette: “I can’t imagine not being intrigued. It’s part of our identity and who we are. We live with culture and culture is part of life and opera has so much to offer in culture, music, acting, dance, sets, and costumes. It’s part of worldwide culture and it’s something that we want to have as part of our lives. It’s intriguing because there’s something new to find, always some new ideas to get from these older pieces from a different era where the thought processes were different from our [twenty-first century].” She still affirms the artists and the company still has so much to learn from these pieces. Even though Opera Atelier holds a huge repertoire, the artists will never be finished delving deeper into them ceaselessly. During the pandemic, OA did switch to film and there was a commission of one piece so the learning and growing are continuous. For some reason, there appears to be this misunderstanding that if one doesn’t have an extensive background or education in the study of opera and ballet, then it’s not worthwhile attending. Lajeunesse Zingg firmly disagrees. One doesn’t need to have any background to enjoy and appreciate Baroque Opera. It’s lively, it’s dramatic, the music is beautiful, and the costumes are beautiful. Baroque Opera is a feeling on every level. Why is it important for all audiences to attend, and that includes those who would like to attend but might be a tad reluctant: “It’s a big part of our culture”, explains Jeannette. “Culture and art are the highest point of humanity that we can achieve. Everybody should be able to be a part of that.” ‘Dido and Aeneas’ opens on October 20 and 22 at 7:30 pm and the final performance and October 23 at 2:30 pm at Toronto’s Elgin Theatre, 189 Yonge Street. The performance running time is one hour. To learn more about Toronto’s Opera Atelier, visit operaatelier.com. Previous Next

Back Jamar Adams Thompson “[The rehearsal process for ‘Tyson’s Song’] has demanded from us a greater amount of trust in our vulnerability with each other and our ability to hold space and grace with one another.” ​ Joe Szekeres The last time I saw Jamar Adams Thompson appear on stage was in Cahoots’ Theatre Production of Steven Elliot Jackson’s ‘Three Ordinary Men’, directed by Tanisha Taitt. I remember being so moved by that production that I could not speak for a moment afterward. Jamar was part of a terrific ensemble that kept me riveted by the story’s action. He was appreciative and humbled by the audience’s experience of ‘Three Ordinary Men’ at the time, and he says that experience will remain part of his heart forever. Knowing that Jackson’s story deeply touches audiences means the world to him. We interviewed via email. Jamar is a University of Windsor alumni and holds a BFA (Bachelor of Fine Arts) Honours in Acting. He is smack dab in rehearsals for the upcoming Canadian premiere production of Peter N. Bailey’s ‘Tyson’s Song, ’ which opens April 26 at Toronto’s Factory Studio Theatre. This is Adams Thompson’s debut working with director Ash Knight and production company Pleiades Theatre. Working on the production with a team that he calls passionate and intelligent has made the process both inspiring and challenging as an actor. He calls Ash Knight: “one of the most passionate directors I know who really speaks true to his convictions.” Knight is always keen on exploring the most interesting choice in a character’s objectives and motivations. For that reason, Jamar feels he has never felt more born for a role. ‘Tyson’s Song’ is a story about two best friends, two brothers, on one last big night out in the city. The play is a conversation not only among brothers but also one that is unspoken for many of the viewers who might relate to these characters. This conversation, this story, ultimately unpacks some very real issues in the Black male community of mental health, the absence of genuine emotional support and positive emotional outlets, and questions of masculinity, identity and self-fulfilment. It is a story of real pain but also one of hope. Adams Thompson truthfully claims that ‘Tyson’s Song’ found its way to him. Unbeknownst to each other, two close friends of his had forwarded the e-drive submission about the show, demanding that Jamar audition. When he read the submission email the next day, it was as if I was coming home after a very long pilgrimage: “The email mentioned “Black men’s mental health” and “Brotherhood” and specifically sought second-generation Jamaican/Caribbean-Canadian artists. I have and will always remain an advocate for the continued discussion of mental health and support among all people, but to know that someone was finally writing a Canadian story for someone like ME was nothing shy of a dream come true.” Excitement would be an understatement describing how Jamar feels about the upcoming premiere. He recognizes the pressure artists always feel when presenting new work. Still, as surreal as that may sound, this is the first time Jamar has had the chance to explore a character from his particular side of the Black diaspora. Although many more stories are being told and written for his people in general, there is still so much more room for the stories of Caribbean people in Canada. Jamaica has influenced so much of the culture in Toronto, from its cuisine to music to art and, most notably, its cultural slang. Despite this influence and the abundant population of Jamaicans in the city, their stories have not made footing in the theatre as they have in the poetry, music and dance scenes, or even the visual arts. One of his biggest hopes with the premiere of ‘Tyson’s Song’ is to motivate a greater ushering of Caribbean and Jamaican-Canadian stories within the city. ‘Tyson’s Song’ appeals to me for several reasons. One is to learn more about the stories of the Caribbean people in Canada. I also want to see Jamar’s work in a completely different setting from ‘Three Ordinary Men.’ I also have a personal connection to Jamar’s fellow actor, Kyle Brown. I taught him when he was in high school: “WOW! What a full-circle moment for you as well! You'll be proud of him. Kyle and I hit it off very strongly from the auditions. We had the pleasure of working together in the callback, and right away, a palpable grace came with his presence. It was so easy to play off one another and help each other shine.” Jamar calls Kyle an incredibly generous and honest performer. Their most significant discovery with these characters is their unique ability to relate with both of them. They each carry a bit of Tyson and Bryan and could easily have read for the other’s part. This unique empathy has allowed them to bridge many hidden gaps and barriers in connecting with the characters and each other in a way that he thinks has surprised them both. What’s next for Jamar Adams Thompson once ‘Tyson’s Song’ concludes its Canadian premiere? He jokingly stated in jest that a nap would be ideal, as I’m sure any actor who is presenting new work would. But he’s not one to rest too long. Jamar has been keeping busy in hopes of pursuing his MFA (Master of Fine Arts degree) quite soon. While his goal is always acting, be it on stage or in front of the camera, he is taking more steps towards participating in his own play premiere. Writing has not so secretly been a large aim in fulfilling his purpose as a storyteller! His hope is to have some scripts and anthologies that he has been working on come to life at a theatre near us. He closed off our email conversation with a 😊 and said: “Stay tuned.” ‘Tyson’s Song’ runs from April 24 to May 19, 2024, in the Factory Studio Theatre (125 Bathurst St.). Tickets are pay-what-you-choose starting from $5, at PleiadesTheatre.org or FactoryTheatre.com. Previous Next