Unique Pieces '12 DINNERS' by Steve Ross WORLD PREMIERE Click Here 'A Public Reading Of An Unproduced Screenplay About the Death of Walt Disney' by Lucas Hnath Click Here 'De Profundis: Oscar Wilde in Jail' The World Premiere Click Here 'First Métis Man of Odesa' by Matthew MacKenzie and Mariya Khomutova Click Here 'In Seven Days' by Jordi Mand. World Premiere of a comedy about death Click Here 'Jack: A Beanstalk Panto' (The Naughty Version) Written and Directed by Rebecca Northan Click Here 'A Case for the Existence of God' by Samuel D. Hunter Click Here 'Constellations' by Nick Payne Click Here 'Fierce' written and directed by George F. Walker Click Here 'Goblin: Macbeth' Created by Rebecca Northan and Bruce Horak Click Here 'Infinite Life' by Annie Baker Click Here 'Life of Pi' based on the novel by Yann Martel. Adapted by Lolita Chakrabarti Click Here

Back Winter Solstice Now on stage at the Berkeley Street Theatre, 26 Berkeley Street, Toronto. Credit: Dahlia Katz. Pictured: Kira Guloien and Cyrus Lane Joe Szekeres "Roland Schimmelpfennig’s ‘Winter Solstice’ is strangely hypnotic yet entrancing. From ‘welcoming’ the stranger at the door on Christmas Eve to a chilling conclusion when the truth is revealed, this top-notch cast has solidified one thing for me. I know I’ll never look upon a future winter solstice in the same way again." It's Christmas Eve, but the specific setting remains unclear. Let’s not forget the meaning of the winter solstice – it is the shortest day and the longest night of the year. The characters in ‘Winter Solstice’ endure much on what is supposed to be the holiest and most joyous nights of the year in the Christian tradition. This connection of the solstice to what unravels in the story makes this opening night production a revelation in many ways. The publicity for the production tells us the stranger at the door is a fascist. Buckle up, then, folks. Knowing the guest is a fascist, especially given what is going on in the United States currently, leads me to an unsettling feeling amidst some of the laughter in the play. That, nevertheless, is the sign of good theatre – when an audience is knocked right out of its complacency, and we have to do some work in getting to understand, to listen and to hear what’s going on. I know I relish that opportunity when I have the chance. A narrator (Frank Cox-O’Connell) begins telling the story of Bettina (Kira Guloien) and Albert (Cyrus Lane), a middle-upper-class family. They are the parents of an offstage nine-year-old daughter whom we never see. Bettina and Albert have secrets they keep from each other, which are later revealed. Cox-O’Connell later becomes Konrad, a friend of Bettina and Albert. Konrad is a painter, and one of his works is hanging at Bettina and Albert’s home. Bettina’s mother, Corinna (Nancy Palk), has just arrived to stay with her daughter, son-in-law, and granddaughter for the holiday. However, it quickly becomes apparent that Corinna gets on Bettina and Albert’s nerves. A stranger, Rudolph (Diego Matamoros), arrives in the early evening hours of Christmas Eve. He’s from Paraguay. Corinna invited Rudolph to the house. Director Alan Dilworth has made thoughtful choices in David Tushingham’s translation of Roland Schimmelpfennig’s often satirically dark script. At times, the words are lyrical, while a few minutes later, a harshness in tone and intent veers the story in another direction, knowing who Rudolph is. Dilworth knows a thing or two about building suspense in a story. This time around, he cleverly maintains simplicity by not being concerned with many physical details and accoutrements, allowing the audience to focus more on what is being said and implied in the dialogue and thoughts of the characters. What’s also strangely entrancing about this opening night production? There are moments when I feel I’m being told in third-person narration what will happen rather than seeing the events unfold. The brief moments of laughter are particularly welcome as the mysterious layers of the stranger Rudolph and his identity are gradually revealed. Dilworth’s talented creative team embodies a visionary approach that embraces the principle of "less is more." Lorenzo Savoini’s set design features a rectangular space with cushions along the upstage wall, ensuring clear sightlines for the audience. Savoini’s lighting effectively directs the audience's attention to key moments in the performance. Additionally, Debashis Sinha’s composition and sound designs heighten the dramatic tension surrounding the ironic unravelling of this family during what is meant to be the holiest night of the year in the Christian tradition: Christmas Eve. Ming Wong has selected costumes that reflect the characters' various states of mind. Although he is neatly dressed, Matamoros’ entrance oddly reminds me of Father Merrin’s appearance at the McNeill house in ‘The Exorcist.’ The cast is top-notch and prepared to take the audience on its emotional journey. At the top of the show, Frank Cox-O’Connell’s narration remains aloof until he joins the story as Konrad, a mutual friend of Bettina and Albert. As the narrator, O’Connell is here to tell the audience something crucial about what will come and how this family will deal with it. The press release states what O’Connell hints at in this narration: Extremism doesn’t kick the door down on arrival. It waits for an invite and then makes itself at home. Kira Guloien and Cyrus Lane are strangely connected in their disconnection from each other as husband and wife. Bettina is in a secret and mutually consensual relationship with Konrad, and Albert is high on drugs and wine. Yet, Bettina and Albert do not resolve anything in their relationship because neither appears to want it—or so it seems. The connection between Nancy Palk’s Corinna and Diego Matamoros’s Rudolph is needed in Bettina and Albert's relationship. Rudolph and Corinna have a respect that appears missing from the younger couple. For some reason, Rudolph calls Corinna Gudrun. Playful? Possibly. A little unsettling? On a personal note, yes. But Corinna doesn’t seem to be bothered by it at all. ‘Winter Solstice’ certainly sparked many conversations between my guest and me on the way home. Discovering that Rudolph has fascist beliefs leads to further questions—after all, he’s from Paraguay. Who else fled to Paraguay? Nazi supporters. Rudolph's values provoke some unsettling and heated discussions with Albert late on Christmas Eve. The others don’t seem to share Albert’s intense feelings about Rudolph. Why is that? Have the others succumbed to the charms of Rudolph, the stranger? A program insert states Schimmelpfennig asks the audience: “to consider something new—the idea of fascist seduction, which is nothing new since it works every time. “ Again, given that this possible seduction has braced citizens to the south of us, what could this mean for Canadians? That same insert also states the following line from the play: “The past does not exist..it haunts us, and that makes it part of the present.” How much of this is the actual truth? ‘Winter Solstice’ promotes discussion after the curtain calls. That’s the sign of good theatre. Go and see it. Running time: approximately one hour and 40 minutes with no intermission. ‘Winter Solstice’ runs until February 2 at the Berkeley Street Theatre, 26 Berkeley Street, Toronto. For tickets, www.canadianstage.com or call the Box Office at (416) 368-3110. NECESSARY ANGEL THEATRE COMPANY, CANADIAN STAGE and BIRDLAND THEATRE present WINTER SOLSTICE by Roland Schimmelpfennig Translated by David Tushingham Directed by Alan Dilworth Set and Lighting Designer: Lorenzo Savoini Composer and Sound Designer: Debashis Sinha Costume Designer: Ming Wong Associate Costume Designer: Ellie Koffman Stage Manager: Sarah Miller Production Manager and Technical Director: Rick Bonville Performers: Frank Cox-O’Connell, Kira Guloien, Cyrus Lane, Diego Matamoros, Nancy Palk. Previous Next

Back Winter Solstice Now on stage at the Berkeley Street Theatre, 26 Berkeley Street, Toronto. Credit: Dahlia Katz. Pictured: Kira Guloien and Cyrus Lane Joe Szekeres "Roland Schimmelpfennig’s ‘Winter Solstice’ is strangely hypnotic yet entrancing. From ‘welcoming’ the stranger at the door on Christmas Eve to a chilling conclusion when the truth is revealed, this top-notch cast has solidified one thing for me. I know I’ll never look upon a future winter solstice in the same way again." It's Christmas Eve, but the specific setting remains unclear. Let’s not forget the meaning of the winter solstice – it is the shortest day and the longest night of the year. The characters in ‘Winter Solstice’ endure much on what is supposed to be the holiest and most joyous nights of the year in the Christian tradition. This connection of the solstice to what unravels in the story makes this opening night production a revelation in many ways. The publicity for the production tells us the stranger at the door is a fascist. Buckle up, then, folks. Knowing the guest is a fascist, especially given what is going on in the United States currently, leads me to an unsettling feeling amidst some of the laughter in the play. That, nevertheless, is the sign of good theatre – when an audience is knocked right out of its complacency, and we have to do some work in getting to understand, to listen and to hear what’s going on. I know I relish that opportunity when I have the chance. A narrator (Frank Cox-O’Connell) begins telling the story of Bettina (Kira Guloien) and Albert (Cyrus Lane), a middle-upper-class family. They are the parents of an offstage nine-year-old daughter whom we never see. Bettina and Albert have secrets they keep from each other, which are later revealed. Cox-O’Connell later becomes Konrad, a friend of Bettina and Albert. Konrad is a painter, and one of his works is hanging at Bettina and Albert’s home. Bettina’s mother, Corinna (Nancy Palk), has just arrived to stay with her daughter, son-in-law, and granddaughter for the holiday. However, it quickly becomes apparent that Corinna gets on Bettina and Albert’s nerves. A stranger, Rudolph (Diego Matamoros), arrives in the early evening hours of Christmas Eve. He’s from Paraguay. Corinna invited Rudolph to the house. Director Alan Dilworth has made thoughtful choices in David Tushingham’s translation of Roland Schimmelpfennig’s often satirically dark script. At times, the words are lyrical, while a few minutes later, a harshness in tone and intent veers the story in another direction, knowing who Rudolph is. Dilworth knows a thing or two about building suspense in a story. This time around, he cleverly maintains simplicity by not being concerned with many physical details and accoutrements, allowing the audience to focus more on what is being said and implied in the dialogue and thoughts of the characters. What’s also strangely entrancing about this opening night production? There are moments when I feel I’m being told in third-person narration what will happen rather than seeing the events unfold. The brief moments of laughter are particularly welcome as the mysterious layers of the stranger Rudolph and his identity are gradually revealed. Dilworth’s talented creative team embodies a visionary approach that embraces the principle of "less is more." Lorenzo Savoini’s set design features a rectangular space with cushions along the upstage wall, ensuring clear sightlines for the audience. Savoini’s lighting effectively directs the audience's attention to key moments in the performance. Additionally, Debashis Sinha’s composition and sound designs heighten the dramatic tension surrounding the ironic unravelling of this family during what is meant to be the holiest night of the year in the Christian tradition: Christmas Eve. Ming Wong has selected costumes that reflect the characters' various states of mind. Although he is neatly dressed, Matamoros’ entrance oddly reminds me of Father Merrin’s appearance at the McNeill house in ‘The Exorcist.’ The cast is top-notch and prepared to take the audience on its emotional journey. At the top of the show, Frank Cox-O’Connell’s narration remains aloof until he joins the story as Konrad, a mutual friend of Bettina and Albert. As the narrator, O’Connell is here to tell the audience something crucial about what will come and how this family will deal with it. The press release states what O’Connell hints at in this narration: Extremism doesn’t kick the door down on arrival. It waits for an invite and then makes itself at home. Kira Guloien and Cyrus Lane are strangely connected in their disconnection from each other as husband and wife. Bettina is in a secret and mutually consensual relationship with Konrad, and Albert is high on drugs and wine. Yet, Bettina and Albert do not resolve anything in their relationship because neither appears to want it—or so it seems. The connection between Nancy Palk’s Corinna and Diego Matamoros’s Rudolph is needed in Bettina and Albert's relationship. Rudolph and Corinna have a respect that appears missing from the younger couple. For some reason, Rudolph calls Corinna Gudrun. Playful? Possibly. A little unsettling? On a personal note, yes. But Corinna doesn’t seem to be bothered by it at all. ‘Winter Solstice’ certainly sparked many conversations between my guest and me on the way home. Discovering that Rudolph has fascist beliefs leads to further questions—after all, he’s from Paraguay. Who else fled to Paraguay? Nazi supporters. Rudolph's values provoke some unsettling and heated discussions with Albert late on Christmas Eve. The others don’t seem to share Albert’s intense feelings about Rudolph. Why is that? Have the others succumbed to the charms of Rudolph, the stranger? A program insert states Schimmelpfennig asks the audience: “to consider something new—the idea of fascist seduction, which is nothing new since it works every time. “ Again, given that this possible seduction has braced citizens to the south of us, what could this mean for Canadians? That same insert also states the following line from the play: “The past does not exist..it haunts us, and that makes it part of the present.” How much of this is the actual truth? ‘Winter Solstice’ promotes discussion after the curtain calls. That’s the sign of good theatre. Go and see it. Running time: approximately one hour and 40 minutes with no intermission. ‘Winter Solstice’ runs until February 2 at the Berkeley Street Theatre, 26 Berkeley Street, Toronto. For tickets, www.canadianstage.com or call the Box Office at (416) 368-3110. NECESSARY ANGEL THEATRE COMPANY, CANADIAN STAGE and BIRDLAND THEATRE present: WINTER SOLSTICE by Roland Schimmelpfennig Translated by David Tushingham Directed by Alan Dilworth Set and Lighting Designer: Lorenzo Savoini Composer and Sound Designer: Debashis Sinha Costume Designer: Ming Wong Associate Costume Designer: Ellie Koffman Stage Manager: Sarah Miller Production Manager and Technical Director: Rick Bonville Performers: Frank Cox-O’Connell, Kira Guloien, Cyrus Lane, Diego Matamoros, Nancy Pal Previous Next

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. January Reviews Come from Away Click Here Last Landscape Click Here Wights, a Crow's Theatre Commission, Canadian Premiere Click Here Dinner With the Duchess Click Here The Lion King Click Here Winter Solstice Click Here

@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.

Back Dinner With the Duchess Now on stage in the Studio Theatre at Crow's Theatre, 345 Carlaw Avenue, Toronto Ann Baggley, photo was taken from the 2024 summer production at the Here for Now Theatre in Stratford. Pictured: Jan Alexandra Smith and David Keeley. Joe Szekeres VOICE CHOICE, a must see “Nick Green’s affecting script and Jan Alexandra Smith’s emotionally charged performance are the reasons for seeing ‘Dinner with the Duchess.’ Theatre like this is worth the price of tickets.” I rarely give a standing ovation unless I'm genuinely moved by what I’ve just experienced. In her Director’s Note, Kelli Fox writes how making art requires rigour and asks a lot of the artists and of those who love them. Nick Green’s emotive script is truly impressive. I'm pretty sure I was the first to stand and applaud this outstanding cast for the appreciation they truly deserve. Set in a stylish Toronto condominium, designer Darren Burkett embodies a chic 21st-century aesthetic, where every item has a specific place and function. The dining room, reminiscent of IKEA furniture, features a sleek dining table. Positioned upstage of the table is a sideboard that holds two books. The titles on the spines read "BLANC/NOIR" and "PERFECT/IMPERFECT." These book titles play a significant role as the story unfolds. The wet bar-looking kitchen to the right of the dining room provides an ideal vantage point for David, Margaret's husband, to listen, observe, and offer comments when needed. The condo's balcony is on stage right in the audience seating area, where Margaret walks outside to smoke a cigarette. According to the Crow’s website, "Dinner" explores themes of fame, power, and legacy through the lens of artistic passion. Virtuoso violinist Margaret (Jan Alexandra Smith), the Duchess, gives her final interview to astute reporter Helen (Rosie Simon). Margaret's charming husband, David (David Keeley), assists both Helen and the audience uncover the secrets of Margaret’s past. Together, Helen and David confront how Margaret wishes to be remembered for her career as a musician. Kelli Fox directs the production with exquisite skill, envisioning a world with the artistically gifted and talented is not always black and white (NOIR/BLANC – Remember the book title mentioned earlier?) What’s most intriguing about this production is not always what is being said but what is implied. That reality becomes clear upon first seeing Margaret. Smith enters in silence, but there is a determination and focus on her face. She can’t sit still. She flutters around the stage and then moves to the balcony to smoke a cigarette. Smith exudes a polished sense of flair and style throughout this initial chaos. Costume Designer Monique Lund has a keen eye for selecting clothing that draws attention to the Duchess’s every move as she crosses the stage back and forth with anticipation in waiting for the reporter’s arrival. Margaret wears a fashionable jet-black caftan with matching black sandals. Even when she removes them and walks around the condo barefoot, Margaret still exudes that regal sense of being somebody. Smith guides the audience through a psychological journey of Margaret’s career with heightened intensity and passionate believability. I’m on every word uttered as the violinist’s artistic life gradually unfolds into a world of perfection and imperfection (remember the book title mentioned earlier?) I stop writing notes in my notebook because I do not want to miss anything. As the reporter, Helen, Rosie Simon is forthright, savvy, and direct. This is the reality of the career, and Simon captures this matter-of-factness with precise care. Helen is not simply content with writing superficial puff pieces; instead, she gets straight to the point. She recalls how much she admired the Duchess as a little girl, but tastes and personalities can change over time. Now, Helen is curious about why Margaret is called "the Duchess." The look of dread, anger, ire, and horror on Smith's face as Margaret speaks reveals a deeper story that Helen is determined to uncover. David Keeley is likable as Margaret's husband. He brings food from the restaurant downstairs because Margaret doesn’t enjoy cooking; instead, she loves hosting dinners—two very different activities in her mind. David, however, is the one who prefers cooking and adding spices to the food he brings home. While everything seems fine between husband and wife at first, Keeley effectively reveals the underlying tensions, especially when David stands in the kitchen, listening to and subtly responding to Margaret’s comments during the interview. What makes Keeley’s performance particularly noteworthy for me is that he never overshadows the action between Simon and Smith. His presence is always felt, even when the kitchen lights are dimmed, and the focus is on the dining room table. The Studio Theatre at Crow’s is an excellent venue for creating realism and naturalism, essential to making "Dinner with the Duchess" a powerful theatrical experience. In her Director’s Note, Kelli Fox emphasizes that creating art demands rigour, as it requires a great deal from both the artist and those who love them. I’m going to add one more item with Kelli’s permission and indulgence. Receiving art requires the audience to be open to this beautiful gift and understand that it will also demand a lot from us. ‘Dinner with the Duchess’ is an extraordinary gift from artists that I greatly appreciate. Please go see this production as it embodies the essence of what theatre is all about. Running time: approximately 85 minutes with no interval/intermission. ‘Dinner with the Duchess’ is now on stage in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue until February 9. For tickets: crowstheatre.com or call (647) 341-7390 ex. 1010. A HERE FOR NOW THEATRE COMPANY PRODUCTION in association with CROW’S THEATRE ‘Dinner with the Duchess’ by Nick Green Directed by Kelli Fox Set Designer: Darren Burkett Stage Manager/Lighting Designer: Kelsey Rae Costume Designer: Monique Lund Performers: Jan Alexandra Smith, David Keeley, Rosie Simon Previous Next

Back Dinner With the Duchess Now on stage in the Studio Theatre at Crow's Theatre, 345 Carlaw Avenue, Toronto Ann Baggley, taken at the summer 2024 production at the Here For Now Festival in Stratford. Pictured: Jan Alexandra Smith and David Keeley Joe Szekeres VOICE CHOICE, a must see “Nick Green’s affecting script and Jan Alexandra Smith’s emotionally charged performance are the reasons for seeing ‘Dinner with the Duchess.’ Theatre like this is worth the price of tickets.” I rarely give a standing ovation unless I'm genuinely moved by what I’ve just experienced. In her Director’s Note, Kelli Fox writes how making art requires rigour and asks a lot of the artists and of those who love them. Nick Green’s emotive script is truly impressive. I'm pretty sure I was the first to stand and applaud this outstanding cast for the appreciation they truly deserve. Set in a stylish Toronto condominium, designer Darren Burkett embodies a chic 21st-century aesthetic, where every item has a specific place and function. The dining room, reminiscent of IKEA furniture, features a sleek dining table. Positioned upstage of the table is a sideboard that holds two books. The titles on the spines read "BLANC/NOIR" and "PERFECT/IMPERFECT." These book titles play a significant role as the story unfolds. The wet bar-looking kitchen to the right of the dining room provides an ideal vantage point for David, Margaret's husband, to listen, observe, and offer comments when needed. The condo's balcony is on stage right in the audience seating area, where Margaret walks outside to smoke a cigarette. According to the Crow’s website, "Dinner" explores themes of fame, power, and legacy through the lens of artistic passion. Virtuoso violinist Margaret (Jan Alexandra Smith), the Duchess, gives her final interview to astute reporter Helen (Rosie Simon). Margaret's charming husband, David (David Keeley), assists both Helen and the audience uncover the secrets of Margaret’s past. Together, Helen and David confront how Margaret wishes to be remembered for her career as a musician. Kelli Fox directs the production with exquisite skill, envisioning a world with the artistically gifted and talented is not always black and white (NOIR/BLANC – Remember the book title mentioned earlier?) What’s most intriguing about this production is not always what is being said but what is implied. That reality becomes clear upon first seeing Margaret. Smith enters in silence, but there is a determination and focus on her face. She can’t sit still. She flutters around the stage and then moves to the balcony to smoke a cigarette. Smith exudes a polished sense of flair and style throughout this initial chaos. Costume Designer Monique Lund has a keen eye for selecting clothing that draws attention to the Duchess’s every move as she crosses the stage back and forth with anticipation in waiting for the reporter’s arrival. Margaret wears a fashionable jet-black caftan with matching black sandals. Even when she removes them and walks around the condo barefoot, Margaret still exudes that regal sense of being somebody. Smith guides the audience through a psychological journey of Margaret’s career with heightened intensity and passionate believability. I’m on every word uttered as the violinist’s artistic life gradually unfolds into a world of perfection and imperfection (remember the book title mentioned earlier?). I stop writing notes in my notebook because I do not want to miss anything. As the reporter, Helen, Rosie Simon is forthright, savvy, and direct. This is the reality of the career, and Simon captures this matter-of-factness with precise care. Helen is not simply content with writing superficial puff pieces; instead, she gets straight to the point. She recalls how much she admired the Duchess as a little girl, but tastes and personalities can change over time. Now, Helen is curious about why Margaret is called "the Duchess." The look of dread, anger, ire, and horror on Smith's face as Margaret speaks reveals a deeper story that Helen is determined to uncover. David Keeley is likable as Margaret's husband. He brings food from the restaurant downstairs because Margaret doesn’t enjoy cooking; instead, she loves hosting dinners—two very different activities in her mind. David, however, is the one who prefers cooking and adding spices to the food he brings home. While everything seems fine between husband and wife at first, Keeley effectively reveals the underlying tensions, especially when David stands in the kitchen, listening to and subtly responding to Margaret’s comments during the interview. What makes Keeley’s performance particularly noteworthy for me is that he never overshadows the action between Simon and Smith. His presence is always felt, even when the kitchen lights are dimmed, and the focus is on the dining room table. The Studio Theatre at Crow’s is an excellent venue for creating realism and naturalism, essential to making "Dinner with the Duchess" a powerful theatrical experience. In her Director’s Note, Kelli Fox emphasizes that creating art demands rigour, as it requires a great deal from both the artist and those who love them. I’m going to add one more item with Kelli’s permission and indulgence. Receiving art requires the audience to be open to this beautiful gift and understand that it will also demand a lot from us. ‘Dinner with the Duchess’ is an extraordinary gift from artists that I greatly appreciate. Please go see this production as it embodies the essence of what theatre is all about. Running time: approximately 85 minutes with no interval/intermission. ‘Dinner with the Duchess’ is now on stage in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue until February 9. For tickets: crowstheatre.com or call (647) 341-7390 ex. 1010. A HERE FOR NOW THEATRE COMPANY PRODUCTION in association with CROW’S THEATRE ‘Dinner with the Duchess’ by Nick Green Directed by Kelli Fox Set Designer: Darren Burkett Stage Manager/Lighting Designer: Kelsey Rae Costume Designer: Monique Lund Performers: Jan Alexandra Smith, David Keeley, Rosie Simon Previous Next

ABOUT US Here at ‘Our Theatre Voice,’ we discuss all things in live theatre sincerely. We welcome disagreements with thoughts and ideas, but will never tolerate, acknowledge or publish anything hurtful, malicious or spiteful. The views and opinions expressed on OUR THEATRE VOICE are those of the authors. They do not necessarily reflect the policy or position of Joe Szekeres (Founder, Editor and Publisher) or any other persons published on or associated with OUR THEATRE VOICE. Read More Follow us on our Socials Don't miss a thing Join our mailing list Subscribe Now

Back Wights, a Crow's Theatre Commission, Canadian Premiere Now on stage at Crow's Theatre, 345 Carlaw Avenue, Toronto Dahlia Katz Geoffrey Coulter, actor, director, adjudicator, arts educator "A clever script and novel staging see four loquacious actors diving headfirst into family drama of a Connecticut couple and their friends coming to terms with language and its capacity to hurt people. Set during the 2024 U.S. election run-up, this provocative tale is sometimes confusing, ambiguous and sharply divisive. It’s a racially charged allegory challenging our notions of relationships, society, even our own reality, as it unravels to an ending you’ll never see coming. Really!" Hat’s off to Toronto’s Crows Theatre for their increasingly eclectic offerings of plays and musicals and for giving up-and-coming artists a chance to showcase their work. This company is, arguably, at the forefront of Toronto’s theatre scene, premiering some of the most compelling (and immensely successful) post-pandemic works. From the stunning 19th-century retelling of Britain’s first Black actor in “Red Velvet” to “Bad Roads,” a shocking tale of the horrors in war-torn Ukraine, to last season’s smash hit, “Natasha, Pierre and the Great Comet of 1812,”, something is happening at Crow’s. It's no surprise, then, that the company celebrates playwright Liz Appel’s professional debut by showcasing her dense four-hander ‘Wights,’ a societal skewering of themes of racism, sexism, relationships and American social and political division – even the play’s title winks at a possible preternatural outcome. Some may feel it strange, shocking, disturbing even. But it is undeniably engaging. In a suburb of Newhaven, two couples become consumed with semantics, politics and a fear of losing control. It’s the night before English Professor Anita Knight’s job interview to head Yale’s newly formed Centre for Reparative Thought and Justice. Her friends Bing and Celine have come to help her prepare for her presentation. They all seem to lead a happy, ordered life. Husband Danny, a lawyer in the big city, comes home, dishes on his day in court, and questions Anita’s speech as being too racially charged, devaluing her notions of equity, diversity and inclusion. As Danny sits down to dinner, Anita continues to rehearse her presentation, with Bing playing devil’s advocate to her pithy style. Celine is more encouraging. What ensues is a battle of ideological supremacy, as an unknown future lurks just outside. No one listens to each other, differences are irreconcilable. Everyone’s world begins to crack, and their masks of polite social conversation dissolve closer and closer to the underlying truth and revealing darker core beliefs, making a polite dinner impossible. Bing and Celine rush off leaving an air of unease in their wake. Appel takes a deep dive into the power of language and how it builds and bursts our connections. Her script never lets up, words and bodies moving at warp speed. Two and a half hours gone in a flash. A lot is going on in this play as Director Abraham leads us on a surreal and unexpected journey with shocking and ambiguous results! He expertly directs his actors with nuance and intensity in equal measure. Conversations spiral into chaos as fantasies of control begin to slip. He keeps his actors continuously moving around the stage, navigating all sides of a large central kitchen island. The rapid-fire pace of the dialogue seems intentional, this quartet of performers barely coming up for air. This didn’t always work for me; heated arguments between Danny and Anita became loud and often unintelligible. The fact that we sit around the main playing area means the actor’s backs will always be facing some part of the audience. A beat in the conversation, a brief pause to think and change the rhythm would have been a welcome dynamic. The acting company is all excellent, led by Rachel Leslie as Anita, a no-nonsense academic, mother, and wife, embittered by her father’s betrayal while still wanting to uphold his success as an academic of colour. She is to lead the university’s new enlightened centre for racial reparation. Leslie is thoroughly believable and engaging, indefatigable, smart, and forthright. Her energy never lets up. She is a great actress! Danny is a soft-hearted lawyer, played with wit, charm and natural stage presence by Ari Cohen. Like Leslie, you can’t take your eyes off Cohen. His performance is effortless, running the gamut from boyish charmer to domineering, frightened husband. He has some of the longest speeches in the show and doesn’t miss a beat or a word. I’d never heard of Mr. Cohen before, but he’s made me his newest fan! Bing is portrayed by Richard Lee, the alternative thinker who’s bound for a new job in China but hasn’t yet told his pregnant partner, Celine. Lee is bubbly and enthusiastic but shouts too much, another example of how a modulated voice might have added more dimension to his thinking and motivations. Celine, played by Sochi Fried, has the least amount to say in the show, and that’s okay. She has lovely bits of subtlety in her brief time on stage. Her glances, nods, and reactions are superb. She’s charming and thoroughly invested in her relationships with Bing and Anita. There is no screaming from her, but she has a quieter presence to offset the growing tumult around her. Set and props designer Joshua Quinlan has created an immersive, wonderfully detailed household in the Crow’s black box space. The audience sits on four sides of an elevated rectangular kitchen island (with a sink of running water), light fixtures, stools, a table and chairs. The kitchen floor and island counter cleverly double as flat video screens and are used throughout for haunting projections and texts. Smaller set pieces at floor level on three sides of the main area, complete the house: the rest of the kitchen, front door and foyer, and living room. An innovative approach that makes us truly feel like invisible observers mired in the action. My only quip is that from my vantage point, due to the rectangular design of the main space, areas like the kitchen table and front door were too distant, and the kitchen island was creating sight line issues. Everyday items, from plates to salt and pepper shakers, microwaves, dish towels, even well-worn chairs and blankets, all made the house look lived-in and inviting. Ming Wong’s costume design is contemporary and appropriate. Danny’s suit, Anita’s overalls, Bings pullover and Celine’s jeans made these actors seem more like people you’d pass in the street. They’re real. No doubt about the intent. Imogen Wilson’s lighting design is clever. I wasn’t sure about the suspended fluorescent bulbs above the island combined with traditional incandescent instruments. There was noticeable flickering as the play progressed, which I learned later was intentional. Main coverage over each playing area was excellent; however, there were shadowy faces around the kitchen table. Thomas Ryder Payne’s nuanced sound design provided an almost imperceptible but consistent drone that increased as conversations devolved. Incidental beeping and clicking electronic sound effects seemed out of place but, again, later revealed how necessary they were to the piece. Video designer Nathan Bruce cleverly projects images of social media and celebrities, even the occasional blood splatter on the kitchen floor and countertops. The text also tells us where we are and when. It’s a great concept, but the main island's size often obstructed what many images were on the floor beneath. “Wights” is not what you expect. It’s a stark, satirical, edgy social commentary. It’s transformative, disturbing, mindful and clever. If you love live theatre and like to be challenged, provoked and surprised, you shouldn’t miss this show. Whether you understand its bleak message or not, you’re sure to leave the theatre talking about it…and isn’t that what good theatre should do? Running time: Running time, two hours and thirty-five minutes with one intermission. The production runs until February 9 at Crow’s Theatre, 345 Carlaw Ave, Toronto. For tickets call the Box Office at 647.341.7390 ext. 1010 or email crowstheatre.com. “Wights” by Liz Appel Directed by Chris Abraham Produced by Crow’s Set by Joshua Quinlan Costumes by Ming Wong Lighting designed by Imogen Wilson Sound design by Thomas Ryder Payne Video Designs by Nathan Bruce Props by Samantha Little Performers: Rachel Leslie, Ari Cohen, Richard Lee and Sochi Fried Previous Next

Back Wights, a Crow's Theatre Commission, Canadian Premiere Now on stage at Crow's Theatre, 345 Carlaw Avenue, Toronto Dahlia Katz Geoffrey Coulter, actor, director, adjudicator, arts educator "A clever script and novel staging see four loquacious actors diving headfirst into family drama of a Connecticut couple and their friends coming to terms with language and its capacity to hurt people. Set during the 2024 U.S. election run-up, this provocative tale is sometimes confusing, ambiguous and sharply divisive. It’s a racially charged allegory challenging our notions of relationships, society, even our own reality, as it unravels to an ending you’ll never see coming. Really!" Hat’s off to Toronto’s Crows Theatre for their increasingly eclectic offerings of plays and musicals and for giving up-and-coming artists a chance to showcase their work. This company is, arguably, at the forefront of Toronto’s theatre scene, premiering some of the most compelling (and immensely successful) post-pandemic works. From the stunning 19th-century retelling of Britain’s first Black actor in “Red Velvet” to “Bad Roads,” a shocking tale of the horrors in war-torn Ukraine, to last season’s smash hit, “Natasha, Pierre and the Great Comet of 1812,”, something is happening at Crow’s. It's no surprise, then, that the company celebrates playwright Liz Appel’s professional debut by showcasing her dense four-hander ‘Wights,’ a societal skewering of themes of racism, sexism, relationships and American social and political division – even the play’s title winks at a possible preternatural outcome. Some may feel it strange, shocking, disturbing even. But it is undeniably engaging. In a suburb of Newhaven, two couples become consumed with semantics, politics and a fear of losing control. It’s the night before English Professor Anita Knight’s job interview to head Yale’s newly formed Centre for Reparative Thought and Justice. Her friends Bing and Celine have come to help her prepare for her presentation. They all seem to lead a happy, ordered life. Husband Danny, a lawyer in the big city, comes home, dishes on his day in court, and questions Anita’s speech as being too racially charged, devaluing her notions of equity, diversity and inclusion. As Danny sits down to dinner, Anita continues to rehearse her presentation, with Bing playing devil’s advocate to her pithy style. Celine is more encouraging. What ensues is a battle of ideological supremacy, as an unknown future lurks just outside. No one listens to each other, differences are irreconcilable. Everyone’s world begins to crack, and their masks of polite social conversation dissolve closer and closer to the underlying truth and revealing darker core beliefs, making a polite dinner impossible. Bing and Celine rush off leaving an air of unease in their wake. Appel takes a deep dive into the power of language and how it builds and bursts our connections. Her script never lets up, words and bodies moving at warp speed. Two and a half hours gone in a flash. A lot is going on in this play as Director Abraham leads us on a surreal and unexpected journey with shocking and ambiguous results! He expertly directs his actors with nuance and intensity in equal measure. Conversations spiral into chaos as fantasies of control begin to slip. He keeps his actors continuously moving around the stage, navigating all sides of a large central kitchen island. The rapid-fire pace of the dialogue seems intentional, this quartet of performers barely coming up for air. This didn’t always work for me; heated arguments between Danny and Anita became loud and often unintelligible. The fact that we sit around the main playing area means the actor’s backs will always be facing some part of the audience. A beat in the conversation, a brief pause to think and change the rhythm would have been a welcome dynamic. The acting company is all excellent, led by Rachel Leslie as Anita, a no-nonsense academic, mother, and wife, embittered by her father’s betrayal while still wanting to uphold his success as an academic of colour. She is to lead the university’s new enlightened centre for racial reparation. Leslie is thoroughly believable and engaging, indefatigable, smart, and forthright. Her energy never lets up. She is a great actress! Danny is a soft-hearted lawyer, played with wit, charm and natural stage presence by Ari Cohen. Like Leslie, you can’t take your eyes off Cohen. His performance is effortless, running the gamut from boyish charmer to domineering, frightened husband. He has some of the longest speeches in the show and doesn’t miss a beat or a word. I’d never heard of Mr. Cohen before, but he’s made me his newest fan! Bing is portrayed by Richard Lee, the alternative thinker who’s bound for a new job in China but hasn’t yet told his pregnant partner, Celine. Lee is bubbly and enthusiastic but shouts too much, another example of how a modulated voice might have added more dimension to his thinking and motivations. Celine, played by Sochi Fried, has the least amount to say in the show, and that’s okay. She has lovely bits of subtlety in her brief time on stage. Her glances, nods, and reactions are superb. She’s charming and thoroughly invested in her relationships with Bing and Anita. There is no screaming from her, but she has a quieter presence to offset the growing tumult around her. Set and props designer Joshua Quinlan has created an immersive, wonderfully detailed household in the Crow’s black box space. The audience sits on four sides of an elevated rectangular kitchen island (with a sink of running water), light fixtures, stools, a table and chairs. The kitchen floor and island counter cleverly double as flat video screens and are used throughout for haunting projections and texts. Smaller set pieces at floor level on three sides of the main area, complete the house: the rest of the kitchen, front door and foyer, and living room. An innovative approach that makes us truly feel like invisible observers mired in the action. My only quip is that from my vantage point, due to the rectangular design of the main space, areas like the kitchen table and front door were too distant, and the kitchen island was creating sight line issues. Everyday items, from plates to salt and pepper shakers, microwaves, dish towels, even well-worn chairs and blankets, all made the house look lived-in and inviting. Ming Wong’s costume design is contemporary and appropriate. Danny’s suit, Anita’s overalls, Bings pullover and Celine’s jeans made these actors seem more like people you’d pass in the street. They’re real. No doubt about the intent. Imogen Wilson’s lighting design is clever. I wasn’t sure about the suspended fluorescent bulbs above the island combined with traditional incandescent instruments. There was noticeable flickering as the play progressed, which I learned later was intentional. Main coverage over each playing area was excellent; however, there were shadowy faces around the kitchen table. Thomas Ryder Payne’s nuanced sound design provided an almost imperceptible but consistent drone that increased as conversations devolved. Incidental beeping and clicking electronic sound effects seemed out of place but, again, later revealed how necessary they were to the piece. Video designer Nathan Bruce cleverly projects images of social media and celebrities, even the occasional blood splatter on the kitchen floor and countertops. The text also tells us where we are and when. It’s a great concept, but the main island's size often obstructed what many images were on the floor beneath. “Wights” is not what you expect. It’s a stark, satirical, edgy social commentary. It’s transformative, disturbing, mindful and clever. If you love live theatre and like to be challenged, provoked and surprised, you shouldn’t miss this show. Whether you understand its bleak message or not, you’re sure to leave the theatre talking about it…and isn’t that what good theatre should do? Running time: Running time, two hours and thirty-five minutes with one intermission. The production runs until February 9 at Crow’s Theatre, 345 Carlaw Ave, Toronto. For tickets call the Box Office at 647.341.7390 ext. 1010 or email crowstheatre.com. “Wights” by Liz Appel Directed by Chris Abraham Produced by Crow’s Set by Joshua Quinlan Costumes by Ming Wong Lighting designed by Imogen Wilson Sound design by Thomas Ryder Payne Video Designs by Nathan Bruce Props by Samantha Little Performers: Rachel Leslie, Ari Cohen, Richard Lee and Sochi Fried Previous Next

Back Last Landscape Bad New Days Production with Common Boots Theatre now on stage at Buddies in Bad Times Theatre Fran Chudnoff Dave Rabjohn ‘A truly ensemble group production managed by Director Adam Paolozza’ In a small shabby apartment, a random pile of clothing begins to thump as if containing a beating heart. With this early mystical image, we knew we were in for a fascinating time. Bad New Days Production with Common Boots Theatre presents Adam Paolozza’s inventive ‘Last Landscape’ – an imaginative voyage through nature lost and regained. With virtually no dialogue, the production relies on movement, dance, sound, puppetry and interaction with props and actors. The apartment is disassembled, and we are left with a huge empty acting space down to the bare walls and concrete floor. A nuclear type winter has descended and the natural environment has disappeared. Florescent lighting punctuates the mood of desolation and our lost environment. “Workers” – human forms who seem intent on remembering the past, begin to move about to recreate their memories of nature. They begin with the sun and move on to create a tree – clever stagecraft uses arms as branches with wrists and fingers writhing as leaves. A river is stealthily created. They move on to create forests, birds and finally large mammals. A final crescendo of hills, lawns, brooks and shrubs celebrates the resurrected nature. I have never observed a set strike as performance art, but the workers tear everything back and we end with human’s interaction alone with the sun. The main strength of the production comes from the choreographed movement of the workers. Their actions are stylized but purposeful. One worker wears roller blades which enriches the movement. A tree might be moved five times by four different workers before it finds a resting place. This may seem redundant and even monotonous but somehow it works, and we are drawn in to their relentless pursuits. Without dialogue, the actors rely on nuanced movement, stylized arm and head gestures and the occasional sound. The puppetry is a delight and the actors inventively infuse the sounds of dogs or birds or aggressive geese. A comic highlight was a group of birds extending up on poles attached to actors’ heads. The humour comes not from the birds, but from the excited actors who bounce around like Keystone Kops, making strange faces and throwing bird poop at the maligned dog. It is truly an ensemble group brilliantly managed by director Adam Paolozza. One exceptional performance comes from Nicolas Eddie – his extreme height makes him stand out, but his natural and effortless movement is riveting. Paolozza takes advantage of both Eddie’s size and his talent – wafting palm like branches far into the audience was both elegant and funny. His climatic turn as the ten foot ‘mega sloth’ was both poignant and touching. Some of the worker scenes were roguish and bizarre, reminiscent of Monty Python. A human form made of sticks was striking – simple materials like sticks or tarps or bolts of cloth become effective images. Speaking of materials, I would refer readers to a recent article by Joshua Chong explaining the efforts of scenic designer Ken MacKenzie to make theatres more environmentally sustainable. From the textbook of practice what you preach, this production used many repurposed materials and will find ways to keep used sets out of the landfills. No spoiler alert necessary here. Some of the most moving and riveting moments of this production cannot be expressed with words – they can only be experienced and that I fully encourage. ‘Last Landscape’ by Adam Paolozza Director: Adam Paolozza Performers: Nada Abusaleh, Nicolas Eddie, Gibum Dante Lim, Annie Lujan, Kari Pederson, Adam Paoloza Scenic design: Ken MacKenzie Scenic marionette design: Roxanne Ignatius Costume design: Valerie Calam Runs through January 26, 2025 at Buddies in Bad Times Theatre. Tickets: buddiesinbadtimes.com Previous Next

Back Last Landscape Bad New Days Production with Common Boots Theatre now on stage at Buddies in Bad Times Theatre to January 26, 2025 Credit: Fran Chudnoff Dave Rabjohn ‘A truly ensemble group production managed by Director Adam Paolozza’ In a small shabby apartment, a random pile of clothing begins to thump as if containing a beating heart. With this early mystical image, we knew we were in for a fascinating time. Bad New Days Production with Common Boots Theatre presents Adam Paolozza’s inventive ‘Last Landscape’ – an imaginative voyage through nature lost and regained. With virtually no dialogue, the production relies on movement, dance, sound, puppetry and interaction with props and actors. The apartment is disassembled, and we are left with a huge empty acting space down to the bare walls and concrete floor. A nuclear type winter has descended and the natural environment has disappeared. Florescent lighting punctuates the mood of desolation and our lost environment. “Workers” – human forms who seem intent on remembering the past, begin to move about to recreate their memories of nature. They begin with the sun and move on to create a tree – clever stagecraft uses arms as branches with wrists and fingers writhing as leaves. A river is stealthily created. They move on to create forests, birds and finally large mammals. A final crescendo of hills, lawns, brooks and shrubs celebrates the resurrected nature. I have never observed a set strike as performance art, but the workers tear everything back and we end with human’s interaction alone with the sun. The main strength of the production comes from the choreographed movement of the workers. Their actions are stylized but purposeful. One worker wears roller blades which enriches the movement. A tree might be moved five times by four different workers before it finds a resting place. This may seem redundant and even monotonous but somehow it works, and we are drawn in to their relentless pursuits. Without dialogue, the actors rely on nuanced movement, stylized arm and head gestures and the occasional sound. The puppetry is a delight and the actors inventively infuse the sounds of dogs or birds or aggressive geese. A comic highlight was a group of birds extending up on poles attached to actors’ heads. The humour comes not from the birds, but from the excited actors who bounce around like Keystone Kops, making strange faces and throwing bird poop at the maligned dog. It is truly an ensemble group brilliantly managed by director Adam Paolozza. One exceptional performance comes from Nicolas Eddie – his extreme height makes him stand out, but his natural and effortless movement is riveting. Paolozza takes advantage of both Eddie’s size and his talent – wafting palm like branches far into the audience was both elegant and funny. His climatic turn as the ten foot ‘mega sloth’ was both poignant and touching. Some of the worker scenes were roguish and bizarre, reminiscent of Monty Python. A human form made of sticks was striking – simple materials like sticks or tarps or bolts of cloth become effective images. Speaking of materials, I would refer readers to a recent article by Joshua Chong explaining the efforts of scenic designer Ken MacKenzie to make theatres more environmentally sustainable. From the textbook of practice what you preach, this production used many repurposed materials and will find ways to keep used sets out of the landfills. No spoiler alert necessary here. Some of the most moving and riveting moments of this production cannot be expressed with words – they can only be experienced and that I fully encourage. ‘Last Landscape’ by Adam Paolozza Director: Adam Paolozza Performers: Nada Abusaleh, Nicolas Eddie, Gibum Dante Lim, Annie Lujan, Kari Pederson, Adam Paoloza Scenic design: Ken MacKenzie Scenic marionette design: Roxanne Ignatius Costume design: Valerie Calam Runs through January 26, 2025 at Buddies in Bad Times Theatre. Tickets: buddiesinbadtimes.com Previous Next

Back 'Once' presented by Gananoque's Thousand Islands Playhouse Now onstage at the Springer Theatre, 185 South Street, Gananoque. Credit: Randy deKleine-Stimpson. Pictured at piano: Melissa MacKenzie and on guitar: Tyler Check Joe Szekeres A lovely, enchanting story with glorious roof-raising harmonies. Two things I remember about the touring production of ‘Once’ in Toronto several years ago. One is the gorgeous bar where the story takes place. The audience was allowed to walk on the stage preshow, and at intermission, where drinks were also served. The other was the play’s ‘folksy’ music, but the songs at that time weren’t memorable for me. Boy, I am glad I gave this story another chance at Gananoque’s Thousand Islands Playhouse. This time, it's a different visual look for the 2012 Best Musical Tony award-winning musical. Enda Walsh’s Book has a far more significant impact in the intimate Springer Theatre than when I saw the show years ago. About a half-hour before the show begins, Daniel Williston and Haneul Yi bring their guitars out and sing songs. A good choice made here because it’s the kind of music one might hear in an Irish pub when there are solo singers. ‘Once’ is based on the 2007 film of the same title. Set in Dublin, this enchanting story follows a busker (Tyler Check) known as Guy. He sings an unrequited love song on the street. He puts his guitar down when he finishes the song and walks away. Meanwhile, a young Czech girl (Melissa MacKenzie), known as Girl, has been watching and listening to Guy sing on the street. She approaches and tells him he’s pretty good. Girl then proceeds to ask him many questions. She discovers Guy has written many songs for a former girlfriend (Em Siobhan McCourt), who left him and went to New York. Guy finds it challenging to continue singing and ditches it. The memories are too painful, so he returns to fixing vacuum cleaners at his father’s (Sandy Crawley) repair shop. Girl announces uproariously she needs her vacuum repaired and proceeds to bargain with Guy – repair her vacuum, and she will play piano for him. He approves when he realizes she will not take ‘No’ for an answer. In five days, the chemistry between Guy and Girl grows as his songs soar to powerful new heights. But in all love stories, some issues arise. For example, Girl has a daughter, Ivonka (Brea Oatway/Vera Deodato). There is no husband in the picture currently. She lives in a Dublin rooming house with her mother, Barushka (Seana-Lee Wood) and flatmates Reza (Alexa MacDougall), Andrej (Kevin Forster), and Svec (Alex Panneton). Meanwhile, Billy (Daniel Williston), the bar owner where Girl plays music, continues hitting on her because he is also attracted to her. Joe Pagnan’s clever set design of guitar sections emphasizes one of this production's underlying themes: the love of music remains crucial. The set has two levels and a large backdrop painting of water. At one point, the moon is subtly raised when the stage lights dim. When supporting cast members exit the stage, they sit in chairs on stage right and left, where they will become orchestra members. Michelle Ramsay’s soft and, at times, shadowy lighting design underscores the various emotional levels of the characters. Sound is crucial in this production, and hearing the lyrics is crucial to furthering the storyline. Designer Brian Kenny accomplishes this task. He also makes me want to listen to the soundtrack again. Ming Wong’s costumes appropriately reflect and establish the characters. Director and Choreographer Julie Tomaino states the following in her Director’s Programme Note that caught my eye: “ONCE is a beautiful moment in time…two souls destined to meet have such a profound impact on each other that their lives change forever.” At first, I thought the play was only just a love story. It still is. This committed ensemble of artists finds the human truth of that love story in song, word, and movement. Guy and Girl begin to discover and feel the emotional chemistry between them. ‘Once’, however, is more than just a love story. The musical becomes a poignant reminder that we all have had, at least ‘once’ in our lives, an opportunity to connect with another soul, not necessarily in love, that has profoundly impacted us and changed our lives forever. It’s that very connection with another soul that becomes the ‘beautiful moment in time’ that Tomaino wants the audience to experience. I didn’t have that same experience when I saw ‘ONCE’ years ago. I thank Julie for letting me feel her goal this time. How did I know I felt her objective? A welling in my eyes periodically during the show. The songs and harmonies gloriously soar to the rafters of the Springer Theatre thanks to Chris Barillaro’s extraordinary music direction that needs to be experienced in person. At one point, Julie Tomaino’s exciting choreography is stunning as the supporting players (who all play their own musical instruments) synchronously move in a rousing dance break that sends the audience into thundering applause at its conclusion. Tomaino has also directed the production with sensitivity, and it shows in the performances. There is one musical number of the Academy award winning song, ‘Falling Slowly’, where the entire company plays. An absolute joy to sit back, listen and watch this stellar company sing with such class and grace. Breathtaking! Tyler Check and Melissa MacKenzie offer credible and nuanced performances of depth and conviction. I believed them every minute throughout the show and I found myself rooting for Guy and Girl continuously. Future audiences will discover whether the two follow through on their feelings. There remains a true gentleness in Sandy Crawley’s Da, Guy’s widower father, that makes me want to go up and hug him. Seana-Lee Wood’s Barushka, Girl’s mother, is so continental European bold that I laughed out loud when she softly kissed Guy when he met her for the first time. The look on Tyler Check’s face says it all. The role of Girl’s daughter Ivonka has been double cast. I think Brea Oatway played the adorable tyke, although I wasn’t sure when I looked at the programme bio. Is it possible to announce who will play Ivonka at future performances before the show, or place a placard somewhere in the lobby with that information? Alexa MacDougall (Reza), Kevin Forster (Andrej), and Alex Panneton (Svec) deliver three uniquely distinct performances of eccentricities who have been a part of Girl’s life in Dublin. They are also three fantastic musicians enjoying themselves to the maximum as they play in several musical numbers. Daniel Williston is a hilariously and ferociously gruff Billy who’s all bark. Alexa MacDougall’s flirting with Williston and his physical response is perfectly timed comedy needed. Jon-Alex MacFarlane’s Bank Manager is that tight-fisted executive with no time for anyone who wants to borrow money for a ‘pipe dream’. His daring response of bravado to hearing Guy sing in his office is further perfectly timed comedy. Juno Wong-Clayton is Eamon, that lovely recording studio executive who wants to give someone that ‘break’ needed to get a musical career going. Final Comments: This production of ‘Once’ was to have been staged in September 2020 at the Playhouse. We all know what happened next for three years. What’s that adage? ‘Good things come to those who wait’. I waited for ‘Once’ because I wanted to give it another chance. It’s a good thing I did because it’s a GOOD, no, TERRIFIC show to see. Don’t wait any longer. See ‘Once’ because it is GOOD, no, TERRIFIC. Now, time for the film version. Running time: approximately two hours and 10 minutes with one intermission. ‘Once’ runs until October 22 in the Springer Theatre of Thousand Islands Playhouse, 185 South Street, Gananoque. For tickets, call the Box Office at (613) 382-7020 or visit www.1000islandsplayhouse.com . THOUSAND ISLANDS PLAYHOUSE presents ‘Once’ Music & Lyrics by Glen Hansard & Markéta Irglová Book by Enda Walsh Based on the Motion Picture Written and Directed by John Carney Directed and choreographed by Julie Tomaino Musical Direction by Chris Barillaro Set Designer: Joe Pagnan Costume Designer: Ming Wong Lighting Designer: Michelle Ramsay Sound Designer: Brian Kenny Stage Manager: Dustyn Wales and Rebecca Eamon Campbell Performers: Tyler Check, Melissa MacKenzie, Juno Wong-Clayton, Kevin Forster, Alexa MacDougall, Sandy Crawley, Seana-Lee Wood, Alex Panneton, Em Siobhan McCourt, Daniel Williston, Haneul Yi, Jon-Alex MacFarlane, Brea Oatway, Vera Deodato. Previous Next

Back 'among men' World Premiere by David Yee Factory Theatre Dahlia Katz Joe Szekeres Masterful storytelling and performance in Factory Theatre’s opening night world premiere of David Yee’s ‘among men’. To see mastery of the above-mentioned crafts intelligently adapted into a soulful production that left me wordless for a few minutes at the conclusion was exhilarating. It took me over an hour on the train ride home just thinking, remembering, and pondering how truly moved an audience member can be when a play is handled with such minute and detailed finesse in many technical components. The world premiere of David Yee’s ‘among men’ at Factory Theatre did just that. His richly charged script of striking poetic images and real human emotions remains with me as I write this article today. Directed with a consummate vision of grace, humour, and compassion by outgoing Artistic Director Nina Lee Aquino coupled with passionate performances by Ryan Hollyman as poet Al Purdy and Carlos Gonzalez-Vio as Milton Acorn made the world of Canadian poetry become a personal living and breathing entity for me. I think it’s obvious I’m going to tell you to get to see this. It is 1959, Ameliasburgh, Prince Edward County, Ontario. Al Purdy and Milton Acorn are finishing an A-frame cabin on Roblin Lake. Many superficial scripted elements at times hinder the progress in completion of the A-frame which provides for some of the wonderful humour of the piece. Pay careful attention as Hollyman at one point tries to fix the cabin flooring. It’s a comical tour de force to watch. While trying to finish the cabin and through their discussion on the state of Canadian poetry in the coming modern era, we see Al and Milt speak about many of the issues related to writing in general and to poetry. Early in the play, Al anxiously waits for a letter regarding his sending a play to the CBC while later Milt has received an invitation to attend a conference in Kingston. An initial thought to begin. Playwright David Yee succinctly captured the humanity behind Purdy and Acorn. During my undergraduate years many moons ago, for some reason (possibly my naivete), I used to place poets and authors in the same category as performers. For me, these individuals were to be highly regarded because there was something extraordinary about these artists and the lives they lead. Thankfully, playwright Yee rightly nixes that idea. Pay attention all undergraduates who may place artists on a pedestal of high regard and adulation because we’re all flesh and blood flawed human individuals underneath. Director Aquino smartly never allowed the men’s imperfections to venture over the top. Respectively, Ryan Hollyman and Carlos Gonzalez-Vio viscerally reveal Al Purdy and Milton Acorn as two uniquely distinct true to life men who sometimes get rather graphic in their talk with each other as Gonzalez-Vio so aptly demonstrates at the top of the show. As Purdy, Hollyman superbly listens intently to this sexual rambling before flinging a nasty zinger back to Gonzalez-Vio which resulted in uproarious laughter from the audience. Rest assured though this production is not just mere flinging one-line insults back and forth a la Neil Simon’s Oscar and Felix and thank goodness for that. What made this opening night production so memorable for me is the fact both Hollyman and Gonzalez-Vio demonstrated a master class in focused listening to each other, hearing each other, and then responding in a genuine believability. These two gentlemen are naturally, fully, and completely grounded in their characters and made me believe every single uttered word in what was said and what was not said in those blissful moments of silence between them. Another touching element of this production was the definitive care taken by Aquino and Messrs. Hollyman and Gonzalez-Vio to show that, yes, grown men are humans who can and do experience traumatically emotional life impacts just as much as women. There is quite a heartfelt moment of male friendship in true master class performance downstage centre between the two that, for me, tugged at my heart strings as a hush filled silence of respect enveloped the auditorium. I truly did feel that synchronistic chemistry between the two performers at that moment. Joanna Yu’s stunning two level Set Design of the A-frame cabin is a marvel to behold. It is a work in progress resplendent in the odour of sweat, cigar stench that Gonzalez-Vio smokes and the drinks after drinks of whiskey and badly brewed coffee the two men consume. When I sat down in my seat, I didn’t open my notebook right away to write notes as I just wanted simply to revel in looking at this mammoth creation which Aquino noted in her audience address before the show began. The set is angled which provided perfect sightlines from my seat. There is a wood burning stove which amply is utilized throughout the play. Just slightly off-centre stage right is a table with bottles and other props of newspapers and stuff haphazardly thrown around. Up stage left balled up papers can be found in a corner haphazardly thrown there. A well-worn easy chair which probably should have been thrown out years ago is angled and placed right behind the table. There is a well-worn rug placed underneath the easy chair which probably should have been thrown out as well but adds character to the fact the cabin is that proverbial work in continuation. On stages right and left, props are hanging from strings which become part of the action. Yu’s costumes appropriately reflect the differing characters. Gonzalez-Vio’s Acorn wears a red lumber jack looking shirt with work dirty work pants. Hollyman’s Purdy wears what appears to be grey looking dress slacks, dress shoes and a white pinned striped show from what I could see. Michelle Ramsay’s Lighting Design warmly enclosed the playing space of the cabin akin to a natural light setting. I liked Christopher Stanton’s selection of aural newscasts that I heard during the preshow sounds as the audience entered. At one point I thought I heard elder Trudeau Pierre speak. From what I can recall, these newscasts of the sixties began to focus on Canada’s emergence on the world stage in key areas of culture. The song ‘Lonely Boy’ took on a new meaning for me as I left the auditorium. Final Comments: Nina-Lee Aquino concludes his tenure as Factory’s Artistic Director. There’s a line from the play I scribbled down in my book in the dark hoping I would be able to read it later: “A poem feels unfinished even when it is.” ‘among men’ doesn’t feel unfinished when it concludes. Yee’s script says what needs to be said. Instead, I’ll remember the line: “I remember it. I remember the good ones. ” Aquino, Hollyman, Gonzalez-Vio and the entire creative team conclusively and unquestionably reflect what needs to be said while performing a good one. Get to see this. Running time: approximately 100 minutes with no intermission. Production runs to May 15 at the Factory Theatre, 125 Bathurst Street, Toronto. For tickets, visit www.factorytheatre.ca or call the Box Office (416) 504-9971. ‘among men’ by David Yee Directed by Nina Lee Aquino Set and costumes designed by Joanna Yu Lighting by Michelle Ramsay Sound design and composer, Christopher Stanton Cast: Gonzalez-Vio, Ryan Hollyman Previous Next

Back 'Tyson's Song' by Peter N. Bailey Presented by Pleiades Theatre and now onstage at Factory Theatre, 125 Bathurst Street, Toronto Credit: Cylla von Tiedemann. Foreground: Kyle Brown Background: Jamar Adams-Thompson Guest reviewer Peter Mazzucco "An important story about men’s mental health smartly directed with sensitivity and precision.” As May is Mental Health Awareness Month, Peter N. Bailey’s “Tyson’s Song’ examines the dominant thoughts surrounding Black masculinity and mental health. Bryan (Jamar Adams-Thompson) and Tyson (Kyle Brown) are two best friends out on their last boys’ night together. When the evening goes awry, the two Black men are compelled to examine their pasts and the genuine bonds of their friendship. Peter N. Bailey has penned a powerful play that achieves his goal of establishing the need for a positive dialogue and new conversation around mental health for Black men that could potentially provide “the necessary love and care needed for them to heal and flourish.” “Tyson’s Song” also pays homage to Toronto. This thought-provoking piece opens with the two men running on the stage chasing a Toronto Transit Commission bus that has just hurriedly pulled out of a stop on its route. Friends since childhood, Bryan and Tyson traverse the city to different parties to celebrate Bryan’s last day in Toronto before he, his wife, and their young daughter move to Vancouver. As they wait for another bus, they begin to discuss topics they have not addressed for many years, if ever. One of Bailey's play's foremost and fundamental themes is mental health. Tyson has a history of incarceration resulting from and consequently affecting his mental health. In his discussion with Bryan regarding this period in his life, Tyson asks Bryan, “How come you never visited me?” Tyson’s empathy has created a view of himself and his world that comes across as antipathy when it is self-loathing. The life-long antagonism he has developed toward himself bares itself when he tells Bryan, “Everyone I love leaves me and takes their love with them.” He mentions to Bryan that he, as well, has his own plan to leave. Another principal theme is the question of what it means to be a man, specifically a Black man. Bryan believes being a man revolves around having a family and a steady job. He chastises Tyson for being unable to maintain a steady job or a relationship since his release from the detention centre. At the onset of the play, Bryan seems like the jovial, easygoing one, and Tyson appears to be brooding and serious. We see Bryan dancing on the bench at the bus stop, talking about the party they just attended. Tyson is not impressed with Bryan’s behaviour at the party because he believes it is inappropriate for a married man to carry on like that. He asks Bryan if he would like it if his wife behaved that way at a party. It seems odd to have Tyson empathize with Nathalie, Bryan’s wife, when we discover Tyson believes that she does not like him. Bryan explains to Tyson that he needed this one night because his life has become one of “daycare and diapers.” He believes Tyson needs a real plan for his future. At one point, Bryan tells Tyson to “Man up.” We discover Bryan’s idea of being a man comes from his father’s notion of being a man, a cycle that Bryan is trying to break. Visually, Anahita Dehbonehie's design is sparse yet effective on the Studio Theatre stage, which is ideal for a vision of a crowded, impersonal metropolis that can be inaccessible or insular. A bench positioned at stage left provides the two men with a place to sit and talk while they wait for another bus. The placement of the bench becomes vitally important. It was a substitute for a dancehall stage. Another time it became a provisional pulpit during their Bible verse exchange. Dave Degrow’s lighting design emphasizes the calmer moments between Tyson and Bryan by narrowing the light on the bench or the bus stop to draw the audience in and focus on the earnest conversation between the two men. As quickly as the lighting brings us into those intimate instants, a quick lighting change dissonantly transports us back to the reality of their current situation. Overall, the lighting creates a sense of urban isolation at night. The combination of the lighting, stage, and Stephon Smith’s sound design made the urban setting at night palpable with its bus and police car lights, the T.T.C. bus stop, and the revving engine of buses. I felt as if I was watching the drama unfold from an apartment building across the street. Costume Designer Des’ree Gray dresses both actors stylishly. Tyson wears a denim jacket with many pockets, one of which holds a revelation. Bryan wears fashionable pants and a checkered shirt that contains secrets he openly reveals to Tyson during their conversations. Director Ash Knight directs smartly with sensitivity and precision. He has challenged the two actors to find a compassionate and empathic way to express their character’s voices. Jamar Adams-Thompson genuinely plays Bryan with charm and a carefree attitude. As the play unfolds, Bryan's complexity develops, and Jamar does a beautiful job of bringing out the many layers of his character. He even creates some arresting mannerisms that are fun and unexpected. As Tyson, Kyle Brown makes me feel the internal conflict within his character with his parley, movements and body language. On stage, we see a caring man who feels misunderstood by society. During one of the hostile, harsh verbal and physical exchanges with Jamar as Bryan, there is a sensitivity rather than brutishness to which Kyle as Tyson performs his actions and accomplishes his intention. He portrays Tyson with poignancy and pathos, not as a common thug. Running time: approximately 70 minutes with no intermission. ‘Tyson’s Song’ runs until May 19 in the Studio Theatre at Factory Theatre, 125 Bathurst Street. For tickets, visit factorytheatre.ca or call the Box Office at (416) 504-9971. PLEIADES THEATRE presents the World Premiere of TYSON’S SONG by Peter N. Bailey Directed by Ash Knight Set Designer: Anahita Dehbonehie Costume Designer: Des’ree Gray Sound Designer: Stephon Smith Lighting Designer: Dave Degrow Fight Director: Siobhan Richardson Production Manager: Shawn Henry Stage Manager: Heather Bellingham Performers: Jamar Adams-Thompson, Kyle Brown Previous Next

Back Dixon Road by Fatuma Adar Produced by The Musical Stage Company in association with Obsidian Theatre and Canadian Stage. Unknown Dave Rabjohn This month marks the world premiere of the musical ‘Dixon Road’ under the beautiful natural canopy of Toronto’s High Park. This remarkable musical journey by Fatuma Adar was five loving years in the making and Toronto audiences will be thrilled with both her incredible work and the powerful performances behind it. Dixon Road is a community in the northwest of the city where many Somali immigrants congregated. This is their story of assimilating into Canada. The strengths of this production are the joyous diversity of Ms. Adar’s music and the backbone of this cast – Germaine Konji as the ambitious daughter Batoul. Batoul is the daughter of Zaki, an affable dreamer and a touch naïve, played with force and a beautiful voice by Gavin Hope. Along with her mother, Safiya, and grandmother, Halima, the family struggles in Somalia to maintain a middle-class lifestyle. In the early 90s, Somalia has just won its independence and Zaki has just won a prime bureaucratic position in the government. War then tears the country apart and the family must move to Canada where family members take them in with an uncertain future. Family tensions increase in cramped quarters and the usual complications of assimilation into an unknown country take their toll. As mentioned, Ms. Adar’s score is rich with diversity, music moving from hip hop to rap to show tunes and Motown. An early example is “Pray” with radiant harmonies from the entire family and a backdrop of rap from Mr. Hope. Moving to Canada, the clever “How to Be Canadian” is irreverent and ironic with some very inventive choreography around a taxi cab – a job the over-qualified Zaki must accept. Batoul sinks into depression but is resilient as she sings the powerful number “Find Me.” Batoul’s release in life is in her writing – she yearns to be a poet and dramatist. The family, at times, both ridicules her dreams and then tries to accept them. Grandmother Halima, portrayed with zest by Shakura S’Aida, remains in the old country but echoes her thoughts over the family. She supports Batoul as she reflects “we are Somali – we are poets.” A most clever scene with “Oprah” literally diving out of a television set represents the detritus of western culture. Batoul struggles with this void, fights it and becomes even more determined to be a professional writer. Further irony is brilliantly portrayed in the second act where the celebrating Somali family ends up in a Chucky Cheese-like restaurant along with dancing waiters and a dancing chipmunk. Aspects of traditional Somali dance pepper the silliness of the moment. Assimilation can often produce comic effects. Director Ray Hogg (also choreographer) is credited with bringing a number of elements together. Working outside with an awkward, multilevel stage is demanding and his rich experience was clearly a motivation to the cast. The set designer, Brian Dudkiewicz, opened the show with a rich backdrop of colourful tapestries in Somalia which cleverly disappeared leaving the bare and leaden elements of cold brick and mortar highrises. Many of the songs deal with the theme of faith – it is the faith in family and neighbours that holds these new immigrants together. At one point someone goes out to buy diapers – “we don’t have a baby” – “yes, but the new family on the second floor does.” Perhaps Zaki, near the end of the play best summarizes their wish to move forward – “there must be another life than just surviving.” This production, with a lavish diversity of music, reflects this ultimate joy of families coming together. ‘Dixon Road’ by Fatuma Adar Performers: Krystle Chance, Starr Domingue, Omar Forrest, Rose-Mary Harbans, Gavin Hope, Germaine Konji, Michael-Lamont Lytle, Dante Prince, Shakura S’Aida, Travae Williams Director/Choreographer – Ray Hogg Music Director – Chris Barillaro Set Design – Brian Dudkiewicz Costume Designer – George Michael Fanfan Previous Next

Back 'The Wild Rovers' Now onstage until November 5 at Toronto's Winter Garden Theatre, 189 Yonge Street Credit: Ritche Perez. Pictured: Members of The Wild Rovers' Ensemble Joe Szekeres "It’s not a total train wreck of an opening night. The terrific-sounding harmonies in some songs, the fantastic band led by conductor Kelly-Ann Evans, and some clever drama school staging make up for the insipidly silly plot." Like all kids who grew up in the sixties and seventies, I remember ‘The Irish Rovers’ on CBC television. The only song I remember was ‘The Unicorn.’ Fast forward to The University of Western Ontario in the late 70s/early 80s, and ‘Wasn’t That a Party’ was the anthem for most first and second-year undergraduates. Feeling nostalgic, I took to heart Executive Producer Bob Hallett’s programme note. ‘The Wild Rovers’ would not focus on the actual band members or their lives but instead capture their larger-than-life magic, incredible charm, and easy humour. Canadian East Coasters have this gregarious, ‘joie-de-vivre’ nature when they gather and sing at kitchen parties or pubs. Granted, the beer and wine must also help. I discovered that when I visited Newfoundland a few years ago. We Ontarians don’t seem to espouse this joy of life as the East Coasters. And as for the opening night of ‘The Wild Rovers’… “Well”, (as Samantha Stephens used to say on ‘Bewitched’). Younger readers may have to Google her. Readers my age and older will hopefully get the reference. Outside of the terrific-sounding harmonies, the fantastic band led by conductor Kelly-Ann Evans, and a couple of clever drama school staging techniques, this ‘meh’ jukebox musical didn’t capture more of the charm and spirit for me as I had hoped. Steve Cochrane’s book becomes confusingly silly, and I soon lose interest in the plot. But I push through. In the opening, we meet pseudo-story narrator Maggie (Sean Panting). A bit of a groaner as to why he’s called Maggie, and I won’t spoil it here. The story begins waaayyyy back in 19 89 (c’mon, now you’re starting to grate on my suspension of disbelief). We then meet ‘The Wild Rovers’ – Billy (Steve Maloney), Jordy (Philip Goodridge), Josephine (Julia Dunne) and the bus driver, Sheila (Vicki Harnett). The band is on its way to Grand Falls, Newfoundland, when they oddly encounter Maggie and somehow enter a portal and are whisked away to a magical world called Athunia, not to be mixed up with their sworn enemies, Ethunia (and yes, the two terms are pronounced similarly). “Uh oh!” (another ‘Bewitched’ reference from Samantha Stephens. Google it if you must). This ‘madcap’ plot challenge tests my suspension of disbelief even more. I’m trying to remain focused, but I’m losing interest. Quickly. Somehow, amid all this transport back in time, we meet those who live in Athunia/Euthania. Since the pronunciation sounds similar, I couldn’t tell where they were from. Princess Hiya (Melanie O’Brien) will soon marry Prince Farid (Powell Nobert). After this, I lost interest in this ‘magical story’ and no longer cared about these characters. But onward, I tried to decipher as best I could. Somehow, a magical egg is found (?), and courtier Roguish Rick Castley (Liam Lynch) will help find this egg. And then there’s a reference to a dragon that didn’t interest me. God, I don’t care about the book’s plot anymore. Is there something that can save this opening night for me? Do I need a beer or a glass of wine to keep me going? Some of the musical numbers save the show from being a train wreck. The actors are pouring their hearts out in song, and now it becomes ‘magical’ for me to listen to them sing. The opening number: ‘The Orange and the Green’ is lovely. Other highlights: ‘Donald, Where’s Your Troosers?’, ‘Drunken Sailor’, ‘The Unicorn’ and ‘Black Velvet Band.’ At one point, artist Liam Lynch demonstrated an impressive falsetto range. Director Jason Byrne has staged some clever drama school techniques that nicely worked for me. The use of cardboard to show the band travelling via bus is clever. When the plot switches to a ship at sea, some of the cast move a board with a sailboat on it up and down to indicate the waves in the water. Again, drama school technique, but it works here. Final Comments: I had seen the production of ‘Let’s Dance the Musical’ staged by Terra Bruce. It was another jukebox musical, but I enjoyed that one because I could look past some of the flaws in the book. After all, the singing and the choreography on that opening night did make for good theatre for me. The terrific songs and harmonies and the onstage band in ‘The Wild Rovers’ are splendid. I wish more were going for the production in the insipidly silly plot. Running time: approximately one hour and 40 minutes with no intermission. The production runs until November 5 at The Winter Garden Theatre, 189 Yonge Street, Toronto. For tickets, call (416) 314-2901 or visit ticketmaster.com or terrabruce.com to learn more about the company. Walter Schroeder and Terra Bruce Productions present ‘The Wild Rovers’ Book by Steve Cochrane, Inspired by the Music and Magic of The Irish Rovers Book Writer: Steve Cochrane Director: Jason Byrne Musical Directors/Arrangers, Additional Music: Kelly-Ann Evans and Josh Ward Production Design: Graham McMonagle Lighting Design: Leigh-Ann Vardy Sound Design: Don Ellis Puppet Direction & Design: Baptiste Neis Performers: Julia Dunne, Philip Goodridge, Vicki Harnett, Liam Lynch, Steve Maloney, Powell Nobert, Melanie O’Brien, Sean Panting, Nicole Underhay Band: Alex Abbott, Sultan Dharamshi, Keith Doiron, Kelly-Ann Evans, Grant King, Paul Kinsman, Dan Smith, Josh Ward Previous Next

Back Trudee Romanek Canadian Chat Laura Joy Photography Joe Szekeres I had the opportunity to meet Trudee just this past fall in Port Perry at a reading of one of her plays staged by Port Perry’s Theatre on the Ridge. She is an emerging playwright and award-winning author. In June, her WWII drama Bright Daybreak was presented at Stage One Lunchbox Theatre’s virtual festival of New Canadian Works in Calgary, and she is a co-creator of this summer’s Ghost Watchers: An Augmented Reality Theatrical Adventure for Theatre by the Bay in Barrie. Her one-act youth musical The Tales of Andergrimm was just produced for a third time by the Kempenfelt Players, now as an outdoor, filmed production and, in July, she worked with young actors at Theatre on the Ridge to create the one-act comedy Half Baked. Another comedy, “I” on the Prize, was selected for Theatre on the Ridge (TOTR)’s Snapshots Festival in October, where it received special recognition. Trudee also co-hosts ‘Stage Whispers’, a podcast about theatre in Central Ontario. We conducted our interview via email. Thank you so much for your time, Trudee. I do hope to see more of your work in the future: Since we’ve just celebrated Thanksgiving, tell me about some of the teachers and mentors in your life for whom you are thankful and who brought you to this point in your life as a performing artist. The first person who comes to mind is a high school teacher, Nancy Walsh, in my hometown of Barrie, Ontario. She taught English (before our school had a course for drama), but I didn’t actually have her as a teacher. She was the supervisor or faculty advisor or whatever of the drama club, and she pulled a group of us together every year to prepare something for the Sears Drama Festival. She introduced me to what theatre performance was. She also made performing fun but still focused, and she was the first person to believe in my abilities and encourage me. Nancy is a friend now and I’m so lucky that she is interested in my writing and has attended performances and readings of my work. I’m very thankful for her! I’m also very blessed that, for a community of its size, Barrie has a large number of high-caliber theatre workers. Arkady Spivak at Talk is Free Theatre is a constant inspiration, and I’ve learned so much from actor/director Scott Hurst, as well as Iain Moggach at Theatre by the Bay and, before him, Alex Dault. Carey Nicholson, artistic director at Theatre on the Ridge, is a more recent addition. And then there are others such as Leah Holder, Candy Pryce, Renée Cingolani, Edwina Douglas, Christina Luck — it’s a list that grows larger with each passing day, it seems. Every one of them has contributed to who I am at this moment. I’m trying to think positively that we have, fingers crossed, moved forward in our dealing with Covid. How have you been able to move forward from these last 18 eighteen months on a personal level? How have you been changed or transformed on a personal level? First, I’ve been very fortunate throughout this pandemic and I’m so grateful for that. I’ve continued to work, as has the rest of my family, and no one in my inner circle became ill from COVID. There have been challenges, but so many others have been much more severely impacted. Back in about 2018, before the pandemic began, I realized how ignorant I was and still am to a large degree of Indigenous history in this country. So, during the “great pause” at the beginning of the pandemic, I made a more concerted effort to learn the things I should have been asking questions about for many years. I took some online courses, listened to lots of podcasts, started reading more works by Indigenous writers, joined our local Friendship Centre and started attending or supporting their activities and others in our area. I joined Theatre Passe Muraille’s collective action to read the executive summary of the Truth and Reconciliation report (we’re about halfway through so far). As a non-Indigenous person whose family has been on this land for 200 years, I still have lots to learn, especially about my own ancestors’ roles in the oppression of First Nations people, but I’m trying, and I’ve made a commitment to keep learning. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? It’s been a wild time, but an incredible one for me, professionally. COVID offered a couple of important things: time and geographic opportunity. Via Zoom, I had access to instructors, experts, and other theatre professionals across the country and even beyond it that I hadn’t had beforehand. I sat in on play readings happening in other time zones, and I attended workshops and lectures given by theatre professionals I’ve never connected with before. I was able to work with a cultural consultant in B.C. (Thank you, Abraham Asto!) Would I have thought of connecting with him on Zoom before the pandemic made it such a ubiquitous tool? I’m not sure. I discovered that getting my butt in the chair and writing actually took my mind off the world’s uncertainty and eased my anxiety, so I wrote a lot. In these 18 months I think I’ve written, maybe, six short plays? And rewritten a young adult novel. So, all that writing meant I made a lot of progress toward my goal of being an emerging playwright. For example, I had my first, second, and third workshops and play readings by professional companies. Hand in hand with that was the fact that two local theatre friends and I created a podcast called Stage Whispers. Originally, it was conceived as a way to help people share news of upcoming performances, which back in May and June of 2020, we naively thought might start up again in the fall. Then as we planned and as the pandemic stretched on, we realized that we could instead share with theatre companies exactly what was happening with other companies, how they were coping, and what the future looked like. Since we launched in August of 2020, we’ve released more than 20 episodes and, in the process, I sort of serendipitously networked with many theatre professionals, some of whom, like Carey Nicholson, have ended up helping me further my writing career. Yeah, the pandemic has been very good to me, and I know I’m extremely privileged to be able to say that. In your opinion, do you see the global landscape of the professional Canadian live theatre scene changing at all as a result of these last 18 months? I do see it changing. I feel very optimistic about the shifts that have happened in awareness of marginalized voices and under-represented artists. In many ways I see this as a reckoning that cannot be swept aside. Our industry needs to start taking better care of who gets to share what. We’re already seeing people make space for others and I sincerely hope that that continues. There is so much for us all to learn! Why should we be stuck looking at everything through the same lens we’ve always used? What’s interesting about that? I also think there has been just a ton of creative thinking on the part of companies and artists to find some way, ANY way, to present art in the midst of this, and I don’t think that’s all going to go away once we’re fully back in the traditional theatre buildings. Love it or hate it, Zoom meant that people who felt under the weather could still see a show, audience members who lived a province or two away, or on the other side of the world, could watch the virtual performance. Personally, I held my own private online reading of one of my plays that called for a middle eastern male cast member. So, a young Lebanese actor I know actually took part in the virtual reading — from Lebanon! (Thank you, Maher Sinno!) What excites/intrigues/fascinates/interests you post Covid? I am SO looking forward to hearing and watching more Black stories, more Indigenous stories, more stories from those who are gender fluid or differently abled — like Sandra Caldwell’s Stealth, and Ziigwen Mixemong’s Mno Bmaadiziwin. I’m excited about the many amazing stories that are out there just waiting to be shared with the world. I’m also excited by all of the hybrid forms of art that we’re seeing! In August I got to see (and hear) Blindness in Toronto and I’ve got December tickets to Soulpepper’s virtual reality show Draw Me Close. In the new year I’m off to see Talk is Free Theatre’s immersive dance show A Grimm Night. Of course, I’m thrilled at all of the traditional stagings that are opening up, as well, but these others make the playwright in me think outside the box more than I might otherwise do. What disappoints/unnerves/upsets you post Covid? I find myself very distressed about the enormous chasms that have opened up or grown wider between people over issues like race, mask-wearing, vaccination, politics, the economy. So many people right now seem to be struggling to talk to anyone who has a different viewpoint. I guess I’ve always hoped that the human race was getting wiser and more compassionate. As nerdy, or maybe Pollyanna, as it sounds, I think of Star Trek society as a sort of a fictional ideal goal for real-life humankind. Sure, some of them fight and they’ve got certain problems, but there’s generally a fair bit of mutual respect and a will to provide for those who can’t provide for themselves. And I feel as though this trial we’ve faced has, over the long term, forced us apart instead of drawing us together. That’s a very disheartening thing, and it eats away at me. Where does Trudee, the artist, see herself going next? Hmm... Well, my challenge in this current world is to find a way to be creative while amplifying voices other than my own. As a female, I do have a somewhat marginalized viewpoint to share, because we’re still struggling to achieve gender parity in the theatre industry, but I’m extremely aware that there are voices far more marginalized than my own. So, is there a way for me to support those voices being heard, in my role as an emerging playwright? That’s what I’m exploring now. Where does Trudee, the person, see herself going next? Oh, that’s always a good question! I have elderly parents and also kids still at home, so weeks ago I decided I wouldn’t be doing any more community theatre until some of those responsibilities shifted, that I’d stick to writing for now. But then last week auditions for an exciting straight play were announced, with a director I know and like to work with, and I threw my hat in the ring for a part! So, I’m a bit all over the map. What I do know is that I will keep expanding my horizons and learning about cultural groups other than my own, because I just don’t see any of us moving forward without doing so together, and that requires us to have better understanding of the other folks who share this planet with us. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I give credit to the late James Lipton and ‘Inside the Actors’ Studio’ for this questioning format: If you could say one thing to one of your mentors or favourite teachers who encouraged you to get to this point as an artist, what would it be? Thank you for making me accountable, for making certain I fully committed to what I began. 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? Never dissuade a person from trying something, because they will learn from every experience. What’s your favourite swear word? There’s something about an F-bomb — maybe the fricative “f” and the finality of the “k” — that somehow completely expresses the frustration of the moment. What is a word you love to hear yourself say? “Serendipity” because, for me, the lilt of it perfectly matches its meaning. (See how I snuck it into my one of my earlier responses, ha ha!) What is a word you don’t like to hear yourself say? To be honest, I don’t like to say my own first name! I always seem to turn the “Tr” combination into something more like a “Ch” sound. Other people say it better than I do. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? Believe in yourself. Don’t be afraid to ask questions and put yourself forward. With the professional life experience you’ve gained over the years, what would you now tell the upcoming Trudee from years ago who was just in the throes of beginning a career as a performing artist? View your many unsuccessful attempts as progress, or steps in the journey, rather than failures. What is one thing you still wish to accomplish both personally and professionally? I told myself I’ll bring two of my three passion projects to fruition by my sixtieth birthday, which means I have about 18 months to get one play professionally staged and my second young adult novel published. Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. The moment I wrote the final scene of my first young adult novel, and realized it was the final scene, I was filled with such an incredible excitement and sense of accomplishment I was literally trembling. It felt fantastic. Would Trudee do it all again if given the same opportunities? I often think that if I could do it all again I’d do it faster, on a more direct route, but I am who I am, and I’m not sure I’d be willing to give up any parts of the fun ride I’ve had so far. To connect with Trudee online, visit her website: trudeeromanek.com. You can also follow her on her professional Facebook page: @trudee.romanek.author AND on Twitter: @RomanekTrudee Previous Next

Back Fall for Dance North – UNBOWED: 2023 Signature Program 2 – Credit: Erin Baiano. Company from Oh, Courage. Geoffrey Coulter, actor, director, arts educator Fall For Dance North did it again! Toronto’s Premiere International Dance Festival is back with its ninth season chock full of eclectic dance companies of unparalleled talent and artistry. Creator and Artistic Director, Ilter Ibrahimof curated a rapturous 2-hour compilation of the dynamic dance stylings of four visionary companies, including one Canadian Premiere. FFDN “celebrates, nurtures and amplifies established and emerging Canadian dance artists…” offering mixed bills that include performances by large and small-scale local and international companies with EVERY seat for the incomparably low price of just $15. Extraordinary value for extraordinary performances! I caught this year’s program on the closing night of its two-week run. The energy from the audience and performers on this Thanksgiving weekend was palpable as the curtain rose to a Canadian premiere by a Tony-award winning choreographer, a collaborative piece with graduates of Toronto Metropolitan University’s School of Performance, a stunning duet with long-separated African brothers, and a poignant portrayal of the life and career of a civil rights icon. The stage was mostly bare with occasional simple props and inventive, evocative lighting. Act one began with the Canadian premiere of “Oh Courage” performed by the Gibney Company and choreographed by Tony and Emmy-Award winner Sonya Tayeh (Moulin Rouge, So You Think You Can Dance). The eight-member troupe performed to original music composed by The Bengsons (who were to play live on stage, but a band-member’s recent illness prohibited their travel, so backup recordings filled in). The company mastered Tayeh’s intricate modern style, mixing athleticism, and creating unique shapes and levels with their bodies. An ease of fluidity followed each hard-hitting beat. With a bare stage save for set designer Rachel Hauck’s quadrangle of four lights on tall stands with a stack of speakers at its centre, the company used the space superbly, allowing each member of the company to impossibly writhe, kick, bend, and flex. Costume designer Marion Talán de la Rosa’s baggy, three quarter length pants and loose-fitting sleeveless tops, enhanced the dancers’ movement allowing them a mesmerizing freedom. Asami Morita’s overall warm, dim, and moody lighting sometimes left the stage too dark, often masking facial expressions. The occasional use of strobes and bright beams shooting into the audience served more to blind this reviewer than add any artistic value. I wasn’t sure what story Sonya was telling, but it didn’t matter. This company told it with passion and artistry. Next up was Light-Print, choreographed by Jesse Obremski and performed by a dozen recent graduates of Toronto Metropolitan University’s School of Performance. In the explainer video preceding the performance, Obremski explains this modern piece to be a personal discovery of what it means to be analytical and factual. The performers begin in what seems to be a lab or research facility (an inspired design by Margaret Steinbach) exploring how ideas can overwhelm, ignite, and excite our conscious and collective energies. Though the program notes proclaim how this piece intends to “enlighten and remind us about the importance of constant self-discovery”, I wasn’t always clear on what the discoveries were and why they were important. Even the lab coat costumes by designer by Keiko Obremski, in collaboration with TMU's wardrobe department, didn’t fully convey the self-discovery these characters were supposed to be experiencing. It was all a little muddled. Lighting designer Asami Morita’s overall dim lighting is punctuated by the amber hits from hanging fixtures, swinging cleverly at different heights, and providing a unique interactive prop in addition to being highly practical. An original melancholic, bellicose, score by composer Trevor Bumgarner provided a rich musical canvas for these young dancers to stretch, writhe and roll to. While this cadre of dance grads showed impressive technique and superhuman flexibility, their movements lacked the passion and intent that was in such abundance in the evening’s other offerings. After a brief interval Act 2 opened with the exquisite narrative, “My Mother’s Son”, a duet performed by South African brothers Siphesihle and Mthuthuzeli November and choreographed by Mthuthuzeli November (who also provided the music). Both talented dancers, the brothers were separated as children to study at ballet schools a world apart – Siphe, here in Toronto at the National Ballet of Canada and Mthuthuzeli with Ballet Black in London, England. They come together for the first time since their childhood in Zolani to dance an incredibly powerful work inspired by their relationship as brothers. The result is simply breathtaking! The thoughtful and emotive choreography speaks to the pain of geographical separation and the enduring bonds of fraternal love. The intimacy is often overwhelming, the emotions raw and authentic, the dancers; magnificent! The narrative is impeccably told through not only the expressive choreography but through superb lighting that transports us through time and place. The shafts of harsh light beaming down from above perfectly evoke the trees of an African jungle, where we first encounter the brothers. The changing of shapes, angles and colours superbly and subtly accentuate their emotions of the love, angst, regret, sadness, reunion, redemption, and celebration. Clad in their own traditional African kilts, the story-telling these men do with their bodies is simply captivating. Siphe has been an undeniable force and integral part of the National Ballet of Canada while Mthuthuzeli’s work as a dancer and choreographer in London, England with Ballet Black continues to dazzle and win prestigious awards. No wonder then that after not breathing for 25 minutes, the audience leapt to its collective feet in rapturous applause. The evening concluded with another absolute gem – Ballet Black’s “Nina: By Whatever Means”. This love letter to musician, performer and civil rights activist Nina Simone isn’t just a dance number. This is theatre, a “playlet” brilliantly combining spoken word, ballet, jazz, and blues. Again, choreographed by Mthuthuzeli November, and performed by the captivating company of artists of Black and Asian descent, this thrilling and imaginative piece takes us through Simone’s turbulent and influential life. Jessica Cabassa’s period costumes are spot on, from Simone’s post war early life in the Methodist deep south, to her swanky high life in Atlantic City nightclubs, cuts, fabrics, and textures were accurate and convincing. David Plater’s inspired lighting design easily transported us through his use of soft, muted, amber tones evoking Southern heat while adding harsh, confining spots to piano classes, dressing rooms and nightclubs. Music by Mandisi Dyantyis and Mthuthuzeli November (and recordings of Simone herself) is beautifully punctuated with original vocals by the Zolani Youth Choir. This review wouldn’t be complete without acknowledging the extraordinary company of dancers, Isabela Coracy, Ebony Thomas, Taraja Hudson, Sayaka Ichikawa, Helga Paris-Morales, Mthuthuzeli November, Megan Chiu, Love Kotiya and Bhungane Mehlomakulu. Their phenomenal technique and ability to fuse their skills in ballet, jazz, lyrical and contemporary was simply incomparable. Special shout outs to the captivating Isabela Coracy as Nina Simone and Ebony Thomas as The Husband. Their expressive pas-des-deux, performed within the confines of Simone’s tiny dressing room was simply breathtaking, combining raw emotion with seemingly effortless facility. If you love dance or just want to be swept away by dazzling, ground-breaking, thought-provoking theatre that resonates with a modern audience, don’t miss Fall for Dance North’s ten-year celebration next year. Tickets are still $15 each! That’s a value that’s simply unheard of in today’s theatre scene. I can’t wait to see what Mr. Ibrahimof has up his sleeve in 2024 as FFDN celebrates ten remarkable years making audience fall in love with the transformative power of dance. Previous Next

Back The Crossover from non-Union to Union actor/artist" Peter Mazzucco and Tony Nappo share their thoughts Headshots provided by Messrs. Mazzucco and Nappo Joe Szekeres The term ‘professional actor’ is bandied around so much that it has often confused me. Anyone can call themselves an actor, and the first two questions asked if you do: “What have you done?” or “What have I seen you in?” If someone hasn’t heard of anything you’ve done, then most people may think you’re nothing. What I have learned about the world of the ‘actor’: one does not have to hold any conservatory or post secondary education to become a member of CAEA (Canadian Actors’ Equity Association) or ACTRA (Alliance of Canadian Cinema, Television and Radio Artists). If a non-Equity or non ACTRA company contracts and pays non-union individuals to perform, then those actors are technically involved in a ‘paying gig’ and, in that case, are free to call themselves professional if they wish to do so; however, being a member of one of these two labour unions means you are paid union status (which is higher) compared to non-union status. A quick re-cap on these two terms: CAEA is the membership/labour union to which the professional live theatre actor and stage managers belong to perform in union shows here in Canada. ACTRA is a Canadian labour union representing performers in English-language media in film, television, radio, and all other recorded media. Some professional artists are members of both and/or perhaps only one. I also understand there are stringent rules regarding credits attained to gain union status but, for the sake of this article’s length, I won’t bother delving further here. I was recently reminded by a union artist who told me if someone wants an actual career as an actor, then that person must become a member of either CAEA or ACTRA. From his understanding, there’s no way around it. For this article, let’s define career as someplace where the actor will go for work whether it’s to a film or television set or to a live theatre. Credit for this personally learned fact came from Toronto based resident and Union actor, Tony Nappo. He also writes a weekly column for Intermission magazine called ‘Nappoholics Anonymous’ which features twelve random thoughts. Take a look at his column online when you get a chance as it led me further into the world of this complex being. Recently I had the opportunity to have a Zoom call with him and Durham Region resident and non-union actor Peter Mazzucco to gain their perspectives on the challenges of crossing over from non-union to union to legitimize, to be thought of, and to call yourself an actor, as Mazzucco wishes to do. Mazzucco grew up in Etobicoke while Nappo was raised in Scarberia (that’s Scarborough, Ontario to outsiders) and what you see and hear from both these boys is what you get in humour, wit, temperament and yes, the occasional colourful language. I respect that as this is who these guys are. There are no pretentious airs about either of them at all as they kept me grounded during the conversation where Tony playfully said at one point: “Just trying to bust your balls as we did in Scarborough, Joe. You’re doing fine.” Peter and Tony are close in age and knew of each other where they attended the same post secondary institution, (The Scarborough campus of the University of Toronto), but never graduated. Both recalled a similar incident on campus which changed their career paths completely. They were both tapped on the shoulder from Cathy Smith, Movement and Voice teacher at the Scarborough campus, who stated they were wasting their time there and to pursue studies further elsewhere. Mazzucco was flattered with the compliment from Smith but declined as he was content with what he was doing at the time. Nappo, however, took the advice and enrolled in Manhattan’s American Academy of Dramatic Arts programme, completed it, and returned to Canada to begin his successfully rewarding career. For me, it was an interesting process to see how they became connected once again. While wrestling with the question of becoming a union actor for quite some time, Mazzucco values Tony’s experience and agrees with the latter’s advice that “this is a fucking hard industry”. Mazzucco didn’t originally start his post secondary studies immediately in the Arts. He always had a fascination with film but went via a completely different route for personal reasons. He attained dual citizenship and wanted to study theatre at LAMDA in London, England. He later credits the arts as a creative form to which he was drawn when he was in his twenties. Nappo originally came to the Scarborough campus to study English literature. The opportunity to study theatre came later as he jokingly said at one point: “It was a way to meet women back then.” I had heard of Tony’s name over the years and realized later I had seen his performance at Toronto’s Canon Theatre as part of the Mirvish series in a terrific production of Yasmina Reza’s ‘God of Carnage’. I personally had the chance to meet Tony when he appeared in a fiery production at Soulpepper of Stephen Guirguis’ ‘Jesus Hopped the A Train’. Both guys have opted to stay the course and continue their involvement in the arts despite this pandemic and the harsh reality it has brought the industry to a standstill. They recognize the key for success is having a good agent. Peter had one, dropped that agent, and then legendary Casting Director Gloria Mann (whom Mazzucco calls ‘wonderful’) wanted to get him an agent after she booked him on one of the shows she was casting. For personal family reasons, Peter did not seek an agent, and Gloria said she would be his ‘agent’. She booked him two lead roles on two separate shows in the process. They still keep in touch and although she’s not his agent, Peter holds great respect for Gloria. Mazzucco’s day job is in the corporate world. Nappo has worked non-stop during the pandemic under the strictest Covid-19 protocol standards. As a working union actor, Tony makes a healthy living in television and film during the year. When he has nothing to do, he does painting of any type (house/office/touch ups). Peter point blank stated how he would love to become a member of either CAEA or ACTRA but has had experienced some challenges to achieve these goals. For example, members of ACTRA or CAEA may apply for non-union jobs without their union knowing. Again, Peter wanted to clarify that not all do it, only some. He doesn’t like that because he doesn’t just get to go to ACTRA auditions as a non-union actor, but Peter lets it go because he gets enough acting gigs each year to keep him happy. He shared something rather amusing that happened recently. Peter was told he could earn his ACTRA status on a film, if he chose to do so, by appearing semi-nude in one scene. Did he do it? “No, I chose not to do that” he said with a chuckle and offered no explanation because neither he nor I felt one was necessary. In his 40s, Peter was so disheartened by what he was seeing in the corporate world that he quit a lucrative job and decided immediately to pursue his passion in becoming an actor. The challenge? He never discussed with his wife what he wanted to do. If you are in a relationship: “Never, ever, make rash decisions like this without consulting your spouse or partner first. My best year as an actor was $9400, embarrassing, but true as it was not enough to pay the bills around the house.” Nappo fondly recalls his first Equity show at Montreal’s Centaur Theatre: ‘Paradise by the River’ written by Vittorio Rossi in 1998. Tony had met Vittorio where he had seen him in a couple of films, nothing major. When actor Richard Zeppieri wasn’t available for ‘Paradise’, Rossi thought of Tony for the role instead. Tony auditioned and called this first Equity show a great experience in a real house with audiences that were more than just family and friends. Up to this point, Tony had only done some Summer Works shows, even a Fringe and Rhubarb. He was working a lot in film and tv at the time playing what he called ‘bullshit, nothing roles’. In the Festival shows, Tony said he was playing a couple of interesting things, but his focus hadn’t been on theatre at all. He then realized that if he wanted to do anything on stage, any acting that was more than three lines or holding a gun, he had to act on stage. It was a joy to be on the stage for this momentous occasion in his life as Tony was getting paid to do something for which he was passionate. Does Mazzucco hold any regrets that perhaps he should have taken that same route to Manhattan as Nappo or to LAMDA when he had the opportunity? “No, I don’t have any regrets at all as I got married and my wife and I have a beautiful daughter. I also turned down a lead role in a TV drama funded by the CBC for family reasons. The drama was nominated for three Canadian Screen awards. Family responsibilities plus work responsibilities placed that part of my life on a different shelf at that time.” Now that his daughter is in her teens, Mazzucco continues his involvement in the arts through participation in community theatre and in short films because he doesn’t want to look back on this part of his life with regret knowing he wanted to perform but didn’t do it. Several years ago, I’d seen his work in Whitby Courthouse Theatre’s poignantly moving production of ‘August: Osage County’ and in ‘Mambo Italiano’ where Peter was nominated for a community theatre Thea award (the highest achievement for community theatre performance in Central Ontario) for his performance. And I found what Tony had to say next enlightening for me regarding involvement in community theatre and non-union work. While he doesn’t make a point of attending non-union or community theatre, Tony reminded Peter and me that if you just want to act, remain non-union. Tony is the first person to admit he doesn’t judge people and is aware that, yes, there are probably some good non-union actors out there; however, if you want to make any money, to make credits in theatre that count, if you want to be seen in ‘shit’ on stage that people attend and go to, you have to go union. If you don’t, it’s not like you’re a nobody or your work isn’t valuable or you’re nothing, but it doesn’t carry the same weight. Tony acknowledged that he tries to support his friends and what they’re doing and doesn’t care wherever they’re doing it either non-union or community. He has seen some good work outside the union and spoke of a nice little show he saw in Hamilton a couple of years ago, but Tony is not interested in it, doesn’t seek out non-union work or community theatre or wouldn’t do it because union acting is what Tony does for a living. Tony also firmly stated that he’s not against people who perform in non-union/community theatre shows, but the assumption is “The best people are performing on union stages.” At the same time, there are some union productions Tony does not attend. The Stratford Festival is one he acknowledged where nothing there interests him at all either. Tony is interested in what he wants to do and the people he wants to work with, and that’s the stuff he primarily focuses on – watching people he respects, watching people he wants to work with, keeping track of theatres that interest him. He’s not going to work for no money through non-union or community theatre because he can’t afford it. Tony finished by saying it doesn’t mean that he doesn’t respect the work that is done on the non-union/community theatre stage or certain professional stages, it just means he chooses not to follow it, and doesn’t offer any explanation for it. I don’t seek out Tony’s reason because none is necessary. Peter got involved in community theatre to get his feet wet again after being involved in it while at university. He spoke about some work he performed at Alumnae Theatre; however, he sees his involvement in community theatre coming to an end. Both he and Tony spoke about some of the non-union Toronto houses that produce good work, and Alumnae is one. Another one both guys spoke of was the Leah Posluns Theatre. At the end of the day, Tony states that an actor should act and, until Peter gets to act on the union stages, he should act on ‘whatever fucking stage he wants’ because an actor is always learning, and always growing especially since Peter has been in the corporate world for over twenty years. Once this pandemic is lifted, Peter is quite serious about becoming a member of both CAEA and ACTRA because he wants to have a career that he enjoys and loves. This is not to say that the union actor will have a cozy life. Here in Canada, it is difficult to be an actor and rich and famous, unlike Hollywood, California. Earlier in summer 2020, I held an interview with Lucie Arnaz Luckinbill where she stated the industry at times is not all sunshine and autographs. There are down times where a union actor/artist may not work at all and that’s scary in not knowing money is coming in to live on. Tony bravely and honestly spoke about some of his personal struggles and demons he has overcome throughout his career. I thanked him for his candour in sharing them with Peter and me. And I can’t wait to see his next project whether it’s on stage or in film. I plan to follow Peter Mazzucco’s journey carefully from non-union/community theatre performer to union actor. Previous Next

Back Colin Ainsworth "Endless discovery is wonderful. You never stop learning. That’s the joy for me." Colin Ainsworth's website Joe Szekeres The first time I heard Colin Ainsworth sing was at the opera. He has participated in this stunning art form for twenty-plus years. Opera is one of his passions. He never stops learning as there are more roles he wants to sing and more he wants to learn. Now, I have no formal training or education in opera. I’ve attended several productions since I started reviewing. I have exited the theatre and sometimes have learned something about this dramatic art form. Sometimes I understand completely what’s going on. Other times, I think I might. There have been those rare moments where I didn’t understand a thing. However, from my brief experience, I’ve learned there is something for everyone at the opera. Co-Artistic Directors of Toronto’s Opera Atelier (OA) certainly espouse this thinking. Marshall Pynkoski and Jeannette Lajeunesse Zingg reached out over two years and encouraged me to attend. OA continues to look for audience members who want to learn more. It doesn’t matter if someone has no background or education in this field. Come, see, and hear unique stories told and sung with passion and intrigue. Colin concurs wholeheartedly with this goal Marshall and Jeannette have set for OA: “If we don’t encourage the next generation to come and see opera, there won’t be an audience in five, ten, or fifteen years. The art of opera must continue to cultivate emerging audience members.” If he could look into a crystal ball and see where the art of opera is headed over the next five years, Colin adamantly states there has been a big shift in inclusiveness for everybody, not only for singers and performers and artists but also for the audience. For example, he was working in Pacific Opera and there is an initiative there to include the blind and the deaf, people whom one would think might not like opera. Opera Atelier has also begun initiatives to include audience members who are deaf and blind. Colin’s parents are both deaf, so this initiative is very close to his heart. His parents love the opera because it’s very visual, everything from the theatrics right down to the lighting, the costumes, and the dancing. Some operas incorporate American Sign Language interpreters and they are placed at the side of the stage. The deaf students who attended that Pacific Opera performance were enthralled because the production was in their language. Ainsworth works with various school groups across Canada as well. Every single time students come to the workshops and programmes offered either through OA or other companies, and then see the opera, the young people are enthralled with what they are watching. “They love it!” Most of the time, students say they want to come back to the opera. How is Colin feeling about this return to the theatre even though we are still in Covid’s embrace? He says it has been a long time coming but it is nice to be back in the theatre. Ainsworth recognizes audiences have been a bit apprehensive about returning. From his artistic perspective, he’s fine with that but he wants people to come back. What’s important is the fact confidence is re-building about sitting indoors again in crowds. Just take a look at Blue Jays’ games where people are sitting shoulder to shoulder, screaming and wearing no masks. During the pandemic, Colin completed several digital projects with various groups, but he is quick to add: “It’s not the same. You don’t get feedback from the audience. You don’t get the energy from the audience. You can’t play off that give and take there is in live theatre.” ‘The Resurrection' will be staged just before Easter Sunday. I did see the digital production during the pandemic, and it was fine; however, I know it will be a completely different experience live. Colin even pointed out something of which I was unaware. He found the digital production challenging: “You’re lip-syncing to a recorded production of your voice. You have to make sure your voice and your lips are moving at the exact same time. That takes a bit of practice in remembering where you sped up or slowed down, or perhaps sung differently.” With a laugh, Colin added he has learned and enhanced a new skill. What is it about opera that keeps Ainsworth focused and makes him still enjoy what he has chosen as his career? Opera has so many layers that you never seem to stop discovering. There are operas he has performed four or five times, and Colin continues to discover layers and pieces of things whether it be in the orchestra, the story, or the character. With a return to a role he may have played or sung before, Colin always discovers something new he may not have understood or hadn’t heard the first time. He’s also interested in diving into new roles now that he is of a certain age: “Endless discovery is wonderful. You never stop learning. That’s the joy for me. That’s so cool.” Colin has participated in new operas of the day. He never seems to tire of the older ones. If he can’t sing Handel’s Messiah each year, he humorously states it’s just not the same for him. (Note: I must make a concerted effort to hear him sing Messiah next year). What is it about the biblical story of ‘The Resurrection’ that lends itself so well to opera? “It’s dramatic” He further adds: “You go through the Bible from Noah to prophets and through Jesus Christ, these are very dramatic stories. Religious themes, the pathos from Jesus’s death and his mother, Mary, and Mary Magdalene. These are all dramatic stories that come together as a cohesive unit to make a beautiful story.” When I asked what Biblical story he’d like to sing if there was an opera written, Ainsworth paused momentarily and then with an: “Ooooo, Samson.” There’s also a piece by Benjamin Britten called ‘Abraham and Isaac’ that calls for alto and tenor and that’s it. And what’s next for Colin Ainsworth once ‘The Resurrection’ concludes its run just before Easter?: “That is always the hard question (and he has a good laugh). I travel to Parry Sound for a summer festival up there. In the fall, I’m coming back to Opera Atelier. There are a few items that I cannot share at this time, but they’re wonderful upcoming things.” ‘The Resurrection' runs April 6 and 8 at 7:30 pm and April 9 at 2:30 pm. The three performances will take place in person at Koerner Hall at the TELUS Centre for Performance and Learning, 273 Bloor Street West. To purchase tickets online and to learn more about Opera Atelier, visit www.operaatelier.com . To learn more about Colin Ainsworth, visit his website: www.colinainsworth.ca . Previous Next

Back Home for the Holidays Grand Theatre, London, Ontario Dahlia Katz Joe Szekeres A restorative auditory balm to begin the Christmas and holiday season Not only was the aesthetic re-modeling of the interior of London’s Grand Theatre a charming venue to begin the celebration of the holiday season. The sparkling and twinkling lobby lights also beamed brightly in the eyes of ecstatic theatre goers around me who were elated to be ‘home’ after a near long twenty-month absence from live theatre. Artistic Director Dennis Garnhum writes in his Programme Note how he believes in the magic at this time of year because he can feel it. ‘Home for the Holidays’ has uplifted his spirits as he and co-curator Andrew Petrasiunas have been immersed in creating a magical, musical world this opening night. Thank you for uplifting my spirits as well this evening. And what an opening to experience firsthand. Artist Jacob Macinnis appears at the top of the show where they explain the importance of the ghost light in the theatre and how it has remained on for the entire duration of the pandemic. When Jacob turned off the light and the stage lights came on, an adoring and worshipful roar of audience approval resounded in the auditorium. I was home. There is much to admire and enjoy that certainly placed me in the Christmas and holiday mood. For one, Rachel Forbes’ insightfully keen eye to the production’s look in costume selection and design winningly worked well for me. I liked the subtle incorporations of the colours of the season (silver, gold, red) reflected in the artists’ clothing especially in Blythe Wilson and Elena Reyes’ shimmering gold and emerald gowns. Forbes’ set design functionally incorporated the use of the stage to its fullest. Orchestra members were placed Stage Right, up stage right and just slightly off-centre stage left. The covered drape over the circular riser centre stage is ceremoniously raised to reveal all the colours of the season thanks to the intricately placed Christmas tree decorations all around. The placement of the props and other Christmas accoutrements reminded me of a possible Santa’s workshop. Kimberley Purtell’s focused lighting sharply grabbed my attention in various musical numbers. I simply adored the throwing of lights from one person to the next in ‘When the Lights Come on at Christmas’. Riveting to watch from my seat in the upper balcony. While Director Dennis Garnhum wisely chose to make the decision to have the actors speak about what the term ‘Home’ means for all people and for all of us without delving into the politicized, he smartly and carefully placed terrific bits of humour which put a big smile on my face and those of my guests who attended with me. Pay attention to the numbers ‘Why Do I Live Where the Air Hurts My Face?’ and ‘Dance of the Sugar Plum Fairy’. Artist Gabi Epstein stepped forward to share with us her connection to Judaism and her husband’s connection to Catholicism and the fact they celebrate both in their family. She and her husband call this time in December ‘Christmakkah’ which brought laughter from the audience. Epstein also shared that we are now in Day 6 of Hannukkah which is also important to recognize at this time of year. I also paid close attention to see how Garnhum would integrate the religious significance of what Christmas means to practicing Catholics and Christians, especially since I am one myself. I was moved because I really liked the choices made to include the French medley of some songs specifically ‘Minuit Chretiens’ and ‘Les Anges dans le Ciel’. To hear some of the transcendent sounding harmonies in several of my favourite tunes from this prime cast ensemble made me close my eyes simply to enjoy and I must give credit to Musical Supervisor Andrew Petrasiunas for the outstanding arrangements and Music Director Alexandra Kane for so astutely guiding the band and the cast. Some songs where I did this included ‘Do You Hear What I Hear’, ‘Little Drummer Boy/Peace on Earth’ and ‘Someday at Christmas’. The sound balance of the orchestra with the artists hit that sweet spot of perfection for me in these numbers as I could hear clearly every word of these songs from my seat in the upper balcony. One slight quibble I did have, however, was in some of the choral numbers at the top of the show where the sound balance of the orchestra overpowered the singers and I wasn’t able to hear fully the lyrics of some songs I did not recognize, and that was disappointing and frustrating. This occurred in the first numbers ‘Home for the Holidays and ‘Ring Out, Solstice Bells’. Hopefully, this can be rectified for the future enjoyment of audiences. Final Comments: Treat yourselves to ‘Home for the Holidays’. Joyous, wonderful, and uplifting. Running Time approximately 90 minutes with no intermission. ‘Home for the Holidays’ runs to December 24 on the Spriet Stage at London Ontario’s Grand Theatre, 471 Richmond Street. For tickets, call the Box Office call (519) 672-9030 or visit www.grandtheatre.com . You can also visit Facebook AND Twitter:: @TheGrandLondon. The Company: Justin Eddy, Gabi Epstein, Gavin Hope, Jacob Macinnis, Masini McDermott, Elena Reyes, Mark Uhre, Blythe Wilson Curator / Director: Dennis Garnhum Musical Director: Alexandra Kane Curator / Musical Supervisor: Andrew Petrasiunas Musical Staging: Lisa Stevens / Set and Costume Designer: Rachel Forbes / Lighting Designer: Kimberly Purtell / Sound Designer: Emily Porter / Stage Manager: Kelly Luft Previous Next

Back Seulement Toi/Only You As part of Torque '22 at Toronto's Harbourfront Fleck Dance Theatre Mary Rozzi Joe Szekeres Please Note: I hold no background or education in the field or study of dance. Instead, I will comment on the theatricality of the production I’ve noticed a few elements from the last few dance productions I’ve attended. There’s a great deal of simplicity in their set designs which is very important as the focus must remain on the dancers and their work. Anne Plamondon’s ‘Seulement Toi/Only You’ continues in that same vein of simplicity in set design at Harbourfront’s Fleck Dance Theatre. From my vantage point in the audience, on the darkened upstage looked what I thought were seven flats appropriately placed side by side each other. The last two flats stage right were placed slightly downstage for a possible entrance and exit for artists Anne Plamondon and James Gregg during their performance. I was pleasantly surprised at the set design by Marilène Bastien, Anne Plamondon and visual artist, Hua Jin. Once the performance began, what I thought were flats appeared to be scrims I could see through with the most intricate detailing of what appeared to be trees and foliage. Nicolas Descôteaux’s subtle whispered lighting at various moments of the piece created an almost beatific lighting around Plamondon and Gregg. Olivier Fairfield’s sound design incorporating the music of several artists (whom I will list at the conclusion of this article) enchantingly underscored the movement of the piece. The programme stated this evening’s work is an exploration of everything that brings us together or separates us from one another. I had the opportunity to profile Anne this week as part of a column series last week. She stated: dance is “a language of the body, of touching, reunion and communicating through the body from one person to the other.” The placement of hands, the feet, the head are all of prime importance in creating a visual experiential journey. In watching this performance last night, I can now understand Anne’s sentiment with her above statement. This sensually, intimate communication between partners in dance becomes strongly evoked in ‘Seulement Toi/Only You’ where, according to the programme that through dance, “the protagonists gradually remove invisible veils between each other to unmask the truth.” Plamondon and her dance partner, James Gregg, took me on a lushly, corporeal experience of movement through sight, touch and the occasional musical sound provided by the artists listed below. At this Toronto opening performance re-scheduled from March 2020, I witnessed two performers who were in love with the artistry of dance through their sinewed, strength, supple, powerful, and harsh creative movements and moments. During our online conversation last week, Anne wanted individuals like myself who have no background in dance that it is something that is worthwhile to experience. Yes, dance can tell a narrative and sometimes a story does not need to be present in the moment. Instead it is most likely an audience member can be swept away in a visual picture created in a split second on one part of the stage. It might be something that caught your eye momentarily. In other words, it’s not necessary to understand everything about dance. And that’s why it’s worthwhile to see ‘Only You’ tonight. What made this production work for me was the fact that Plamondon and Gregg are not merely just artists, take their bow at the end and walk away. Before they are artists, they are humans first. I loved this re-iteration. At the top of the show after the stage is lit up, we see both Plamondon and Gregg are at opposite ends of the scrims dimly lit, and it appears they are removing and putting on certain clothes knowing they will be spending time in an activity they cherishingly respect. The almost erotic touch both have in removing and placing on various clothing pieces lets us in on the fact that we can expect more from these two in their dance. Gregg then crosses over to meet Plamondon in her space, and it looked from my perspective as the lights went down they were both ready and fit to enter into a sacred space of dance. Their 60-minute movement in creative dance, of sensual appeal and of sometimes erotic touching of hands and fingers created a divine sacred space of worship for this art. Glorious to watch. SEULEMENT TOI/ONLY YOU by Anne Plamondon Productions As part of Torque ‘22 Performance this evening at 7:30 pm followed by a question-and-answer period with the artists at the Fleck Dance Theatre, 207 Queens Quay West, Toronto’s Harbourfront Centre. For tickets: 416-973-4000 or harbourfrontcentre.com Performers: Anne Plamondon and James Gregg. Choreography: Anne Plamondon Sound Design: Olivier Fairfield with additional music by Ezio Bosso, Ben Frost, Daniel Bjarnason, Nina Simone, Dimitri Tiomkin, Ned Washington Lighting Design: Nicolas Descôteaux Costumes: Marilène Bastien Technical Direction: Pierre Lavioe Previous Next

Back 'Let's Dance! The Musical' Original Concept and Story: Walter Schroeder with Book: Victoria Wells-Smith Presented by Terra Bruce Productions and now onstage at Toronto's Winter Garden Theatre Credit: Ritche Perez Group (and Terra Bruce website) Pictured: members of the cast Joe Szekeres A brand-new jukebox musical, ‘Let’s Dance! The Musical’ is an auditory and visual homage to some unique musical sounds and dances from the 60s. However, something’s missing from this production. It’s 1963, and Marco Del Monte (Luciano Decicco), an actor from Southern California, has returned home to New York City. He wants to begin a new career as a vocal teacher at his former conservative and old-fashioned performing arts high school, Northumberland High. Marco had a slew of auditions that did not go how he thought they would. He decided to return home, begin a new career, have a steady job (instead of one in the theatre), meet someone, and settle down. Marco’s sister, Debra (Ali Powell), is still a student at the school. Her area of specialty is dance. Marco also meets Sophia (Mikayla Stradiotto), a free-spirited and quirky dance teacher. The two of them decide to stage a show with their students that the school has never seen before while trying to hide their intentions from Principal Sherman (Michelle Shuster), a Northumberland High alumnus. Sherman prowls around the school, sneaks up on unsuspecting students, and pops in unannounced, sometimes to watch Marco and Sophia’s class in action. The opening night show: Set Designer Joshua Quinlan’s walls on casters roll quietly into place. An energetic cast seamlessly weaves them together to create several settings, whether in the classroom, Sherman’s office, or the school hallway of lockers. Frank Donato’s lighting design sharply focuses on where the intended focus should be. I liked the sharp single light on the 60s portable record player at the pre-show setting because it duly reminds me that we are entering another era. I remember having one of those portable record players. A huge nod of appreciation to Sound Designer Brian Kenny. I could hear every song lyric and spoken scripted word, so thank you for that. Graham McMonagle has finely replicated the 60s costumes from poodle skirts to slick hair, white-shirted, and tight jeans rolled at the ankles. ‘Let’s Dance!’ is a finely choreographed feast for the eyes and an auditory delight for the ears in the musical numbers. Aaron Eyre (arrangements) and Paul Moody (Musical Direction and additional arrangements) have arranged some of these 60s classics that are delightful to hear again. The vocals and harmonies are stunning, most noticeably in ‘The House of the Rising Sun’ and ‘It Never Rains in Southern California’! Victoria Wells-Smith’s choreography becomes one of the show's highlights. In his Director’s Program Note, Keith Pike writes about dreaming, especially in doing so when it comes to the theatre. His dream to think big, sing, and dance is noble, especially since we’ve all endured challenges and divisions over these last three years. The cheesy, hokey, and wafer-thin plotline is tolerably fun at first, thanks to Pike’s vision of wanting to have fun. And I did have fun at first. But it changed. Luciano Decicco is a suave, good-looking, youthful Rat Pack-looking Marco. Mikayla Stradiotto’s fashionista long-legged Sophia is a knock-out. Michele Shuster is an adorable busybody of a school principal whose heart is in the right place regarding the future of Northumberland High and its performing arts program. The ensemble members are terrific. They move, glide, shimmy and shake with confidence and ease. They look to be enjoying the dances of the 60s from Elvis Presley’s ‘Hound Dog’, ‘The Peppermint Twist’ and ‘Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini’. Some fine choreographed ballet moments in Frank Mills’ ‘Music Box Dancer’ are also executed with grace and class. Looking at the bios of the artists in the program, many are Sheridan College’s Musical Theatre Program graduates. A few have been educated outside the province. The original workshop production of ‘Let’s Dance!’ was held at St. Lawrence College. These are young people whom I hope to see on stage in the region very soon. They are the future of the theatre, and their ensemble synergy is thrilling to experience. But something needs to be added. It nagged at me for the longest time on the way home. And it finally dawned on me. In the quirkiness of other jukebox musicals like ‘Mamma Mia’, ‘We Will Rock You’ and ‘Rock of Ages’, a connection usually comes through a song, a humourous bit, or a conflict with another character. That doesn’t occur in Walter Schroeder’s original concept and story and Victoria Wells-Smith’s Book. Yes, these are stock characters from the actor who becomes a teacher because he can't handle the rejection any more to the kids who want to be Broadway stars, that's all there. Instead, there’s a sense that my place is in the audience for this show. That’s it. There’s a sense of feeling objectively removed and relegated as an onlooker. We should be changed somehow after seeing theatre, even musical theatre. That doesn’t happen here. And I wish it does. ‘Let’s Dance! The Musical’ becomes like a jukebox. We put a quarter in; we wait patiently for the music to start; we listen to the song and either appreciate it (or don’t care for it), and then leave. Life goes on whether we like or dislike the music. Hopefully, the show can be looked at again. At this opening night audience, my guest and I immediately noticed the hoopla catcalls during the show and the standing ovation at the end. Friends and family members of the cast and crew? Possibly, and there’s nothing wrong with that. Don’t forget those audience members who aren't friends or family members of the cast and crew, who want more and want to leave the theatre hopefully changed somehow. Running time: approximately two hours with one intermission. ‘Let’s Dance! The Musical’ runs until August 20 at Toronto’s Winter Garden Theatre, 189 Yonge Street. For tickets call the Box Office: 416-366-7723 | 1-800-708-6754 or visit https://terrabruce.com/lets-dance/ Terra Bruce Presents: ‘Let’s Dance! The Musical’ Original Concept and Story: Walter Schroeder Book: Victoria Wells-Smith Arrangements: Aaron Eyre Direction: Keith Pike Additional Arrangements and Musical Direction: Paul Moody Choreography: Victoria Wells-Smith Set Design: Joshua Quinlan Costume Designer: Graham McMonagle Lighting Design: Frank Donato Sound Design: Brian Kenny The Band: Paul Moody, Shane O’Regan, Alex Panneton, Soren D’Alimonte, Jasmine Jones Performers: Luciano Decicco, Mikayla Stradiotto, Michele Shuster, Dylan Corscadden, Rebecca Sellers, Ali Powell, Levi Stepp, Océane Kitura, Bohémier-Tootoo, Kenzie Drover, Timothy Harder, Alexander Batycki, Diego Terán, Jacques St-Pierre, Celeste Brillon, Eric Dahlinger, Jaden Kim Previous Next

Back 'Disney's ALADDIN' The North American Tour Cast Now onstage at Toronto's Princess of Wales Theatre Dean Van Meer Joe Szekeres "No need to put the Genie back in the lamp. This touring ‘Aladdin’ is solid family entertainment.” Set in the fictional Arabian city of Agrabah, we meet a larger-than-life individual who begins to tell the story: Aladdin (Adi Roy) and his three friends, Kassim (Brandon Burks), Omar (Kyle Caress) and Babkak (J. Andrew Speas) spend their time in the city stealing food. Aladdin dislikes being called a street rat because he steals. He makes a promise to his deceased mother he will turn his life around to do good instead. We are then transported to the palace of the Sultan (Sorab Wadia) who scolds his daughter Jasmine (Senzel Ahmady) about her refusal to marry another suitor before her birthday which is in three days. The Sultan’s Grand Vizier, Jafar (Anand Nagraj), wants to usurp the throne and perhaps even marry Princess Jasmine. Jasmine leaves the palace disguised to see what life is like outside the walls. Here, she meets Aladdin. He has no idea who she is but has become smitten with her beauty. Through Jafar and his assistant Iago’s (Aaron Choi) evil tomfoolery, they have discovered through the Cave of Wonders, a place that holds untold power, that Aladdin is the ‘diamond in the rough’ who is the only one allowed to enter. When Aladdin is instructed to bring a lamp to Jafar and Iago and not touch anything else, the young lad also touches the Egyptian chain which seals the cave and sets it in complete darkness. Aladdin rubs the lamp to get some light and unleashes the Genie (Marcus M. Martin), the larger-than-life individual who opened the story. He grants Aladdin three wishes with some stipulations. One is to become a prince to try to win Jasmine’s favour. Genie grants the wish as the young man becomes Prince Ali, who returns to try and win Jasmine’s hand in marriage. The second act continues with further problems until there is a showdown between good and evil (with those involved entirely dressed in black and white). Several children were around my guest and I all dressed to the nines on this opening night. Mom and Dad wanted to introduce them to the wonders of the theatre. Parents, you’ve made a wise choice. This touring ‘Aladdin’ remains fun for the family to watch theatre magic cast its spell, not only onstage but also for the audience. The entire production becomes a visually swirling kaleidoscope of colour and sound. Gregg Barnes’ dazzling costume designs are eye-extraordinary in all colours, designs and textures. Bob Crowley’s Scenic Designs and Daniel Brodie’s Projection Designs remarkably add tremendous depth to those moments either staged on the street, in the palace or the Cave of Wonders. Natasha Katz’s lighting heightens the dramatic or emotional intensity of the scene. Ken Travis’s sound design, coupled with the illusion design of Jim Steinmeyer and Rob Lake, appeal to the child like fantasy within all of us. Casey Nicholaw is a theatre wonder. Just this past summer I saw his original Broadway direction and choreography of ‘Some Like It Hot’ which twirled and whirled with velocity I sat back and caught my breath for those performers. The same holds true for this ‘Aladdin’. Nicholaw wants his audience to have a good time. And he succeeds. And I did. And so did my guest. Music Director James Dodgson assuredly piqued my curiosity with the opening song ‘Arabian Nights’ and gave me goosebumps for its strong vocal work. It reminds the audience we have been whisked away from the damp Toronto night to a far away land. ‘Friend Like Me’ is a glittering showstopper which merited the longest applause out of all the musical numbers. It’s the show’s highlight so sit back and just enjoy. ‘A Whole New World’ slows the pacing down for the audience to catch its breath. It’s a lovely moment between Roy and Ahmady (complete with their magic carpet ride). There are moments where the pacing slows down for the entire audience to catch its breath. Marcus M. Martin’s Genie commands as the Genie. He struts and moves with intended purpose and comes dangerously close to stealing the show, but he doesn’t. Adi Roy and Senzel Ahmady are youthfully charming as Aladdin and Princess Jasmine. Sorab Wadia is a kingly father figure as the Sultan. Much of the comedy stems from the terrific work of the supporting players. Anand Nagraj and Aaron Choi are ideally paired as the evil Jafar and sidekick Iago. At this performance, Brandon Burks, Kyle Caress and J. Andrew Speas play Aladdin’s best friends with impish grins who are fast on their feet. I’m always amazed at how quick this Ensemble (or any show Ensemble) changes costumes from one scene to the next in a matter of seconds. This ‘Aladdin’ ensemble never upstages any of the story’s action but will sometimes give a look or stare that still adds to the overall fun of the show. And Another Thought: The fun continues right to the end after the final dance number of the second act. Without spoiling the surprise, something happens right after this final number concludes. The audience is involved. My guest and I loved this surprise. Everyone around us loved it too. ‘Aladdin’ plays during the school March Break. Take the kids to see it. Running time: approximately two hours and 30 minutes with one interval. ‘Aladdin’ runs until March 17 at The Princess of Wales Theatre, 300 King Street West, Toronto. For tickets: mirvish.com or call 1-800-461-3333. DISNEY THEATRICAL GROUP presents ‘Aladdin’ The Hit Broadway Musical Music by Alan Menken Lyrics by Howard Ashman, Tim Rice and Chad Beguelin Book by Chad Beguelin Directed and Choreographed by Casey Nicholaw Music Director/Conductor: James Dodgson Scenic Designer: Bob Crowley Lighting Designer: Natasha Katz Costume Designer: Gregg Barnes Illusion Design: Jim Steinmeyer, Rob Lake Sound Design: Ken Travis Projection Designer: Daniel Brodie Performers: Marcus M. Martin, Anand Nagraj, Aaron Choi, Adi Roy, Senzel Ahmady, Sorab Wadia, Brandon Burks, Kyle Caress, J. Andrew Speas, Tyler Johnson-Campion, Kolten Bell, Collin J. Bradley, Brandon J. Large, Lizzy Marie Legregin, Sonia Monroy, Katie Pohlman, James Caleb Grice, Evin Johnston, Adam Mandala, Adriana Negron, Jessica Mallare White Previous Next

Back Barbara Fulton Theatre Conversation in a Covid World --- Joe Szekeres When I read Barbara Fulton’s biography she had sent to me, I hadn’t realized just how many of the productions I’ve seen in which she has appeared. I’ve recognized her name in programs and it was a delight to be able to connect with her via Zoom today for our conversation. She is a singer and actor who has worked primarily in Music Theatre. Until March of 2020 she played Diane in the Toronto company of ‘Come from Away’ at the Royal Alexandra Theatre. After a year of theatre training at Halifax’s Dalhousie University, Barbara went to England to train at Bird College in musical theatre. Upon returning from England, she spent three seasons at the Charlottetown Festival and then played Grizabella in the Toronto production of CATS. (And I do remember Barbara’s performance.) She worked with the Stratford Festival for 22 seasons with notable shows: Notably, A Little Night Music, The Lion, Witch and The Wardrobe, Fiddler on the Roof, Electra, Taming of the Shrew, A Midsummer Night’s Dream, Hamlet, Into the Woods, The Mikado and The Miracle Worker. Barbara is a recipient of numerous Guthrie awards from Stratford and a Dora award for her work in ‘Life After’. Also, in Stratford, Barbara sang with The Duke Ellington and Glen Miller Orchestras and has produced two jazz standard CDs with her husband Paul Shilton. Thank you so much for your time, Barbara. I look forward to speaking with you in person when it’s safe to return: In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? Your immediate family? Well, at first, I have to admit that I was giddy with excitement at the thought we were going to have a month off, and that we would have a nice holiday. But that’s not how it turned out. The week before I had just said to my husband that I was getting weary. I have an apartment in Toronto and my home is in Stratford. I would go home here on Sunday evenings until Tuesday morning. And that was great, but I was getting weary of the entire thing of six days a week for two years. I’ve had three weeks off interspersed in those two years, but it was uncanny that it was the week before the theatres were all shut down when I thought I don’t know if I can carry on and I was weary. Then this ‘thing’ happened, and none of us knew how serious it really was. Yes, the first month was nice to be at home in Stratford. Spring was coming, going for walks, seeing all kinds of people in Stratford whom I haven’t seen in months. And then this pandemic started to get a little tiring and this whole idea of having to stay and separate from people and not being able to gather in the way we used to be able to. That started to really wear on me. And then it started to get a little bit lonely. I have a son who lives in Toronto and I was back and forth a bit but not much. I kept the Toronto apartment until the end of September and then I had to give it up. Closing up the apartment was a real nail in the coffin as well as I have no idea when ‘Come from Away’ will start up again. My husband and I keep saying thank God our parents are not going through this pandemic. It’s a very hard thing for the seniors. My husband and son are doing alright. My son did get Covid early September and it was a mild case, so far he’s fine. It lasted maybe a week and a half. His taste came back and everything came back. His girlfriend didn’t get it all. Paul, my husband, and I had been with our son the day before he was diagnosed, and it was terrifying thinking we could possibly have it. But we were masked and didn’t see our son without masks on. Paul and I had to go and get tested. That was a stressful time. Paul’s fine. He works as a music director at a church and for the longest time the church wasn’t meeting. They don’t have a choir at this time so his workload is much less. But at least they were gathering for awhile. How have you been spending your time since the theatre industry has been locked up tight as a drum? My thing now is walking and listening to audiobooks, and it’s saving my life and getting my 10,000 steps in. It’s beautiful here in Stratford for the walks. I had a lot of enthusiasm for the mask thing initially thinking if this is what is going to be, so I made some masks. I made about 10-15 and gave some away and lost some since masks fall out of your pocket quietly or go flying away without me even knowing because they drop on the ground silently. I was in the middle of rehearsal of a little outside show but couldn’t attend rehearsals until I had a negative test before I could return. This show did go on. There was a dance company called Corpus in Toronto and they do site specific and a lot of outdoor performances. So that’s how we got around this. We did this show in Trinity Bellwoods Park. It was myself and four other women and the show was called ‘Divine Intervention’. We were on a quint bicycle so five of us in a row on one bicycle. It was kind of a crazy thing to try to learn to do, but what a joy to have to learn a new physical skill at this time. We were masked as well the whole time and had to physically distance in rehearsal. The whole show was set up so we wouldn’t get very close to each other. We just told this story through music and movement on this bike. It really got the attention of the audience as we sang on the bike. It was a delight and it got me through. I was so looking forward to it. I knew about it in late May so I knew about it all summer. The show ended October 4 and we were lucky as the weather was perfect in the fall. Paul’s family has a cottage on Georgian Bay, and we were up there for two full weeks – one week in July and one week in August. For the first time, ever for me, I was always unavailable to spend any time at a cottage either because I was working at the Festival or performing in ‘Come from Away’. For me, this was so unbelievable as I couldn’t believe that I didn’t have to be anywhere, that I could just sit and enjoy myself for the two weeks and not worry about missing a show or being late. My family is in Nova Scotia and they are very strict down there as well with no visitors. The late Hal Prince described the theatre as an escape for him. Would you say that Covid has been an escape for you or would you describe this nearly year long absence as something else? I wouldn’t say Covid has been an escape from the theatre. It has been a cruel captor. For everyone. Now that I’m now not up on the stage offering my heart to the character, the audiences and my colleagues, I often feel empty, not knowing what my purpose is anymore. I’ve been in this industry for 40 years, and all that time there was this natural engine that kept me looking outward towards this unknown and exciting energy that I plugged into daily. Sometimes it was hope, sometimes fear, sometimes sheer excitement and anticipation of what I was about to connect with out there with people whom I loved and respected, whom I laughed with and who infuriated me and so on and so on. All I know of work in the theatre is coming together with a common, tangible purpose – to serve up a story that the audience can connect with. To share a piece of ourselves in the process and finishing the night with appreciation, there’s no other better job in the world. So, it hasn’t really felt like an escape other than that first month. It feels like I’m being kept from the natural rhythm of my life. I’ve interviewed a few artists several months ago who said that the theatre industry will probably be shut down and not go full head on until at least 2022. There may be pockets of outdoor theatre where safety protocols are in place. What are your comments about this? Do you think you and your colleagues/fellow artists will not return until 2022? I wouldn’t disagree because I think that’s really logical. I’ve done some investigating into what the 1918 flu was like and what kind of impact that it had and compare it to what’s going on. It was about five years before that virus stopped being a threat at all. That’s a long time but that’s without vaccines. So, I’m hopeful that the vaccine will speed up things up compared to that experience. There’s lots of talk about Broadway coming back in September, and that’s all well and good. It’s not just us we’re talking about. We’re talking about the general public’s comfort level with gathering and being close together for that length of time. Whether or not theatres can or are interested in setting up plexiglass between seats, between the actors on the stage and the audience, there’s so much I can’t fathom about what Mirvish is even thinking at this time and what to do. Their discussions must be all the time in thinking what should we do? There are options and a lot of them cost a lot of money. The other option is to wait this out. That’s fine for those of us who are capable, able, and still the right age (Barbara starts to laugh). I sort of worry that perhaps I’m ageing myself. I think all of us in ‘Come from Away’ are ready to pick up right where we left off. There might be some people who have moved on professionally, but I think most of us are in for the long haul. We’re all going to have to rehearse the show to get it back to where it was before the shutdown. Just to add to all this, in a post Covid world I don’t really know what the theatre will really be like. Naturally, I believe we will be through the worst of this virus but whether or not it will be safe to gather? I don’t know. Part of this is question is if it’s going to change me. I think we’re dependant on connection with each other. Story telling is ancient; it’s a teacher; we need to see ourselves reflected back at us to learn to learn empathy and perspective. Sometimes theatre is described as an escape, but I prefer to think of it as a portal, consciously or unconsciously we’re learning what it means to be human by watching stories unfold. We will not lose the theatre that we knew, it’s just going to take a long time. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? This is hard because Covid has forced us to separate from each other emotionally as well as physically because you don’t get the emotional without the physical as human beings. That muscle in me, I feel, has gone a little bit dormant. The whole business of connecting in a shared experience. And we’re missing out on a lot of shared experience right now. That’s going to be a challenge, but no better place to do it in a theatre. I’m not too sure as a performer how Covid has transformed me because I haven’t performed in awhile. As a person, I’ve become a lot more aware of other people. The whole idea of wearing a mask, yes, you’re protecting yourself and others. The caring about others is surely more evident right now and necessary. There’s a caution moving forward that I didn’t ever use to have. None of us did. We just assumed that we were all in this big soup together and we were all fine. Being close and involved with each other, I took for granted. I’m not sure I do now. ‘Come from Away’ is going to be an emotional experience for all of us when we return because of what the story entails and details so that transformation will be strongly evident when we return. The director, Christopher Ashley, has told us we are reporters of what occurred after 9/11, but it’s going to be a challenge to not let our emotions get the better of us when we do return to what this production stands for – empathy and compassion for others. 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 actor/artist and the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre? It's funny I felt danger in my own life when my son contracted Covid and I had to stay away from work. I lost sleep about my son having Covid. It was terrifying. He’s fine as he only had a mild dose, but it was still terrifying. My world started to spin with understanding just how dangerous a virus this and how much of a danger I might be to others which was something I had never felt before. My presence in other people’s company is potentially dangerous. I had a test and was negative. Until I had that negative test, I felt like I wanted to disappear and not be near anybody and be responsible for anymore of this ‘horribleness’. That’s what it taught me just how we are all connected and so responsible for our actions. When I transfer that danger onto the stage, I totally agree with Ms. Caldwell’s definition. Danger is present only if you are in the moment. The work of an actor on stage is to keep it fresh every night as if it’s your first time doing it. There’s techniques to get through or to just let go and just be fully present. When you are fully present in life as well as onstage, that’s a really vulnerable place to be. And when you’re that vulnerable, it’s dangerous. I wonder if that’s what Zoe Caldwell means by danger in this context. The audience can feel danger if we are fully and truly in the moment. If you’re completely in, it’s almost scary because you don’t know what’s going to come next. If we can all feel that danger, it’s a much richer experience. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre? I’m going to be a lot more sensitive to other people’s level of comfort. I don’t know how it’s going to work when we get back together as a group and be in the same room. I’m terrified of bringing something into that space when we return because of my closeness and proximity to all of us. I’ve learned though this that different people have different levels of comfort or discomfort with this situation. It hadn’t really occurred to me that I could catch Covid just from someone walking by but now, when I walk by people in Stratford on the street, I have to be more aware of other people’s level of comfort. I hope that masks are around for quite some time, just in case. There’s won’t be any possibility of anyone wanting to go to the theatre unless they’ve been vaccinated. Nobody knows how long these vaccinations will last. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? I feel so almost stuck. I don’t feel like I’m living the same life that I once did. It feels like a forced retirement. It might be a good thing, but I’m not ready for retirement yet. I’m always going to be available if anyone wants to pay me to sing. As far as curiosity goes, having this time has been really a gift because I’ve read so many books. I’m now very much okay with sitting down and spending a couple of hours reading. I’m not a news junkie, but it’s something I can click into if I want to. The gift of time has been incredible so I’m curious about all the things going on in the world. Books I’ve been dying to read. There’s also a curiosity about each other and how everybody is feeling emotionally. We’re all riding this thing out in the best way we can, and I love having conversations with people just about how they’re doing. In ordinary times, we talk about what we’re doing, but don’t talk about how we’re doing. Covid has made me curious as to how others are feeling. That’s a human curiosity. I love having the time and freedom to explore and be curious about other things. Previous Next

Back Is My Microphone On? Canadian Stage's Dream in High Park, Toronto Elana Emer Joe Szekeres A bold and courageous production of a controversially delicate script despite some rough spots Canadian Stage took some daring risks in producing Jordan Tannahill’s ‘Is My Microphone On?’ as this opening night performance encompassed many noteworthy things. With gritty and focused direction by Erin Brubacher, I loved how this diverse group of young performers became a highly natural professional ensemble of players to present what I’m going to call Tannahill’s chorally spoken text based on what the Programme Notes state are “excerpts or lines inspired by Greta Thunberg’s speech to world leaders at Davos on January 25, 2019; Thunberg’s speech to British MPs at the Houses of Parliament on April 23, 2019; Thunberg's address to the United Nations on September 23, 2019; a Facebook note posted by Thunberg on February 2, 2019; and Nature Now, a short film by Thunberg and George Monbiot, released September 19, 2019.” I don’t want to call these artists ‘kids’ as they have made a brave choice to be part of an extremely important adult discussion of Greta Thunberg’s ideals which truthfully have been both admired and maligned by many. Just a side note here: I loved the professional looking curtain call delivered by these young people. Classy and impressive as it did not resemble a put together last minute ‘grade school/high school’ bow at the end of a show. There was so much to like about this Canadian Stage production. For one, holding it outdoors was an ideal choice as the sounds of cicadas and birds enhanced some of the silent moments. I’m sure this wasn’t intentional but, just before the performance began, there was the sound of an ambulance siren in the distance. I thought what a clever tie in with the ambulance sound juxtaposing the message of the play in the fact our planet is very ill with the destructive elements of climate change. The actors surrounded the audience on the stage, at the side and at the back (all physically distant from each other) so we would be able to listen and to hear their voices all around us. The use of head mics allowed me to hear the lines clearly delivered so that was extremely important since the performers never or rarely veered from their space during the 65 minutes (except those who went to play one of the musical instruments for sound effects and for the song at the end). Tannahill’s script captures the colourful and sometimes vulgar teenage and young person vernacular style, and Brubacher’s cast handled it with confident aplomb. There were a couple of moments where the ‘f bomb’ was dropped and I wondered how parents might have responded as there were several young children around me. I’m not naïve to think that young children have not heard swearing before, but I’m hopeful parents may have had a discussion with their young lot post show on the way home. You’ll notice that I earlier called Tannahill’s script controversially delicate. Good theatre and good drama will take sometimes delicate social issues hopefully to spark some rational discussion in context. In this case, as Director Erin Brubacher stated in her Programme Note: “This work is a response to the climate emergency, performed during an election in progress. These kids are here to tell you to consider who you vote for and what you demand of your representatives. They can’t vote. They need you to take care.” There are several moments where the cast connects these two elements applicably, and I applaud these young people for making me aware of their understanding of how they see the climate emergency in the face of an upcoming election that could certainly change the course of events for many of us. However, there were some moments where I didn’t feel as strong a connection continually as I wished I had. For example, the cast certainly got my attention when the question was asked at the top of the show for those of us who were born before 1965 to raise our hands. I did as I’m a 1960 baby, but the comment that was returned to us from the stage irked me a tad and made me feel less of that important connection when it is implied that I’m responsible (meaning those from my years) for the present-day situation in which our world now finds itself. I understand what the cast was trying to accomplish in realizing that hopefully anger makes us pay closer attention. But my back was still up about this annoying earlier insinuation even as I listened to some mighty impressive choral work that ventured into a sometimes angry, sometimes bitter, tirade against we baby boomers as to how we are responsible and should be ashamed of ourselves for the choices made over forty, fifty years ago that have now made our planet sick. This isn’t what I was expecting as my invited guest and I later discussed in the car on the way home. Had what we just seen was a prime example of a script of an indoctrinated woke culture which refuses to see things and place them in context of events that had transpired prior to the lives of these young people and their uneducated lack of humility in their understanding? Nevertheless, I persevered through to listen hard to what these young people were wanting to tell me about their fears and concerns for their future. The fascinating individual stories intertwined with the spirited choral narration fully engaged me to want to learn more from their perspective. But I had quibbles with two issues that really didn’t make me connect with what this youthful lot wanted me to understand. The first occurred with what my guest and I called the Elaine Benes (from Seinfeld) dance that one of the characters performs. We both agreed we could not make any kind of connection to this dance and how it even moved the plot forward. The second issue occurred with the song near the end of the production. As a retired teacher, to hear youthful voices join in melodious harmony becomes truly inspiring, and I thought the song would make a strong conclusion. It didn’t happen. Sound balance between the speaker system and the singers was off and I couldn’t hear the majority of the song lyrics at all, and I so desperately wanted to hear what these impressive young people wanted to re-capitulate once more through another highly dramatic musical art form. I do hope this will be fixed for future audiences and performances as I received the impression this song is of utmost and dire importance. Running Time: 65 minutes Production runs to September 19 at Toronto’s High Park Amphitheatre, 1873 Bloor Street West, Toronto. Performances begin at 7:30 pm. For tickets and further information, please visit www.canadianstage.com . IS MY MICROPHONE ON? By Jordan Tannahill and Directed by Erin Brubacher Presented by Canadian Stage With performances by Remi Ajao-Russell, Hiyab Araya, Jack Bakshi, Chloe Cha, Felix Chew, Nia Downey, Sidonie Fleck, Oscar Gorbet, Saraphina Knights, Iris MacNada, Iylah Mohammed, Amaza Payne, Sanora Souphommanychanh, Alykhan Sunderji, Catherine Thorne, Sophia Wang, and Skyler Xiang. Previous Next

Back 'Mad Madge' by Rose Napoli WORLD PREMIERE Presented by Nightwood Theatre in association with VideoCabaret now onstage at The Theatre Centre Presented by Nightwood Theatre in association with VideoCabaret now onstage at The Theatre Centre Joe Szekeres (Photo Credit: Dahlia Katz. L-R: Izad Etemadi, Wayne Burns, Rose Napoli, Nancy Palk) “Rose Napoli embodies the bodacious Mad Madge with a feisty flair and delivers a stunning performance.” Seventeenth-century society is captivatingly turned upside down in ‘Mad Madge,’ a world premiere by Nightwood Theatre in association with VideoCabaret. Playwright Rose Napoli’s tale deals with the real-life fame hunter Margaret Cavendish who, (according to director Andrea Donaldson’s Programme Note): “is reported to have pushed boundaries through her prolific and uncrafted writing ideas, her unusual fashion sense…and standing up bare breasted with her nipples painted red at the theatre.” ‘Mad Madge’ clearly resonates in our twenty-first-century world. The play is sometimes somewhat raunchy, but it’s written with purpose. Napoli’s 17th-century tumultuous setting of reversing sexual and gender roles and mores appears commonplace and expected. Men have become women (sounds slightly familiar, doesn’t it?). Women want to leave their mark on the world in any way possible. Remember the fame surrounding the late Diana, Princess of Wales and Prince Charles’s response at that time. A poet, philosopher, and scandal—maker, Margaret (who became known as Madge) wants to leave a mark on the tumultuous world in which she lives. Such brash qualities would have been unseemly in 17th-century women, but Madge is unconcerned with such character labels. Her hunt for fame becomes an obsession as she does not want her understanding of women “to live and die like worms” (again, according to Donaldson’s programme note). Margaret did all she could to escape this fate and hoped people centuries later would still be talking about her. The following message from Napoli was projected on the lobby wall outside the Franco Boni Theatre in Toronto’s Theatre Centre: “What you are about to see is not wholly inaccurate. But close.” I would like to add something to that above statement: “And be prepared for a hell of an enjoyable ride in the process.” The young Margaret leaves the dull and lonely family life that she knows to go and become famous in the life of the 17th-century court. Her first job is shit bucket girl to Queen Henrietta. Later, Madge becomes confidante to the Queen. Cavendish has also written several books, one in particular ‘The Blazing World’ known as the prototype for science fiction. Madge does everything she can to get her book reviewed by well-known diarist and commentator Samuel Pepys. Margaret was also the first woman to be invited to The Royal Society of London for the Improvement of Natural Knowledge. Playwright Napoli creatively stylized in her script how Madge gets herself invited to speak to Pepys. The production takes place in a theatre in the round setting, with the actors entering and exiting from all four sides. Its fast and furious pacing periodically left me breathless and exhausted, but I wanted to see and know where the story was headed. Visually, the production utilizes the playing space well within the Boni Theatre. The production designs by Astrid Janson, Abby Esteireiro, Merle Harley, and Alessia Urbani caught my eye with the costumes' various colours, hues, tones, and textures. Attention to detail has been paid to some of the garments. Rebecca Vandevelde’s lighting sharply focuses attention where needed. Olivia Wheeler’s sound design is precisely executed when necessary for dramatic effect and intent. Director Andrea Donaldson skillfully never allows the production to veer out of control. There remains a continued sense of purpose behind the crazed and outlandish situations. The multi-faceted ensemble cast is outstanding, and a few play more than one role. Nancy Palk’s pompous and haughty Queen Henrietta is hilarious. Palk spends a good deal of time in this role sitting on ‘the throne’ and still maintains a sense of class and comportment until it is revealed just how ‘naughty’ the queen is. Wayne Burns and Izad Etemadi are entertaining as Trudy and Judy, ‘valley girls’ and ladies in waiting who become jealous of Madge’s quickly escalating fame. They become playful reminders of Tweedledee and Tweedledum from ‘Alice in Wonderland.’ Farhang Ghajar is a riot as Henrietta’s sex toy, Dycker,(get it?) in the first act and as daytime TV Host Brothel Bob, in the second. He also becomes the voice of reason as Margaret’s brother, Bob, when she must return home in the second act. Karl Ang becomes a dashing William Cavendish who ultimately wins over Margaret and her antics to become famous. ‘Mad Madge’ is clearly Napoli’s show. In her Programme Note, she speaks of how she risked herself in the writing and even at the top of the show. Risk-taking is a good thing, especially in the theatre. Napoli embodies the bodacious Madge with a feisty flair and delivers a stunning performance. And Another Thought: I couldn’t help but think of a connection I used to make with high school students when I taught about some of the greatest literary tragic characters and their madness. Within their madness, these figures saw the truth for what it is. Napoli became interested in Cavendish several years ago when a Toronto woman threw a chair off a balcony onto the Gardiner Expressway. Yes, that woman was mad for throwing an item that could cause destruction; however, as I think further about that situation, was that Toronto woman perhaps revealing a truth about us that all was not well with our world? Was Margaret Cavendish revealing a truth about the world she knew about the 17th century and, hopefully, wanting others to know that all was not well in that world, too? Questions upon questions upon more questions. That’s what I love about the theatre. Go and see ‘Mad Madge.’ Running time: approximately two hours and ten minutes with one interval/intermission. ‘Mad Madge’ runs until April 21 at the Theatre Centre, 1115 Queen Street West, Toronto. For tickets: https://theatrecentre.org/event/mad-madge/ A Nightwood Theatre production in association with VideoCabaret present The World Premiere of MAD MADGE by Rose Napoli Directed by Andrea Donaldson Designed by Astrid Janson and Abby Esteireiro Stage Manager: Hannah MacMillan Production Manager: Maya Royer Production Consultant: Pip Bradford Sound Design: Olivia Wheeler Lighting Design: Rebecca Vandevelde Props and Wardrobe Build by Merle Harley Costume Builder: Alessia Urbani Performers: Rose Napoli, Karl Ang, Wayne Burns, Izad Etemadi, Farhang Ghajar, Nancy Palk Previous Next

Back ALAN LUCIEN ØYEN Looking Ahead Massimo Leardini Joe Szekeres To speak with dance artists from across the globe has become personally enlightening as I learn more about this intricate art form. A recent press release I received from Harbourfront Centre spoke about artist Alan Lucien Øyen's upcoming production of 'Story, story, die' at the Fleck Dance Theatre June 28-29 as part of his company Nordic Bridges. The Harbourfront Centre release stated: “[Alan] is a master of staged performance. Based in Bergen, Norway, Øyen and his labyrinthine work straddle dance, theatre, opera and film, and his hybrid approach to all forms is acclaimed for their highly emotional and dramatic drive.” I’m unable to attend this upcoming production at the end of this month but the more I read about Alan, the more I wanted readers to see how he incorporates the world of dance to tell a story. Alan came across as a very humble man during our conversation. I received the strong impression he is extremely grateful for the opportunities given to him professionally. For him, dance and the creation of the performing arts becomes a social experience both for the artists and audiences and Covid did certainly change the trajectory of the art form going forward into an uncertain future. At this point in time for him, Alan wonders about the long-term effects of Covid and will audiences at this time return. He also remarked about a strange phenomenon that musical theatre has seemed to return with audiences present while theatre is still trying to gain its hold with audiences. What makes movement and singing different from someone who speaks? Even within this conundrum, he's hopeful audiences will return. I am as well since the Harbourfront press release also states that Story, story, die is a work that questions who we (really) are and who we pretend to be. It’s like an open wound. Both artists and audiences will have to tread carefully as we begin to emerge slowly and return to performing and sharing stories. Personally, Alan believes after being shell-shocked at the result of Covid, it taught him how the artist had to flex the imagination. He first showed his humility while sharing a laugh with me in stating he wasn’t going to be the most creative in the Tik Tok territory venture. After we shared a quick laugh, Alan then stated he felt like a ‘bad creative’ for a bit when he felt like he didn’t want to venture into the Tik Tok territory or into any creative streaming presentation online. Why? That third dimension of the physicality and energy of dance is not great on screen. Alan then shared how he was able to capture this third dimension of the physicality of dance filmed which was quite exciting for him. Hopefully, moving forward, the creative and immersive work of dance can continue in the theatre once again as safely as possible for all involved. What does Øyen still believe he must accomplish in the world of dance? For him, it’s both simple and complicated. For him, the ambition and the goal have always been the same. He wants to move people. When Alan attends any theatre, he hopes he can forget about himself for a while and immerse himself in the lives of those on stage. While he works in dance, he also works in theatre. If dance and theatre can move him emotionally when he watches something, this is exactly what Alan hopes as well for audiences when they see his work. By forgetting oneself and immersing oneself in the work, Alan hopes he walks away with a new perspective. This is exactly what he would like audiences to do with his dance works as well – to walk away with a new perspective. Usually, when I comment or review something, I like to ponder and ask why the story needs to be told at this time. The Harbourfront press release states: “Story, story, die. features seven extraordinary dancers in a charged choreography that looks at the complicated synergy between lies and love and the staged images we create to be accepted [through] a raw, unfiltered and a deeply vulnerable take.” I asked Øyen to explain further why it needs to be told: “It’s a piece that in very many ways is a response to our time. I don’t know if we intended to do that with it, but it became that way. We started looking at fictionalization in everyday life. I’m always deeply fascinated by the concept of staging and the element of fiction and where they meet and how they affect each other. Whether it’s a true story or not, fiction always comes into play. When it’s a true story, then it’s the how and why it is fictionalized.” Alan claims the artists involved did not set out to create a social media piece, but in many ways, it can be looked at through the social media lens. It is through social media this piece is clearly articulated through the staging. When he worked on the preparation of this production, he watched YouTube selections of young kids and how their various channels were strategized for relaying their life. What became clearly obvious in all Alan’s preparation was the fast-paced element of the world in which we now find ourselves. One message he hopes audiences will take away from Story, story, die? It’s okay, it’s totally fine that whatever happens in your life, you will be fine. You’re not alone. The FJORD REVIEW described “‘Story story die’ as admirable for its sexiness and startlingly original highlights.” When I asked Alan what this comment meant, it appeared he might not have seen that comment as he laughed for a quick second and then said: ‘Well, sexiness is very subjective, isn’t it?” I think I put Øyen on the spot initially because he didn’t know what to say. He accepted the compliment readily and stated he agrees the dancers in his production are very sexy people as they are truly phenomenal dancers. There is an intimate connection between the person and the body with dancers that actors in a stage production might not have. That connection comes from touch and physicality for the entire day through rehearsals. whereas theatre, for Alan, is an intellectual exercise that may not involve the same degree of physicality and touch. Nathalie Bonjour, Director, Performing Arts at Harbourfront Centre stated: “Øyen’s Story, story, die. is a theatrical experience that both challenges our notions of love and happiness and unites us in our collective search for meaningful connection in an increasingly disconnected world.” Alan smiled and felt she encapsulated rather well what the presentation was all about. He said he would describe what Bonjour stated in lay person’s terms so that it could be understood by all. Alan stated if there are two people in a relationship, then the question arises of who am I with you? And what is the real me? And is it ever possible to get to this realization? And who are we together? Story story die runs June 28 and 29. For tickets and further information visit www.harbourfrontcentre.com Previous Next

Back Rick Miller ‘That’s how the young Rick Miller understood the world – by listening, hearing, learning and taking on a voice in order to better understand someone else.’ Joe Szekeres Joe Szekeres Rick Miller is one helluva busy guy. In 2020, he agreed to be one of the first few actors whom I profiled when all our lives had changed when the pandemic hit. We talked about his work when I first heard of his name in ‘MacHomer: The Simpsons do Macbeth’ at Toronto’s Massey Hall and, in a provocative turn, ‘Venus in Fur’ through Canadian Stage. I also saw him host the Dora Awards. I last saw him onstage at Port Hope’s Capitol Theatre in 2022 in ‘Boom’. I had seen the production at Montréal’s Segal Centre before then and enjoyed it so much. When the opportunity arose to see it again in 2022, I jumped at the chance. Miller will have just returned from premiering ‘Boom X’ and ‘Boom YZ’ in Taiwan where he has performed both shows in repertory. In 2021, Rick travelled to Taiwan with ‘Boom’ where the production was adored, and the overseas audience response was for the show to continue. A lot of work has gone into the preparation of the two shows for Taiwan. Miller learned some Mandarin over the last two years he can speak during the show which will also be subtitled. Amid all the travel and craziness involved in moving the show overseas, ‘Boom X’ arrives at Toronto’s Crow’s Theatre on May 10 and plays until May 28. An east-end Toronto guy, this will be his first time performing here and Miller is excited and proud to perform his work in his home and the neighbourhood which is so very important to him. He wants to give back to the community he knows and loves the opportunity to show those around him what he has been doing in travelling all over the world. ‘Boom X’ is billed on the Kidoons website as: “[Spanning] 1970-1995, this second in a trilogy of solo multimedia performances which collectively with ‘Boom’ spans 75 years of history, politics, culture, and technology on our planet. ‘Boom X’ picks up where ‘Boom’ left off, at Woodstock in August 1969 and takes the audience all the way to 1995 when the internet began to dominate our lives. Miller plays over 100 colourful characters from the days of disco, the oil crisis, Watergate, the Cold War, video games, punk rock, the (second) British invasion and more.” The form of ‘Boom X’ has altered from ‘Boom’. There’s a lot going on. It’s a busier show, technically heavy, and it’s a reflection of the beginning of the polarizing of the cable news that we started to live in at that time. The show begins that complex reflection of the media of the 1970s-1995 era, and that’s the magic and wonder of the live production that is high performance. Several weeks ago, I spoke with Rick in a coffee shop in the east end of Toronto and wanted to get caught up with him before he headed to Taiwan. He had just returned from performances in Regina with ‘Boom’ where he had never worked before. The show went extremely well in his words and there’s talk now of bringing ‘Boom X’ there, and Rick loves when that connection is made. On a personal and poignant note, he shared it was the first series of shows he had done since his mother passed away several weeks ago. Rick plays his mother over the course of this trilogy so he was curious how he would pull it off and how it would feel: “It felt less sad and more of a gift and honour to be able to tell [my mother’s story] and to share her voice and to play her in the show.” Rick says it’s hard to describe both the tightrope performances of ‘Boom’ and ‘Boom X’. On the one hand, they’re part entertainment, part documentary and part jukebox musical. Music is key and the heartbeat to these shows. It’s hard to pin down, but what comes across is a celebration of joy, humanity, light and humour. What leads out there is someone genuinely smiling and really trying to please. Artists shouldn’t be shying away from wanting to please and to give to audiences. It doesn’t all have to be introspective. While Miller doesn’t shy away from serious topics, audiences are looking for and want to be uplifted. ‘Boom’ and ‘Boom X’ are not only a history of the celebration of history, culture, and politics in all its complexity, but they’re performed with great spirit, joy, and humour and people love to see that. It’s a very high performance and Miller gives everything he’s got when he’s performing on stage. He literally lays it all out there in what he calls failure and sweat. The ‘Boom’ trilogy is a unique experience compared to what one can get online these days. He also said something that I find important as we all return to the theatre. Why bother going anymore? After the last few years, Rick stated the best writing in the world is happening on television and streaming platforms, but acknowledges: “It’s our responsibility as theatre performers to create something that is different from television and film. Don’t write or film-present a failed tv scenario on stage. That’s not serving the medium. If you want to bring people to the theatre, do something theatrical. You don’t have to spend a million dollars. Just be inventive and celebrate the fact people are in the room with you and create something special and unique.” Rick is proud to say his shows feel like events that leave an impression. He’s very grateful for this high compliment and praise he receives. He’s not simply a Vegas performer who can do voices. Miller feels he has the kind of skills that can leave an impression on someone’s heart and head. If he can bring something to light or jostle an idea through connection to an audience that leaves them even slightly transformed, that is a magical thing for him. That’s why he keeps doing these shows repeatedly. What keeps him grounded? Miller is 53 now and at that age where family responsibilities pull him in one direction and his parents in the other. He’s at that tricky stage of his life as a professional artist in asking the question: “What is the next chapter? or What is the last chapter?” To keep himself grounded, Rick practices mindfulness and meditation in this workout of his mind along with physical workouts. Essentially, he begins to understand how his brain works as everything is connected generally to well-being. By doing that, he puts all his thoughts, emotions, and craziness of our world into a little bit of perspective where he can breathe, set his feet on the ground, and set himself in the moment wherever he is. Rick calls himself a theatre performer even though he has done work in film and television. He takes this responsibility very seriously. People have paid good money to see him perform. They don’t want to see Rick do ‘Boom’ for the 400th time. They want to see him perform for the first time and Miller says that’s a huge responsibility on his shoulders. As we concluded our conversation, Rick mentioned how he is trying to ‘Fail better’, a Samuel Beckett quote. It means trying again, failing again, and doing better. Failure is part of any creative process whether you’re an actor, an athlete, a scientist, or an artist. You must try and fail, and only through that search and that failure do you find anything resembling success as it is fleeting. Rick doesn’t like hearing someone say they’ve arrived because everything is always changing in that sense. It’s a mindfulness thing. Everything moves on including one’s successes so don’t sit in outrage or exult in your own glory because these will pass. What’s next once 'Boom X' has completed its run? Over this coming summer, Miller will continue developing work with his Kidoons partner Craig Francis and then be back on the road in the fall with a tour of ‘Frankenstein’ and ‘Jungle Book’. Next year there will be five shows on the road including the three-part ‘Boom’ trilogy. Boom opens May 10 and runs until May 28 at Streetcar Crowsnest Theatre, 345 Carlaw Avenue. To book tickets, call the Box Office at (647) 341-7390 or visit crowstheatre.com. To learn more about Rick Miller and Kidoons, visit kidoons.com. To learn more about Rick Miller, the actor, visit rickmiller.ca. Previous Next

Back 'Cymbeline' by William Shakespeare. Now on stage at The Stratford Festival Now on stage at The Tom Patterson Theatre Credit: David Hou Pictured: Marcus Nance as Jupiter Joe Szekeres ‘Fine performance work with some interesting, staged pictures, but disappointing that I lost interest in the story’s plot and characters.” Once upon a time, a play from the Bard comes along that one might have heard of but had no context or opportunity to study in school. This is one of those times for me with ‘Cymbeline’. That doesn’t mean the Festival’s production isn’t worth seeing. I’m not saying that at all. There are moments when it’s visually spectacular and worthy of ‘Lord of the Rings’ (as director Esther Jun states in her Director’s Note). There are heated passions and emotions in performances that bubble with intensity. The cast of ‘Cymbeline’ includes Stratford stalwarts and young performers whom I’d like to watch for in the future. I understand that audiences in Elizabethan England would have had some background in understanding the context and the characters. Nevertheless, Cymbeline’s plot is highly complicated. A few subplots feed from the central, and the characters intertwine so much that I got lost a few times. By the end of the three hours, I lost my connection with the story. Instead, I appreciated the wonder and spectacle how Jun shaped the story to become ‘a magical play’ (as she called it in her Director’s Note). In a long-gone Britain that is slowly wasting away, everyone is trying to save the delicate ecosystem and the court of Queen Cymbeline (Lucy Peacock). Innogen (Allison Edwards-Crewe), the only daughter of Cymbeline, secretly marries Posthumus (Jordin Hall), a worthy enough but low-born ward of the court. Cymbeline is furious and banishes Posthumus. Cymbeline’s husband, The Duke (Rick Roberts), plots to wed Innogen to his only son and her stepbrother Cloten (Christopher Allen) and to rally Britain against Rome. Upon banishment and finding shelter in Rome, Posthumus meets the wealthy Iachimo (Tyrone Savage) who bets that Innogen is not what Posthumus believes her to be and that he could seduce her. Iachimo tries to seduce Innogen, but confusion erupts in the following madness. From this point on, there are characters in gender-swapping disguises, battles ensuing, familial strife and forbidden love as right will ultimately prevail. Echo Zhou’s set and lighting designs make this Britain from long ago a fantasy world. Green lighting gobo effects remind the audience that they are in another world. There is a tall tree with branches far upstage. The tree rarely (if ever) moves from the stage. I’m puzzled as to why the tree remains there for the entire performance. Does it have something to do with things rooted in the world that will always remain firm? That point was not made clear. Michelle Bohn’s costumes radiantly sparkle at times, especially in those hushed green lighting effects. As matriarch and queen of Britain, Lucy Peacock’s Cymbeline regally commands the Patterson stage each time she appears. Marcus Nance’s Jupiter and Rick Roberts’ Duke remain compelling throughout. In the second act, Nance’s appearance as Jupiter with the wings of a bird made me sit up immediately and pay close attention to him and how that moment is staged. Even though the play's title is named after the parental figure, the complete character arc of Allison Edwards-Crewe’s Innogen becomes the play’s focus. Edwards-Crewe propels through the various emotions with genuine believability at one moment and an intense ferocity the next. Irene Poole is a gentle Pisanio. Tyrone Savage’s villainous Iachimo is fascinating. Jonathan Goad and Wahsonti:io Kirby have a terrific, amusing moment near the end of the play that draws much-needed laughter from the audience. And Another Thought: Sometimes, when one attends the theatre, it’s okay to sit, experience and appreciate the marvel and staging of storytelling. Character development might just become secondary and that’s okay. I wish I could have connected to more characters and the story than I did. Running time: approximately three hours and five minutes with one interval/intermission. ‘Cymbeline’ runs until May 28 at The Tom Patterson Theatre, 111 Lakeside Drive. Stratford. For tickets: stratfordfestival.ca or call 1-800-567-1600. THE STRATFORD FESTIVAL presents ‘Cymbeline’ by William Shakespeare Directed by Esther Jun Set and Lighting: Echo Zhou Costumes: Michelle Bohn Composer: Njo Kong Kie Sound: Olivia Wheeler Performers: Marcus Nance, Cynthia Jimenez-Hicks, Rick Roberts, Jordin Hall, Allison Edwards-Crewe, Lucy Peacock, Irene Poole, Anthony Palermo, Christopher Allen, Evan Mercer, Caleigh Crow, Tyrone Savage, Josue Laboucane, Anthony Santiago, Wahsont:io Kirby, Julie Lumsden, Matthew Kabwe, Jonathan Goad, Michael Wamara, Noah Beemer, Chris Mejaki, Tara Sky, Jennifer Rider-Shaw Previous Next

Back 'Jesus Christ Superstar' at Toronto's Princess of Wales Theatre The 50th Anniversary Tour Mirvish Site Joe Szekeres From a Catholic/Christian point of view, it might appear a tad incongruous to stage Andrew Lloyd Webber and Tim Rice’s ‘Jesus Christ Superstar’ during the Advent season in preparation for the celebration of Christmas and the birth of the Saviour. The musical is a loose Gospel retelling of how Jesus Christ spent the last week of his life as seen through the eyes of Judas, the betrayer. In 2018, Jonathan Merritt wrote in the Washington Post that: “Superstar” flopped when it debuted in Britain in 1970, and was banned by the BBC for being sacrilegious. When it hit Broadway the next year, the musical was widely criticized by Jews and Christians — as well as by Webber himself. (https://www.washingtonpost.com/news/acts-of-faith/wp/2018/04/02)) I can even recall a moment from the iconic 70s television show ‘All in the Family’ where Archie Bunker made a side swiping comment about making Jesus into a ‘Superstar’. From the same online article, Merritt also alluded to a comment Sir Andrew made regarding ‘Superstar’: “…(It) was really not an irreligious piece, as has been so often suggested. In its own way and in its own time, it was simply a work attempting to ask a couple of questions, the chief of which was stated by Bob Dylan some years ago: ‘Did Judas Iscariot have God on his side?’ (“https://www.washingtonpost.com/news/acts-of-faith/wp/2018/04/02) In a woke culture in which we now find ourselves where religion and faith might be cancelled or ignored, this production of ‘Superstar’ is not an irreligious piece as stated above. Instead, this 50th anniversary tour answers if Judas does have God on his side while providing some important context for audiences. I don’t want to spoil how it does, but the fact that it is done suggests this ‘Superstar’ is more than mere ‘fluff’ entertainment for the holidays. And that’s exactly what is accomplished on the Princess of Wales stage. And done quite well, I might add. Nearly flawless, but more about this in a moment. Every inch of space is utilized to maximum effect on this multi level set without appearing cramped. The orchestra is located on the top level where some of the actors suddenly and mysteriously appear when my attention was focused on another part of the stage. Slightly angled just off-centre stage is a runway in the shape of a crucifix (and yes, those who know the show are aware of how this runway will be used at the end). This runway also becomes the scene for the Last Supper. Upon hearing the astounding and soaring solo and choral vocal work along with Drew McOnie’s hypnotic, dazzling and ‘to die for’ choreography, this 50th anniversary production still packs an emotional wallop. The only slight quibble I did have was momentary unbalance of orchestra and singers in some of the songs. Even though I knew the lyrics, I put myself in the shoes of those who might be seeing JCS for the first time and could not hear some of the songs. Again, just a slight quibble if I had to get nit picky. I continue to marvel how ‘Superstar’ still stands on its two feet when placed in the hands of creative individuals who assuredly make it work. Lee Curran’s Lighting Design heightens so many poignant moments especially in The Garden of Gethsemane and in Judas’s Death. Without spoiling for future audiences, the lighting effect at the top of the show and at the closing between Jesus and Judas becomes mesmerizingly haunting. Director Timothy Sheader impressively keeps the production moving forward at a heart pumping pulse right to the jaw dropping emotional climax of the title song and the Crucifixion. The remarkably eye-catching prominent ensemble choreography in ‘What’s the Buzz’ is sensational and stunning to watch. From my seat, this tight knit ensemble impeccably worked as a single unit in hearing simultaneously the words and the music. Both The Last Supper and the 39 Lashes drew gasps from me for two dramatic tableaux moments. Absolutely stunning. The ensemble work becomes exquisitely breathtaking so many times but I’ll just mention here to pay attention to the staging of the title song and ‘The Temple’. Paul Louis Lessard’s Herod soundly provided a few seconds of comic relief in his song, but what worked tremendously well for me here was that tinge that something awful was still going to occur. As Pilate, Tommy Sherlock’s visceral turmoil in confronting the crowd in deciding if Jesus is to be crucified is terrific. Now for the triumvirate around whom this production centres. Jenna Rubaii’s Mary Magdalene divinely reaches inside of her very being in ‘I Don’t Know How to Love Him’ and ‘Could We Start Again, Please’ to showcase very real human emotions of care and selfless love. One may wonder why the character of Mary remains with the apostles with all sorts of speculation ensuing, but who cares? Rubaii creates an authentic person who reaches out to comfort the Saviour in his moments of tired weakness and vulnerability. Without going into specific details of what occurred before the Toronto stop Tyrone Huntley, who played Judas in the original 2016 production of Jesus Christ Superstar at London’s Regent’s Park Open Air Theatre, reprises his role as Judas until January 2, 2022. He will only join the touring company for the Toronto engagement of the show. Huntley’s exuberant tour de force performance as the anguished, bitter Judas remained palpably imbedded within my memory even a few days later. Stellar work, indeed. At the performance I saw, Pepe Nufrio (Jesus and Judas standby) delivered a sterling character portrayal of Jesus. Nufrio’s Jesus is not the blond-haired, blue-eyed persona we might see in modern photographs, but a man who (even though is exhausted and tired) remains firmly rooted and convicted in knowing who he is and what has been set out for him to do. Final Thoughts: Several weeks ago, I had the opportunity to profile Aaron LaVigne who plays Jesus in this production. I asked him what message he hoped audiences would take away with them upon leaving the theatre. LaVigne’s response: “Hold a little bit more space for other people. Hold more space than you normally would for others.” This message radiated clarity for me upon seeing how Messrs. Huntley and Nufrio gaze at each other at the beginning and conclusion of the musical. Again, I don’t want to spoil it here for future audiences as I’m assuming the same occurs when Aaron LaVigne performs. One must see this live to understand it and experience it. Final Word: This ‘Jesus Christ Superstar’ remains exhilarating and inspiring. A wonderful gift of live theatre to give someone this Christmas/holiday season. Approximate running time: 90 minutes with no intermission. Work Light Productions presents the Regent Park’s Theatre London Production of Jesus Christ Superstar 50th Anniversary Tour Lyrics by Tim Rice and Music by Andrew Lloyd Webber Directed by Timothy Sheader. Choreography y Drew McOnie Music Director/Conductor: Shawn Gough with North American Music Supervision by David Holcenberg Lighting Design by Lee Curran Co-Sound Design by Keith Caggiano and Nick Lidster Scenic Hair and Costume Design by Tom Scutt With Aaron LaVigne, Tyrone Huntley, Jenna Rubaii, Alvin Crawford, Tommy Sherlock, Tyce Green, Pepe Nufrio, Eric A. Lewis, Paul Louis Lessard, Tommy McDowell. David André, Sara Andreas, Cou8rtney Arango, Wesley J. Barnes, Milena J. Comeau, Lydia Ruth Dawson, Derek Ferguson, Brian Golub, Brittany Rose Hammond, Garfield Hammonds, Quiana Holmes, Darrell T. Joe, Sheila Jones, Jacob Lacopo, Danny McHugh, Jenny Mollet, Sarah Parker, Erick Patrick, SandyRedd, Cooper Stanton, Chelsea Williams Note: all remaining performances of ‘Jesus Christ Superstar’ from December 26 - January 2, 2022 at the Princess of Wales have been cancelled due to Covid infections backstage. Check the website for future productions. Previous Next

Back 'Three Sisters' Adapted from Chekhov and Directed by Paolo Santalucia The Howland Company and Hart House Theatre, University of Toronto The company of 'Three Sisters' by Dahlia Katz. Joe Szekeres Adaptation of Chekhovian works appears to be in fashion on the Toronto theatre scene these last couple of months. A smart choice to adapt the classics like ‘Three Sisters’ for modern audiences. After seeing a top-notch ‘Uncle Vanya’ at Crow’s, The Howland Company and Hart House Theatre’s absorbing production of ‘Three Sisters’ hits the boards. I’ve never seen either of these plays in their original form performed live, but these two terrific adaptations assuredly make me want to do so. Director Paolo Santalucia’s modern-day story adaptation remains dense with information regarding the characters’ relationships with each other and with this world they, at times, just seem merely to inhabit. In his Director’s Note, Santalucia spoke about what it means to yearn for a world these characters deeply and truly cannot return to for many reasons. There are layers upon layers of plot and contextual information underscoring this yearning so audiences will have to remain focused throughout the two hours and forty minutes running time. But that’s good theatre when we must pay careful attention. An inviting set design courtesy of Nancy Anne Perrin made me study the playing space for a few minutes. The four suspended palladium windows suggest the grandiosity of the house that was left to the sisters upon their parents’ death. It is a three-level set piece which serves as several important focal points. Christian Horoszczak’s ultra-fine lighting focuses attention on specific areas of the playing space. It is Irina’s (Shauna Thompson’s) birthday and people have gathered for a luncheon celebration. She simply appreciates and enjoys the wonders of this day and appreciates just living her life. Her sister Olga (Hallie Seline) is a schoolteacher who is busy marking and preparing her lessons. Olga shares how difficult a challenge the profession has become for her. The other sister Masha (Caroline Toal) sullenly lounges on the couch reading a book. We also meet their brother Andrei (Ben Yoganathan) who is hiding in his room at the top of the show. Other individuals present at the celebration are part of these sisters’ lives. Ivan (Robert Persichini) who was a friend of the sisters’ deceased parents lives with the girls in the house. He’s obnoxiously loud on account of his drinking problem. The dimwitted elder housekeeper Anfisa (Kyra Harper) experiences difficulties in keeping up with the duties of running the household. We also meet Masha’s husband, Theo (Dan Mousseau at this opening night performance), a teacher at the local school who comes across as a bit of a dweeby know it all which at first is hilarious; however, as the story progresses it’s rather sad when the truth is revealed. Rounding out the people present at the party are Nicolas (Cameron Laurie) and Val (Maher Sinno) who develop a love interest in Masha. Peter (Ethan Zuchkan) and Carl (Steven Hao). We also meet Natasha (Ruth Goodwin), brother Andrei’s love interest. In the first scene, there is the sense the sisters do not care for Natasha. As the story progresses, it’s clear why they didn’t trust her earlier as she does not turn out to be what’s best for Andrei. The arrival of Alex Vershinin (Christine Horne) who knew the sisters’ father throws this world into turmoil, especially that of Masha and the world she knows and her relationship with Theo. Was ‘Three Sisters’ worth doing and worth seeing? Yes, and yes. Santalucia has assembled a primo cast of a tightly cohesive ensemble of actors who relish playing Chekhovian characters who often feel immobile in this stasis world where they seem to exist like the spinning top in the picture above. How often during these last two-plus years of the worldwide pandemic have we also felt we were in grave periods of spinning like a top and not going anywhere? This is the reason why that moment of the onstage tableau where the actors watch this gift Irina received on her birthday remains completely etched in my mind. His clear direction remains carefully controlled throughout as Santalucia made many good choices to keep the plot moving along. For example, creating a modern-day adaptation with colourful vernacular language I’m sure many of us have used at one time in our lives allowed me to make a viable connection to these characters and their fleeting emotions. The moments of humour (and there are quite a few) heighten and underscore even further those poignant moments of emotional connections of love, longing, trust, affection, and time. What also worked nicely for me were the set changes from the actors to indicate the passage of time in moving the props and the adjustment of the lighting design. Thankfully, Santalucia never allowed the actors to veer out of control emotionally or histrionically as many of the actors deliver engrossing performances. I do have one quibble, though, and I found this with all the characters. At times, enunciation needed clarity especially if the actor was facing upstage delivering a line with a back to the audience. Again, it’s a minor quibble but for someone like myself who does not know the story then it’s important that we are able to follow as much of the plot as we can. Shauna Thompson, Caroline Toal and Hallie Seline remain consistently believable in their development of three unique siblings who are on their life trajectories. How they arrive at their destination becomes the integral focus. Thompson’s initial happiness at the top of the show becomes sharply contrasted with her emotional lows at the end. Toal’s longing for the love she knows is missing from her marriage becomes poignantly and viscerally real when Alex leaves. In the final scene between Christine Horne and Caroline Toal, the heartrending goodbye between the two becomes deep-rooted and so highly lamentable that I wondered how Masha would ever recover. A fine moment between them. Seline precisely clinches the tough-as-nails Olga who regretfully recognizes how she didn’t follow Ivan’s advice of “Look for beauty. Look for love. And Don’t look back.” Robert Persichini is a monstrously gruff and foul-mouthed Ivan whose humanely felt act of generosity tugged at my heartstrings. My head still shakes in astonished disbelief at the mismatched Andrei and Natasha (Ben Yoganathan and Ruth Goodwin) who become so convincingly real in the story that I kept wondering when Andrei would see through Natasha’s fudging, fibs and lies. As the dimwitted housekeeper Anfisa, Kyra Harper’s genuine fear of losing connection to this family during the fire in Act 2 is quite poignant. I wasn’t prepared for the ultimate reveal of the truth between Nicolas and Val. Both Cameron Laurie and Maher Sinna gave signs of what was about to occur but the shock of the incident certainly made me re-think again about the signs that were there as if something terrible was going to happen. Terrific work here to make me unsuspecting until the eventual does happen. Final Comments: This modern adaptation of ‘Three Sisters’ brings Chekhov’s messages of personal fulfilment, yearning and longing to heights of clearer understanding for a twenty-first-century audience. Fresh, invigorating, poignant and sad, ‘Three Sisters’ remains another must-see this fall for Toronto theatre lovers. Running Time: 2 hours and 40 minutes with one intermission. ‘Three Sisters’ runs until November 12 at Hart House Theatre, 7 Hart House Circle, Toronto. For tickets, call (416) 978-2452 or visit harthousetheatre.ca The Howland Company and Hart House present the premiere of THREE SISTERS Adapted from Chekhov and Directed by Paolo Santalucia Lighting Design – Christian Horoszczak, Set and Costume Design – Nancy Anne Perrin Sound Design – Andy Trithardt Stage Management – Kat Chin Performers: Shauna Thompson, Caroline Toal, Hallie Seline, Ben Yogoanathan, Ruth Goodwin, Kyra Harper, Robert Persichini, Christine Horne, Cameron Louie, Maher Sinno, Ethan Zuchkan, Steven Hao, Dan Mousseau Previous Next

Back 'Singin' in the Rain' Onstage at Toronto's Princess of Wales Theatre Photo of Sam Lips by Johan Persson Joe Szekeres A nostalgic musical ‘rat a tat’ romp through Hollywood of yesteryear. A visual feast for the eyes with a full-bodied orchestra sound for the ears, this ‘Singin' in the Rain’ will put a smile on all of us who have been clambering to return to live theatre. Sure, at times, the plot might be a tad cheesy as it follows the ‘boy meets girl’ theme but it was exactly that premise that brought people to the silent movies so very long ago. It was a good choice by Mirvish to follow its hunches on this one and use ‘Singin' ’ to bring people back to the theatre. It appeared everyone around me was having a good time. Studio moguls from years ago used to say the audiences will tell you if something is good and if they are having a good time. This ‘Singin' in the Rain’ is good, and I had a good time. It is Hollywoodland, 1927, and we are in the era of the end of the silent film era and the advent of the talkies. An opening night of a world premiere silent film is in full swing at Grauman’s Theatre with stars Don Lockwood (a dashingly debonair Sam Lips) and his co-star Lina Lamont (a delectably squeaky Faye Tozer). Lockwood can barely stand Lina’s presence for her haughty attitude towards others. Lina has convinced herself the on-screen romance between her and Don is also present in their real lives, much to Don’s continued disagreement on this issue. With the advent of the first talking picture ‘The Jazz Singer’, studio mogul RF Simpson (a blustery Michael Brandon), believes that Don and Lina’s next picture ‘The Dueling Cavalier’ must be converted into a talking one. We then are on the set of the filming of ‘The Dueling Cavalier’ and witness so many problems with it most notably with Lina’s ingratiating voice that doesn’t transfer well to the screen. Since the test screening of ‘The Dueling Cavalier’ was a massive failure, Don’s friend, Cosmo Brown (delightfully comic Alastair Croswell) believes the ‘Dueling Cavalier’s should be converted into a musical comedy film with Lina’s vocal work and dialogue being dubbed by another actress. Meanwhile, Don has fallen in love with stage actress Kathy Selden (a charming Debbie Reynolds look-a-like and vocally pretty Charlotte Gooch) and who is secretly hired to dub Lina’s vocal and dialogue work on the film. Trouble on the set then ensues when Lina finds out what is going on. But rest assured, all’s right in the universe and true love is restored in the end. A gorgeous visual feast for the eyes in this production thanks to Simon Higlett’s extraordinary set and colourful costume designs. Jonathan Church’s at times ‘tongue-in-cheek’ direction appropriately reflects the 1950s era in which the story is set. Hollywood in the 1920s and the 1950s was the place where many hopefuls wanted to land in the business for their fame and fortune. Sadly, the reality is many did not make it. Many silent film actors lost their credibility when the talkies came to town. The McCarthy Era in Hollywood also destroyed the careers of so many hopefuls within the business. But underneath all of this sadness is the hopeful love story of Don and Kathy, and that’s all that matters. The songs are tunefully exceptional, and kudos to Sound Designer Gareth Owen for the appropriate balance so I could hear the lyrics and the score. The title song is delightful, and Sam Lips gracefully channelled his inner Gene Kelly fantastically. Another of my favourites is ‘Good Morning’, and here Charlotte Gooch and Messrs. Lips and Crosswell grandly made the song work so elegantly for the three of them. ‘Make ‘Em Laugh’ wistfully reminded me of those bygone years of vaudeville that I wish I could have seen oh so many years ago. Andrew Wright’s choreography is eye-popping. The joyfully uplifting and iconic title dance number is glorious as is the rousing ‘Good Morning’. Audience members in the first five rows wore ponchos on account they were told they would get wet after the title number. I’m sure because it was opening night that Sam Lips in the first act finale gave it his all and gave a good soaking to those in these rows. But, be prepared for the second act finale when the entire company will sing and dance in the rain as there is a gusher of water in the audience. Great fun if you choose to sit there. Final Comments: A nostalgic musical ‘rat a tat’ romp through Hollywood of yesteryear. To be honest, I’ve only seen segments of the film (mostly the dance numbers), but never in its entirety. A trip through any of the online streaming services is next on my list to catch it in its entirety. A wonderful invitation to return to the theatre. Running time: approximately 2 hours and 40 minutes with one intermission. 'Singin' ' in the Rain’ runs to October 23 at the Princess of Wales Theatre, 300 King Street West, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. Previous Next

Back 'Uncovered - U2 and The Rolling Stones' Now performing at Koerner Hall and produced by Musical Stage Company Credit: Dahlia Katz Photography. Pictured: Kelly Holiff Dave Rabjohn "Go, see this show - see it!" Nostalgia and fierce talent are on full display at the opening of Musical Stage Company’s cleverly named ‘Uncovered – U2 and The Rolling Stones.’ Part of the ‘Uncovered’ series, this stunning night of music features sixteen highlights from the careers of the two rock giants. Performed in Toronto’s exquisite Koerner Hall, it also features eight of the city’s most accomplished singers with an equally talented band of diverse musicians lead by Kevin Wong. A narrative, of sorts, wove through the evening with singers quoting from the main personalities – Jagger, Richards, Bono, the Edge. What gave the work credence was that no one was trying to play a character or do impersonations. This allowed the music to take over and take over it did. Inventive arrangements by Wong elevated the experience even further. Highlights: As the opening number, an infectious ‘19th Nervous Breakdown’ by most of the ensemble, pinned the audience to their seats. ‘I Still Haven’t Found what I’m Looking For’ was regal by Lydia Persaud whose voice is pure. Andrew Penner brought eerie force with hard core versions of ‘Paint it Black’ and ‘Sunday Bloody Sunday.’ Nostalgia reigned with wild guitar solos and head banging vocals. Some very inventive acoustic guitar work displayed his great versatility. ‘Moonlight Mile’ afforded some beautiful harmony from Hailey Gillis, Kelly Holiff, and Enya Watson. A very soulful ‘Wild Horses’ became a beautiful duet from Hailey Gillis and Lydia Persaud. A breathy and sincere ‘You Can’t Always Get What You Want’ came from a riveting solo by Kelly Holiff. She also won the audience with an engaging ‘Beautiful Day.’ Two More: Kevin Wong left his role as bandleader, strode to the microphone and delivered a powerful ‘Ruby Tuesday.’ Memorable. The ever-popular Toronto fixture, Jackie Richardson, ended the first act with her signature bluesy vocals in ‘Satisfaction.’ Near the end of Act 2, she delivered a rousing ‘Where the Streets Have No Name.’ The audience stormed to its feet. What do these two rock icons have in common? The narrative suggested their anthem-like songs that we have all sung, seen or heard. The personal relationships among band members are infamous, but somehow enduring. Their movement from rebellion to accomplished artists is clear. The pairing of these two oeuvres seems random, but somehow the songs burnish one another. This is a tribute to the clever research of the Musical Stage Company. As mentioned, the clever arrangements by Kevin Wong brightened the performance. At some junctures, lyrics that were formerly shadowy, seemed to lift from the page and became clear and newly resonant. Special note: After the performance, I managed to ask the artistic director, Ray Hogg, about an instrumental piece that opened the second act. Some parts of it were recognizable and others less clear. He credited the drummer, Jamie Drake, for mashing together a number of U2/Stones songs that were not used in the main event. Pure magic. Go see this show - see it! Then go home, dust off some old vinyl and enjoy even more. ‘Uncovered – U2 and the Rolling Sones’ Musical Stage Company Music supervision – Kevin Wong Performers: Colin Asuncion, Hailey Gillis, Kelly Holiff, Andrew Penner, Lydia Persaud, Jackie Richardson, Shaemus Swets, Enya Watson. Staging – Kaylee Harwood Lighting designer - Logan Raju Cracknell Performances through – October 25, 2024. Tickets – musicalstagecompany.com Previous Next

Back 'A Case for the Existence of God' by Samuel D. Hunter Now on stage at Coal Mine Theatre, 2076 Danforth Avenue, Toronto. Credit: Cylla von Tiedemann. Pictured L-R: Mazin Elsadig and Noah Reid Joe Szekeres “Smart and sharply written text that speaks to men. ‘A Case for the Existence of God’ remains a beaut of a play. It’s a rare gift when a story like this might just be what brings men to the theatre.” Before the above statement is misinterpreted as sexist-sounding, the intention is not to do that. ‘A Case for the Existence of God’ powerfully addresses men’s issues when children enter the picture. Playwright Samuel D. Hunter’s script pulses believably in how men speak, think, feel and react. It’s rare for a play to delve honestly into male relationships without them either sounding sappy or perhaps turning the characters gay. Director Ted Dykstra was touched by ‘Case’s script when he first read it. What spoke to him about the play? In his Director’s Note, he writes that it’s a story about loyal, loving fathers, flawed or not, who put their kids first. That’s why this opening-night production is a beaut of a play that I hope will bring men to the theatre. The story is set in designer Nick Blais’s ultra-modern-looking and tidy office space of Keith (Mazin Elsadig), a highly conservative mortgage broker who takes his job seriously. Blais has interestingly designed his set on top of stone pillars, which become potent reminders of Keith’s persistence in always wanting to do the right thing. Keith speaks to working-class guy Ryan (Noah Reid), a worker at the local yogurt plant looking to secure a loan to purchase land his great-grandparents once owned to rebuild the burned-down house. What draws Ryan and Keith together? They each want to be good fathers to their fifteen-month-old daughters. Keith works on finalizing the adoption plans for his foster daughter, Willa. Ryan remains down on his luck but wants to secure a bright future for his daughter, Krista. The two young children attend the same local daycare. Ryan seizes the opportunity to learn more about securing a loan when he learns what Keith does for a living. The men’s lives are polar opposites even though they become fast friends in bonding over the first events and moments in their children’s lives. Ryan’s current marriage is on the rocks. He faces addictions while being a grown adult of divorced parents. Ryan hopes the desired land purchase can show he can offer stability for his child even as his relationship with his wife crumbles. Keith grows up in a wealthy family. He is a member of the LGBTQ+ community who wants to adopt his daughter on his own merits. He periodically speaks to an unseen social worker on the phone who assists in securing the adoption. Costume Designer Des’ree Gray selects appropriate clothing that delineates the social status differences between the two men. Elsadig is smartly dressed in proverbial and preppy white-collar attire. Reid’s hard hat, boots, oversized coat, ripped pants, and torn white shirt strongly indicate that his work takes him outdoors most days. Ted Dykstra directs confidently and steadily, ensuring that the emotional moments between Elsadig and Reid do not verge on hysterics, as men typically do not express themselves that way. When either of them has emotional outbursts, they pierce right to the heart and gut, making them ever so poignant in their juxtaposition with the plot events. The actors do not move much at the beginning; however, when they do, there is an intent and reason why. Near the end of the play, when voices are raised and answers are sought, Elsadig and Reid remain passionate and dynamic performers who ultimately control their emotions. They give believably genuine performances as father figures who only want the best for their children’s futures. They also only want what’s best for each other as friends. Final Thoughts: Although the smartly written and sharp two-hander does not directly reference God or any spiritual being, Hunter firmly establishes the tone of having faith in a higher power. Sharing said specific plot elements would spoil how Ryan and Keith navigate their search in trying to understand something in a world that often seems to work against them. Ryan and Keith encounter heart-wrenching circumstances that did bring a tear to my eye, but the boys also provide moments of laughter amid the absurdity of their situation. That’s faith right there as the two men try to navigate their search to understand the world. This realization makes this Catholic Christian smile and his heart leap for joy. Running time: approximately 90 minutes with no interval/intermission. ‘A Case for the Existence of God’ runs until December 6 at the Coal Mine Theatre, 2076 Danforth Avenue, Toronto. For tickets: coalminetheatre.com. COAL MINE THEATRE presents ‘A CASE FOR THE EXISTENCE OF GOD’ by Samuel D. Hunter Directed by Ted Dykstra Set and Lighting Designer: Nick Blais Costume Designer: Des’ree Gray Sound Designer/Composer: Aaron Jensen Stage Manager: Robert Harding Performers: Mazin Elsadig and Noah Reid. Previous Next

Back Matilda: The Musical Presented by London Ontario's Grand Theatre High School Project, 471 Richmond Street Dahlia Katz Commentary by Geoffrey Coulter, actor, director, adjudicator, arts educator The enormously popular High School Project at London’s Grand Theatre is back, and their current production of “Matilda – The Musical” has sold out audiences on their feet at the shenanigans of a very special girl and her schoolmates as they attempt to change their lives and rid themselves of the contemptible adults who make their lives miserable. The energy and enthusiasm of the large and talented cast of young people on stage, with several more in production roles backstage, is infectious and proves this excellent youth program needs to continue…forever! So, what’s this High School Project all about? Now in its 26th year, The Grand Theatre High School Project has been offering high school students from the London area an amazing opportunity to receive education and training in a professional theatre working environment at NO COST to them or their families. Students are accepted to the program through auditions and interviews and are mentored by professional adult artists and coaches in all departments – performance, stage management, props, wardrobe, scenic art, orchestra, sound, lighting, marketing and more, culminating in a production (usually a musical) staged on the Grand’s beautiful and historic Spriet stage. This extraordinary initiative fosters leadership and creativity, cooperation, collaboration and communication skills that not only serve these students on and off the stage but in their daily lives. Many participants may wish to pursue the arts in a post-secondary program. Indeed, several alumni have gone on to find arts-related work both onstage and off at Stratford, Shaw Festival and other notable companies. Others enjoy meeting new people and learning new skills. Where was this program when I was in high school?? Whatever their interest, this is a project they all buy into, and the results have been exemplary! The current production of Matilda is fun and full of energy, and it's a very apt choice. It’s a tale of empowered kids and their abilities, their imaginations, and the power of creativity to change their world. Given these are some of the underpinnings of the High School Project itself, how appropriate that art imitates life? Based on British author Roald Dahl’s classic children’s book, “Matilda” gives us a young female protagonist with remarkable powers despite an abusive upbringing. Matilda learns to harness and use her powers to give her agency to change her life through storytelling and a fierce imagination. She also has an enormous impact on others and instigates a school-wide revolt, demonstrating that small acts of disobedience can also change their story as well. The entire cast – leading actors and ensemble alike – are thoroughly invested in their roles. Their performances make it plain to see they want to be up on that stage. Despite a few mic problems, their wonderful vocal work does full justice to the toe-tapping tunes of composer-lyricist Tim Minchin. The orchestra, featuring several student musicians, was melodic and virtually note-perfect, though a bit more volume from the pit would have added more to the fun. The costume department delivered an eye-popping design. Wild and vivid pastel colours, patterns and designs on the adult characters contrast starkly with the appropriately muted private school uniforms for the kids. Lighting design mirrored the pastel scheme of the costumes with plenty of colour and good use of spotlights in musical numbers for added punctuation. Sadly a few too many dark areas put faces in shadow and masked some key actions. Energetic and clever choreography in the opening number, “Miracle Parts I-III” thoroughly engaged the audience with its excellent and dynamic storytelling. Hard-hitting numbers like “Revolting Children” were also a standout. It was hugely evident how much fun this entire company had in performing this show. With 35-40 students onstage and 20 students behind the scenes at each performance, one can also appreciate the herculean efforts it takes to mount a show of this size and complexity. Whether students choose to pursue a career in the arts or not, the High School Project gives young people and professional artists the opportunity to learn and work with and from each other. Past participants proclaim it to be life-changing and that the memories created and shared collectively are irreplaceable. This show is bold, brave and boisterous! You’d be naughty not to get tickets! The Grand Theatre High School Project presents Roald Dahl’s “Matilda – The Musical” Running time: Approx. 2 hours, 40 minutes with one intermission The production runs until September 28 at the Grand Theatre, 471 Richmond St. London, Ontario. For more information, please visit www.grandtheatre.com . Previous Next

Back & Juliet Broadway Bound production now onstage at Toronto's Princess of Wales Matthew Murphy Joe Szekeres An imaginative and unique new idea about a ‘What-if’ situation involving two of Shakespeare’s star-crossed lovers (Updated July 11 for correction of information) In exiting the Princess of Wales Theatre after seeing an extraordinary ‘& Juliet’, I turned to Marg, my high school friend who accompanied me, and called out to her the Food Basics catchphrase we all know: WOWZA! There’s flashy pizzazz, lots of glitter, and raucous spectacle which add to the heaping mound of the excitement of this first-class experience of sight and sound in this behemoth of a play within a play musical, but I stripped away all of that to see if there is a story underneath. Is there a story, a good one at that? Absolutely!!! ‘& Juliet’ becomes a rollicking, boisterous, uniquely clever panoply of incredible music set against the backdrop of envisioning Juliet did not die at the end of Shakespeare’s most famous tragedy. Instead, we are led through Verona and on to Paris, France, where the young heroine begins her life again first under her parents’ (terrific work of understated proportion by Nicholas Edwards and Veronica Otim) tyrannical rule. That all changes as the story progresses. ‘& Juliet’ is a stunning twenty-first-century imaginative coming-of-age tale where the central character begins to accept life on her own terms and become her own person. Lorna Courtney is marvelous. Her majestic vocal pipes nearly blew the roof off the theatre. I’m trying not to spoil too much as future audiences must experience this hell of a ride themselves. But here goes: We are introduced to Shakespeare (a dashing Stark Sands) who wonders whether the ending to ‘R & J’ needs to be re-written. Enter his wife, Anne Hathaway (a bold and sassy Betsy Wolfe) who got a babysitter for their two children while she and her husband engage in the re-writing of the text. And the task to create is underway. The plot details go back and forth in time where we meet Romeo (Ben Jackson Walker) who laughingly at one point referred to himself as a tight, six-pack muscular guy who really isn’t the man we initially thought he was. We also meet Juliet’s Nurse (an audacious and plucky performance by Melanie LaBarrie) who continues as her lady’s beloved confidante while showcasing and revealing her true innermost thoughts and feelings to the events around her as they all move forward into the next chapter. Amid this back and forth in time, we meet other characters who become linked with Juliet in her new life: Francois (Philippe Arroyo) a suave debonair gentleman who is set to marry Juliet so that she can begin her life again. Francois’s wise father Lance (Paulo Szot) wants what’s best for his son while harbouring a past that made me laugh out loud once we know what occurred. Juliet’s gender-fluid friend May (Justin David Sullivan) becomes an important modern element of this modern take on the love story and what this emotion truly means for an audience. Can’t forget the superlatively energetic Company of Players. What struck me so keenly at first was the diversity of individuals of various heights and sizes. This lively energetic and spirited troupe attacked Jennifer Weber’s to die-for choreography with focused strength and supple agility. I haven’t seen break dance movements like this in a very long time. I’m not that huge a fan of rap. Nevertheless, when you take these tunes and score them to incorporate break dance, all I can say is: “Hot damn, clear the floor and let these people strut their stuff” which they do with confident aplomb. About halfway through the first act, one thing struck me about this Broadway-bound production. It is staged productions like ‘& Juliet’ that will bring young people into the theatre and get them loving the art form so much they will want to learn more. As a retired teacher of English who had taught ‘Romeo & Juliet’ for many years, I would highly recommend teachers to bring classes to see the production after having finished and studied the play. Students will not get many of the ‘in jokes’ throughout until they understand the context in which these one-liners and zingers are delivered. Scenic designer Soutra Gilmour’s visual look remains stylistically impressive. Upon entering the auditorium during the preshow, the larger-than-life logo is centre staged. Andrzej Goulding’s visual projections on the back wall and side walls contain those earth-coloured tones reminiscent of the Elizabethan era. Goulding then effectively incorporates multi-coloured tones for many of the choral/company numbers. Pay close attention in the second act to ‘The Bois Band’ (you’ll get the joke when you see the show). Slightly angled stage right is a jukebox with the letter E propped against it. The visual impact of the jukebox at the conclusion of the show remains in my mind. What appears to be an architect’s workstation desktop can be found stage right with the letter O propped against it. Around the stage are other letters you can probably guess that will spell someone’s name from the show. Paloma Young’s Costume Designs reminded me of a cross between a punk/steampunk clothing style which looked great. Howard Hudson and Gareth Owens Lighting and Sound Designs vividly encapsulate crowd scenes or heart-to-heart conversations between two people. I gotta hand it to Bill Sherman as Music Supervisor, Orchestrations and Arrangements. Hearing all these Max Martin tunes blew me away and left me speechless. During many of the company numbers, many around me were waving their arms in the air as if we were all attending a concert. It all seemed natural and convincing in the way the songs were introduced in the story. Advice to future audiences: just sit back, watch, listen, hear, and enjoy. Finally, Luke Sheppard’s inspired direction remained intently focused on two elements he successfully accomplished: to tell a good story and to make sure audiences had a good time. Sheppard more than succeeded. He lovingly gave back to an adoring Covid weary theatre crowd who just wanted to have one hell of a good time. I know I did. Running time: approximately 2 hours and 30 minutes. ‘& Juliet’ runs to August 14 at Toronto’s Princess of Wales Theatre, 300 King Street West. For tickets, visit mirvish.com or call 1-800-461-3333 & JULIET Music and Lyrics by Max Martin and Friends. Book by David West Read Directed by Luke Sheppard Music Supervisor, Orchestrations & Arrangements: Bill Sherman Cast: Lorna Courtney, Paulo Szot, Betsy Wolfe, Stark Sands, Justin David Sullivan, Melanie LaBarrie, Ben Jackson Walker, Philippe Arroyo, Brandon Antonio, Michael Ivan Carrier, Nico DeJesus, Nicholas Edwards, Virgil Gadson, Katy Geraghty, Bobby “Pocket” Horner, Joomin Hwang, Alaina Vi Maderal, Daniel J. Maldonado, Joe Moeller, Brittany Nicholas, Veronice Otim, Jasmine Rafael, Matt Raffy, Tiernan Tunnicliffe, Rachel Webb. Previous Next

Back Canadian Stage DREAM IN HIGH PARK presents 'HAMLET' by William Shakespeare Now on stage until September 1 at Toronto's High Park, 1873 Bloor Street West Credit: Dahlia Katz and with permission of Canadian Stage. Guest writer Louis Train “A sassy, wise and witty HAMLET with a sharp as rapier performance by Qasim Khan in the title role.” When you think of Hamlet, does the word ‘sassy’ come to mind? If not, you probably haven’t seen the wise and witty production mounted by Canadian Stage for this year’s Dream in High Park. They have taken the source material and pared off at least 1000 lines, scraped off much of the melodrama and polished what was left into a work of theatre that is recognisable as one of the masterpieces of the Western canon, yet much leaner and lighter. It is Diet Hamlet, with extra fizz. Qasim Khan leads this innovative new production as that melancholy Dane, only not so melancholy. Khan explores and exaggerates Hamlet’s infamous wit, playing him not as a moody teenager, but as your friend who’s too clever for his own good. His ‘To be or not to be’ is sublime, but it is his back and forths with castmates that set this Hamlet apart. His wit is as sharp as rapier dipped in poison, and much more fun. ‘Fun’ is a good word for this production overall. If I recall my grade 12 English correctly, Rosencrantz (Amelia Sargisson) and Guildenstern (Christo Graham) were not particularly major characters, but here they are, simply beaming charm, in more than half the scenes of the show. Even Polonius, a figure I typically think of as dull and patronising, is played by Sam Khalilieh with a bright and slightly menacing charisma. This Hamlet is no pure comedy, however. Everyone who should gets stabbed gets stabbed; the fight scenes are tight, and the deaths as dramatic as you’d want them to be. If watching Raquel Duffy as Gertrude die slowly of poison while you sit on the ground surrounded by darkened trees and probable raccoons isn’t on your summer 2024 bucket list, what is? In years past, Canadian Stage mounted both a comedy and a tragedy for Dream in High Park; this year, we get only Hamlet. It could be argued, by someone bolder and more articulate than I, that this production is pulling double duty as both a tragedy and a comedy; that, by removing some of the slog and playing up the humour, Jessica Carmichael has directed a work of theatre that is thought-provoking and entertaining to all. What a piece of work it is. A side-note: This production runs over two hours without an intermission. Production runs until September 1 at Toronto' High Park Ampitheatre, 1873 Bloor Street West. For tickets: canadianstage.com or call (416) 368-3110. Canadian Stage presents ‘HAMLET’ by William Shakespeare Director: Jessica Carmichael Set and Costume Designer: Joshua Quinlan Lighting Designer: Logan Raju Cracknell Sound Designer: Christopher Ross-Ewart Fight Director: Anita Nittoly Stage Manager: Anna R. Kaltenbach With Prince Amponsah Raquel Duffy Christo Graham Stephen Jackman-Torkoff Sam Khalilieh Qasim Khan Breton Lalama Beck Lloyd Diego Matamoros Dan Mousseau Amelia Sargisson James Dallas Smith Previous Next

Back 'London Assurance' by Dion Boucicault Now on stage until October 25 at the Festival Theatre, 55 Queen St., Stratford Now on stage until October 25 at the Festival Theatre, 55 Queen St., Stratford Geoffrey Coulter, actor, director, adjudicator, arts educator. "Audiences are assured belly laughs and hijinks aplenty, aptly demonstrating the comedic prowess of this finely crafted Victorian farce." I’ll admit I’ve seen my share of great British farces from yesteryear – “The Miser,” “School for Scandal,” “An Ideal Husband,” and the frolicsome “The Importance of Being Earnest.” But Dion Boucicault’s “London Assurance” is new to me. After attending the opening night performance, I left the theatre, celebrating its emergence from the shadows of obscurity into its blinding gleam of comic gold. This delicious high comedy of manners and social status, written in 1838 when Boucicault was only 18, paved the way for the radical works of Oscar Wilde and George Bernard Shaw several decades later. Yet its melodramatic mockery of British upper classes of the mid-1800s is as apropos today as when it debuted in 1841 before enthusiastic audiences in New York and London. Its satirizing take on the pretensions and fashions through sexual innuendo, puns and slapstick quickly made this a literary canon gem. Why had I never heard of this play? As director Antoni Cimolino states in his program notes, “The sense of modernity…may surprise audiences. As will the strength of the female characters.” He’s got that right! Most of the play’s female characters were written as an assault on the Victorian notion of womanhood, full of irrepressible agency and independence with unconventional, blasé notions of status and marriage. If you’re a fan of the Bridgerton series, the commanding Lady Danbury comes to mind. Meanwhile, the men are mostly fops or dimwits who learn by the play’s end that being a gentleman is not defined simply by inherited wealth but by how well one behaves toward others. The silly goings-on start in the drawing room of Sir Harcourt Courtly (Geraint Wyn Davies), an over-the-hill London fop with his sights set on a scandalously younger bride, Grace Harkaway (Marissa Orjalo) who, because of a loophole in her father’s will, must marry Harcourt to claim her substantial inheritance. The rest of the play is set on the grounds of Oak Hall, a country estate owned by Grace’s wealthy uncle Max (David Collins). But instead of a quiet weekend of courting in the country, Courtly and his betrothed are interrupted by an unexpected gaggle of holidayers, including the witty and eccentric Lady Gay Spanker (Deborah Hay) and Courtly’s drunken son Charles (Austin Eckert), disguised to escape his London creditors. Cimolino has assembled some of the Festival’s most seasoned comedic performers as well as relative newcomers that prove their stars are on the rise. Cimolino keeps the pace and energy clipping along and, for the most part, effectively blocks his actors on the thrust stage. I did feel the stage right side was underused with too many scenes at centre or to the left, leaving the audience on the right side not seeing everything. Several actors also remained static for too long, blocking each other’s faces and reactions, such as the first appearance of Lady Gay Spanker. From where I was sitting just right of centre, I missed most of her exuberant and hilarious facial contortions during this scene. As the dandy Sir Harcourt Courtly, longtime Stratford star Geraint Wynn Davies is foppishly fun. His pompous and vacuous lifestyle of excess makes him fodder for the more “enlightened” county folk he encounters at the estate. It would be very easy to play this character as a caricature, two-dimensional and unbelievable. Wynn Davies seems very aware of this, and at times, his performance lacks the colour to match his vibrant costumes and clown-like makeup. I wanted more dandy. An affected gesture, or more distinctive walk would not have been wasted here. In fact, other supporting characters, such as Spanker and lawyer Mark Meddle (Graham Abbey), found that edge and often eclipsed Davies in funnier and more engaging performances. As bride-to-be Grace Harkaway, Marissa Orjalo is a revelation. It’s only her second season with the festival, and she has secured a star turn, and she is marvellous! As Grace, she is feisty, charming and has an excellent command of the exaggerated physicality, line delivery and timing that farce requires. Her affected British accent is spot on, too! Just as perfect is Austin Eckert as the dissolute Charles Harcourt. His haughty “party boy” demeanour as alter ego Augustus Hamilton is hilarious, and his appearance later as a bespectacled, scarf-wearing nerd (a la Harry Potter) boasts his agile versatility. Emilio Vieira as Dazzle oozes with sleazy charm while Rylan Wilkie plays the trusty valet, Cool, with aplomb. His imperious, snobbish line delivery while endlessly standing at attention epitomizes comic subtlety. Deborah Hay, as Lady Gay Spanker, steals every scene. She’s an extraordinarily gifted artist. She, too, has excellent comedic timing. Her winks, nods and eccentric asides had the audience laughing endlessly. Yes, she’s outlandish and over-the-top, but she also seems to be having a glorious time embodying the character’s mischievous joie-de-vivre. Michael Spencer-Davis is equally uproarious as the doddery Adolphus Spanker. He plays up the enfeebled geriatric to the hilt, milking every move and expression. Another riotous performance that had me in stitches. Graham Abbey, as Mark Meddle, also delivers on his role as the weird and nutty lawyer. He is loud, boisterous, overblown, overwrought, and brilliantly overdone. The balance of the cast is fine in supporting roles. Nick Dolan is dizzy servant Seth Soakem, Hilary Adams is saucy as the maid, Pert. John Kirkpatrick bounds on and off stage as the dishevelled James and veteran actor Scott Wentworth makes a brief appearance as Constable Samuel Squeezer. In terms of production, it’s all about the costumes! Designer Francesca Callow and her team provide a sumptuous and lush feast for the eyes. Gorgeous dresses, suits, hats, rich vests, thick overcoats and especially Sir Courtly’s ornately detailed pink dressing gown are stars in their own right. Lorenzo Savoini’s set and lighting designs are simple and effective. The play starts in a drawing room represented by a few luxurious chairs, a table and draped curtains. The rest of the play is at Oak Hall’s gardens with lots of potted plants, bushes and benches followed by main living room with antlers everywhere. Composer Wayne Kelso provides original recordings of traditional folk music for the dance scenes. Ranil Sonnadara’s thunder and birdsong sound design add an effectively subtle ambiance. Comedies are often viewed as easy entertainment, but the very best comedies offer insight within and beyond the laughs they inspire. Culturally savvy farces like ‘London Assurance’ fill our theatres with laughter while satirically exposing our social follies, reminding us that we can’t take ourselves too seriously in this life. Running time: Approx. 2 hours, 20 minutes with one intermission The production runs until October 25 at the Festival Theatre, 55 Queen St., Stratford, For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca The Stratford Festival Presents “London Assurance” by Dion Boucicault Directed by Antoni Cimolino Set and Lighting Designer – Lorenzo Savoini Costume designer – Francesca Callow Composer – Wayne Kelso Sound Designer – Ranil Sonnadara Performers: Geraint Wyn Davies, Marissa Orjalo, Austin Eckert, Deborah Hay, Emilio Vieira, Rylan Wilkie, David Collins, Michael Spencer-Davis and other Canadian artists in the ensemble. (Photo Credit: David Hou. Pictured L-R: Emilio Vieira, Michael Spencer-Davis, Marissa Orjalo, David Collins, Deborah Hay and Geraint Wyn-Davies) Previous Next

Back Idomeneo Opera Atelier at the Ed Mirvish Theatre Mirvish Site Joe Szekeres As this opening night production was my first visit ever to an opera, I will be honest in stating that I had no idea what to expect. Yes, a bit of trepidation and some hesitation as well - Would I get it? Would I enjoy it? Would I return to see another opera? Much reflection last night on the GO home and today has led me to understand that Sir Lloyd Webber’s ‘The Phantom of the Opera’ pales horribly in comparison to this remarkable genre. I hold no background whatsoever in opera so I will not make any comments on the singing except to say that it was exceptionally superior to anything that I have heard before. I will make comments on the theatricality and the staging of the production. A quick review of the synopsis of ‘Idomeneo’. This Greek hero (an exquisitely vocal Colin Ainsworth) is forced to choose between the life of his son, Idamante (electrifying work by mezzo soprano Wallis Giunta) and a promise made to Neptune, the god of the sea (an impeccably buffed Douglas Williams combined with his flawlessly vocal bass baritone). Throughout this tale, the audience is also introduced to other characters involved in love triangles, broken hearts and chance meetings all sung in glorious arias with every inch of the stage used for a striking and emotional impact for the eyes, the ears and the heart thanks to Marshall Pynkoski’s careful direction. In an opera, I discovered that even a slight movement of a singer or dancer can convey nuanced character development within seconds. Visually, this production of ‘Idomeneo’ excels. Jeannette Lajeunesse Zing’s choreography of the dancers is marvellously impressive and fluid. Michael Gianfrancesco’s stunningly gorgeous costume designs made me pay careful attention to each principal singer and dancer. Jennifer Lennon’s lighting design was tautly sharp to superb effect. For me, tremendous emotional impact was felt from the clearly defined spot light for an aria in one moment while in the next I was swept away in a lush palette of colours for special effects in entire company movements. Gerard Cauci’s set design immediately captured my attention when I sat down before the performance began. I was immediately transported to another world from long ago and I wanted to enjoy every moment I was there. An opulent and lavish scrim painting of stormy waters made me note every single colour I wanted to take in before the performance began. Further paintings of a three-dimensional setting of a palace room with burgundy red walls created a world of ornate taste. In Act Three, Mr. Cauci’s scrim colour design of the outside of the palace with fountains suggested the hopes that all will be well with all as the story and plot progressed. I have always wanted to hear soprano Measha Brueggergosman sing and one item on my bucket list was ticked opening night. Her performance of Elettra is divine. Meghan Lindsay’s Ilia is sweetly demure in her growing affection and eventual burning love for Idamante. In the third act, Ms. Lindsay’s vocal work was wonderfully demonstrated in a moment where she will do anything for Idamante and his love. One of the highlights of the evening for me was hearing the breathtaking work of the Chorus under Daniel Taylor’s Chorus Master. At one point, I was so engrossed with the action on stage at the top of the production, I couldn’t figure out where the chorus was singing. My guest gave me a slight nudge and told me to look up in the boxes Stage Left. Wow! How did they enter so quietly before their moment to sing? Nice work indeed to not draw attention to themselves. Final Comments: Would I attend another opera in the future? Yes, I probably would, but I would most certainly try to read as much as I can about the plot before I attend. When I return, I know that I won’t feel hesitation in wondering what I am about to see. If I did have one very minor quibble as a first-time attendee at an opera, it would be the fact that I was trying to pay close attention to too much all at once. At times, I felt as if my brain, thoughts and ideas were in overload as I was trying to cram in so much to remember from this experience. I’m certain I won’t feel this same way the next time I attend. If you’ve never attended an opera, I invite you to at least try a different experience. It was an enjoyable evening. I might not have got everything from the story, but at least I appreciated very much what I saw presented before me. ‘Idomeneo’ runs to April 13 at The Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets, please call 1-416-872-1212 or visit www.mirvish.com . Running time is 2 hours and 55 minutes with one intermission. ‘Idomeneo’ is performed in Italian with English surtitles. The Cast: Colin Ainsworth, Measha Brueggergosman, Bradley Christensen, Wallis Giunta, Olivier Laquerre, Meghan Lindsay, Douglas Willliams. Conductor: David Fallis, Director: Marshall Pynkoski, Choreographer: Jeannette Lajeunesse Zingg, Set Designer: Gerard Gauci, Costume Designer: Michael Gianfrancesco, Lighting Designer: Jennifer Lennon. Previous Next

Back The Antipodes by Annie Baker Toronto's Coal Mine Theatre Toronto's Coal Mine Theatre Joe Szekeres Thank you, Coal Mine Theatre, for the tremendously impressive welcome back gift When I interviewed both Ted Dykstra and Diana Bentley, Coal Mine Chief Engineers, via email for the pandemic Profile series I was compiling (thank you both once again for it), I looked back at their article this morning and found a thought Ted had written: “Theatre to me is meant to be experienced in a room full of people. Theatrical performances are meant to take place in front of people. This raises the stakes, makes it so much more exciting.” What a welcome back gift Coal Mine has given not only to me but to all of us with Annie Baker’s ‘The Antipodes.’ The kinetic energy felt in that room was palpably electric. The stakes for the production certainly were raised for me just in feeling this energy which for some reason I could sense I would not be disappointed at all. And I wasn’t disappointed in the least. Not at all. So damn good!!!! If you haven’t got tickets for this one yet, please, please go online and secure seats. This stimulating and thrilling nine-person ensemble cast are in the board room of an unknown organization. At one point, there is mention of a beach house nearby so I thought the story might have been set in Los Angeles. Eight members (and an effervescent PR assistant who pops in and out periodically) are discussing some unknown problem about storylines so once again I wondered if these eight members are writers of a television show. There appears to be no purpose as to why these characters have been hired and gathered to complete what Joshua Browne, as sock footed Dave, keeps calling ‘the best job he’s ever held.’ Browne becomes that board room jerk one just wants to punch sometime because he’s trying to ‘kiss ass’ the boss while proving to the others how his hardened life from long ago does not affect the guy he has become today. They each take their places around the meticulously clean looking and well-organized rectangular board room desk centre stage with carefully placed props of writing pads, pens, and pencils at hand, and begin to hash out stories, the first ice breaker being how each of the eight members in that room lost their virginity. And I was then introduced to some of the most bizarre, ludicrous, wacko and nightmarish tales I have ever heard in my life. To hear every single one of them narrated by a high-grade premium cast and directed with an incisively, sharp edged acerbic vision by Ted Dykstra made for an incredible welcome back that will remain with me for a long time. As I write this review, I can still recall a clearly vivid picture in my mind how that board room looked at the top of the show and its sorry state at the end. Nick Blais’s strongly accentuated lighting design is put to terrific use especially as the storm approaches and the lights begin to flicker. Andy Trithardt’s sound design nicely underscores moments of an impending storm that occurs outdoors and within the room. A perfect example of that old literary term we remember from high school English classes – pathetic fallacy. Overhead the board room table is a futuristic odd looking lighting fixture. Downstage left is an exercise ball that is moved around. There is a white board on each wall directly across from one another with red and grey stripes. The red stripes to me appear like lightning bolts. Upstage off centre stage and right are mirrors which will reflect the explosive dynamite action about to unfold. What I found effective in the set from my audience perspective were the angled sliding doors to open and close off the action when Sandy disappears to take a phone call or Sarah magically appears to announce lunch will be on the way shortly. Underneath the mirror stage right were boxes of the soft drink Bubbly that are periodically opened. Underneath the mirror stage right were two garbage cans. Baker’s boffo script becomes a series of story vignettes which this confident ensemble tackles with great aplomb and gusto. The intrigue builds with team leader Sandy (slick work by Ari Cohen) then asking those present not to hold back in discussion of anything. Sandy is the kind of boss everyone wants to work for – Cohen wears a ball cap, comfortable looking jeans, running shoes, a very casual look about him. He’s the kind of boss you don’t want to piss off because he says he doesn’t like firing anyone. It’s just the way Cohen quietly but confidently says, “Don’t be an asshole” and you take him at his word and don’t question that call. At times, the plot and male characters’ brashly sounding misogyny does make for some highly uncomfortable moments (and fodder for dismissal from some other jobs in the world). As lone female of the group, Eleanor, Sarah Dodd’s understated performance beautifully rounds out who she becomes as her story builds to unravel about how she sees herself from her probiotic pills she takes to the Granny Smith green apples she eats up to sharing with others the childhood stuff she had accumulated near the end of the play. As perky PR assistant Sarah to Ari Cohen’s Sandy, Kelsey Verzotti’s perfectly timed humorous scenes reminded me of the passage of time and wondering just how long these board members have remained in that room to flesh and carve out whatever story they are trying to concoct. Yet underneath it all, I got the impression Sarah might be trying to conceal something from the others and Verzotti emanated that in her sometimes-peppy demeanour. Murray Furrow as Danny M1 offers a prime example in defining an antipode to Simon Bracken’s Danny M2. Furrow’s Danny is furiously bombastic and loud-mouthed while Bracken’s Danny unsettlingly tells a story about working at a job with chickens. Colin A Doyle’s Josh becomes that stark, harsh reminder of not being paid for work, or not having the proper protocol access to enter the building in what earlier has been deemed the best job those people in this room are likely ever to hold. As Brian and Adam, Joseph Zita and Nadeem Phillip respectively and truthfully embody that employee geekiness in note taking every single moment of a meeting versus the individual in the room who feels he must be heard and listened to because his ideas are important. Final Comments: Passive-aggressiveness never looked or sounded so fine as it did at this opening night performance of Coal Mine’s ‘The Antipodes’ with this top-of-the-line cast. A must see. Get tickets. Covid protocols in place at Coal Mine and I felt very safe. Running time approximately one hour and 55 minutes with no intermission THE ANTIPODES by Annie Baker Directed by Ted Dykstra Apprentice Director: Anat Kriger Set and Lighting Design: Nick Blais Costume Design: Andy Trithardt Head of Props: Kayla Chaterji Stage Management: Hannah MacMillan The Cast: Simon Bracken, Joshua Browne, Ari Cohen, Sarah Dodd, Colin A. Doyle, Murray Furrow, Joseph Zita, Nadeem Phillip, Kelsey Verzotti. Performances run to May 15 at the Coal Mine Theatre, 1454 Danforth Avenue, Toronto. For tickets, visit www.coalminetheatre.com . Performance times are Tuesday – Saturday evening at 7:30 pm and Sundays at 2:00 pm. Previous Next

Back 'Myth of the Ostrich' by Matt Murray Produced by Here for Now Theatre at the Stratford Perth Museum, 4275 Huron Road, just west of downtown Stratford, Ontario. Produced by Here for Now Theatre at the Stratford Perth Museum, 4275 Huron Road, just west of downtown Stratford, Ontario. Joe Szekeres (Photo credit: Ann Baggley. L-R: Sara-Jeanne Hosie, Lauren Bowler, Barbara Kozicki Beall.) Matt Murray's script delivers plenty of humour while tackling a significant social concern related to the family unit. (Thank you to Here for Now Theatre for allowing me to review the final preview of ‘Myth of the Ostrich.’ Please be informed that there may have been some slight alterations made to the show since the time of my review). It’s summertime in Toronto. Holly (Sara-Jeanne Hosie), a single mother and writer, is dressed slovenly. She is passionately conversing on the phone and discussing possibly writing another book and using colourful language. Holly is straightforward. She doesn't put on airs and doesn't care about others' opinions of her. Pam (Lauren Bowler), a conservative and affluent Roman Catholic mother, unexpectedly visits Holly's residence. Her 15-year-old teenager Evan is dating Jodie (Holly’s teenager), who is of a similar age. The two often spend time at Holly's place. After coming across a letter written by Evan to Jodi that contained inappropriate content, Pam decides to meet Holly to gain insight into the situation and understand the relationship between the two young people. The conversation starts off cordially but changes when Holly's unfiltered companion, Cheryl (Barbara Kozicki Beall), arrives and joins the discussion. Hailing from Newfoundland and working as a bartender while residing with her musician boyfriend, Cheryl has a questionable history. Additionally, she has a side hustle that could potentially pique Pam's interest or raise her eyebrows in doubt. Throughout the hour-long conversation between these three ladies, Pam’s unseen lawyer husband keeps telephoning his wife and asking inane questions such as what’s for dinner. Sometimes we don’t know what he questions because Pam may respond with an “I don’t know.” According to the programme description, what follows in the plot: “One lie leads to another, and another, on this outrageous roller coaster ride of misunderstandings.” Here for Now’s encompassing theme this summer is ‘Season of Mercy.’ I’m reminded of Portia’s line from ‘The Merchant of Venice’: “The quality of mercy is not strained/It droppeth as the gentle rain from heaven upon the place beneath.” I find it inspiring that both Matt Murray and Here for Now emphasize the value of demonstrating mercy, kindness, and compassion towards others, mainly when unexpected challenges arise, as indicated by the play's title. Holly, Pam, and Cheryl effectively convey this message through a combination of humour and drama. Director Sheila McCarthy nicely brings Matt Murray’s script to life through her strong belief in showing these qualities to others. Monique Lund's set design reveals Holly's current state of mind with her extremely cluttered and cramped-looking porch. Although Holly prefers to spend her summer days there, the porch is a complete mess of mismatched outdoor furniture, papers and items scattered everywhere, and laundry hanging haphazardly on a clothesline. Lund's costume designs also accurately reflect the social status of the three female characters. Murray's script is filled with hilarious humour that hits the mark. However, be aware that some of the suggestive jokes are explicit. For example, I raised my eyebrow at the revealing name of Cheryl's boyfriend's band. I wondered how future audience members might respond, given that the woke world today can be easily offended. The strong ensemble comedy performances of Sara-Jeanne Hosie, Lauren Bowler and Barbara Bozicki Beall are well-balanced and never spiral out of control. When revealed, the meaning of the play’s title is skillfully handled with care and grace by the three of them. Sara-Jeanne Hosie's bravura performance is characterized by the outspokenness of her Holly, who possesses a keen ability to detect insincerity and has no tolerance for it. Near the end of the play, Hosie’s Holly also becomes that strong pseudo-maternal influence Pam has probably never felt in her life. Lauren Bowler’s Pam embodies a solid contrast to Holly. Pam is someone who has always followed the conventional path laid out for her without straying away from it. She has been instructed to fulfill the roles of a responsible daughter, wife, and mother. When Pam finally does cut loose from the bonds that restrain her in front of Holly and Cheryl, Bowler is a riot but also manages to imbue a sense of troubled sadness in a woman who has not thoroughly enjoyed and appreciated the life she has. Kozicki Bealls’ Cheryl possesses a distinct and quirky personality, unlike Holly and Pam. Monique Lund's costume design for Cheryl perfectly captures her eccentricity. However, despite her bold exterior, there is a hidden sweetness to Kozicki Bealls’ Cheryl, which becomes evident once the play's title is revealed. Final Comments: An excellent choice to open the summer season of outdoor theatre in Stratford. See ‘Myth of the Ostrich.’ Running Time: approximately 1 hour and 15 minutes with no intermission ‘Myth of the Ostrich’ by Matt Murray runs until July 15 at the Stratford Perth Museum in the new performance tent at the back of the beautiful 7-acre property. The address: 4275 Huron Road, just west of downtown Stratford. For tickets, call the Box Office (519) 272-4368. To learn more about Here for Now Theatre, visit www.herefornowtheatre.com . HERE FOR NOW THEATRE presents ‘Myth of the Ostrich’ by Matt Murray Directed by Sheila McCarthy Costume & Set Design by Monique Lund Performers: Lauren Bowler, Sara-Jeanne Hosie, Barbara Kozicki Beall Previous Next

Back 'HADESTOWN' The North American Touring Company. Now onstage at Toronto's Royal Alexandra Theatre, 260 King Street West Credit: T. Charles Erickson Centre: Nathan Lee Graham and the North American touring company of 'Hadestown' Joe Szekeres A Voice Choice for the glorious-sounding vocals and harmonies that soar past the Royal Alexandra roof. The Hadestown North American touring company held its Canadian premiere on July 7 at Toronto’s Royal Alexandra Theatre. According to the touring website, the production is en route to Ottawa after the Toronto stop. There’s nothing hellish about this heavenly cast whatsoever. It’s a Voice Choice for the glorious-sounding vocals and harmonies that soar past the Royal Alexandra Theatre roof. Nathan Lee Graham is Hermes, the god of the Underworld, and serves as the narrator of the story of the young Orpheus (J. Antonio Rodriguez) and Eurydice (Hannah Whitley). Hermes introduces all the characters to the audience who will soon play a part in the lives of the young lovers. Eurydice and the Fates (Dominique Kempf, Belén Moyano, and Nyla Watson) inform the audience of the severe weather conditions and famine. Orpheus is the ward of Hermes who introduces the lad to Eurydice and immediately says he will marry the young girl even though they are both poor. Eventually, Eurydice goes to work in hell like industrial version of the Greek Underworld to escape poverty and the cold. In the end, it is Orpheus who comes to rescue her. Persephone (Maria-Christina Oliveras) soon arrives in the Underworld to celebrate summer. During this time, Eurydice begins to fall in love with Orpheus. Hades (Matthew Patrick Quinn), Persephone’s husband, arrives soon after to take his wife back to Hadestown, Hades’ underground factory, where there is never-ending labour by the workers. Eventually, the stories of the two couples - Persephone and Hades, Orpheus and Eurydice – intertwine with Hades, the ruler of the Underworld, deciding if Orpheus and Eurydice are to remain together forever. The touring production features powerful imagery that begins with Rachel Hauck's scenic design, which effectively captures the gritty and smoke-filled ambiance of a New Orleans speakeasy. It makes me yearn to experience the real thing someday, even for a half-hour. Bradley King uses individual spotlights during the pre-show and performance to create an eerie and haunting effect. Michael Krass' costume designs are also noteworthy, perfectly reflecting each character’s unique qualities. The production ranges from quiet love ballads to stirring choral and movement ensemble numbers. Even if someone does not have a strong background in Greek mythology, there’s no need to concern yourself if you think you might get lost. Leave yourselves enough time during the pre-show to read as much of the Programme as possible. There is important information regarding the production and some important glossaries about the meaning of the various Gods in the show. The exceptional vocals and top-notch orchestral arrangements certainly deserve recognition. Liam Robinson, who served as the Music Supervisor and Vocal Arranger, as well as Michael Chorney and Todd Sickafoose, who worked on the Arrangements and Orchestrations, Eric King as the Music Director, and David Lai as the Music Coordinator, are all responsible for the incredible sound that seamlessly complements David Neumann's stylized choreography and movement. The musical number "Way Down Hadestown" by the Company in Act 1 is a breathtaking showstopper combining the work of each of the aforementioned individuals. Not only have Director Rachel Chavkin and Anaïs Mitchell (Music, Lyrics and Book) created a fantastic tale of Greek mythology that appeals to a twenty-first-century audience, but also there is an essential connection to some timely social issues that currently wreak havoc on the world we know. For example, our current climate crisis centers prominently and remains a critical element of the story. In the Programme note, Mitchell speaks about “finding beauty and bravery which become causes for celebration even in hard times. There’s beauty in the struggle for a better world even if we can’t yet see the result of that struggle.” Mitchell's observation is accurate in acknowledging that we all face struggles in life, especially as we navigate the constant transitions and uncertainties brought about moving forward out of the pandemic. This exquisite group of artists portrays the essence of beauty and courage of their struggles in the two-and-a-half-hour performance which seems to pass by in an instant. As the narrator Hermes, Nathan Lee Graham exudes elegance and effortless grace on stage, dressed in what appears to be a dazzling Hermès silver suit. He opens the show with a sleek gesture to undo the button on his suit jacket with great theatrical style. Meanwhile, Matthew Patrick Quinn is captivating as Hades, dressed in a striking black pinstripe suit. His commanding and silky basso singing voice demands attention, and his stage presence as the Underworld patriarch instinctively exudes a powerful sense of foreboding adding to the character’s depth and intrigue. J. Antonio Rodriguez and Hannah Whitley are sweet as the dreamer Orpheus and world-weary Eurydice. Their performances of emotional ballads like 'All I've Ever Known' and 'Promises' are beautiful. Maria-Christina Oliveras is a stunning and sultry Persephone, and her ‘Livin’ It Up on Top’ with Hermes and Orpheus remains steamy. The ensemble is also terrific to watch and hear during this number. In Act 2, the Workers' Chorus generates compelling visualizations while reprising 'Way Down Hadestown' and in the musical number 'If It's True'. Final Comments: A must-see to hear, to watch and most importantly to experience. This ‘Hadestown’ is joy, tremendous joy. Go see it. Running time: approximately two and a half hours with one intermission. ‘Hadestown’ runs until August 20 at the Royal Alexandra Theatre, 260 King Street West, Toronto. For tickets, visit www.mirvish.com or call 1-800-461-3333. HADESTOWN Music, Lyrics and Book by Anaïs Mitchell Developed and Directed by Rachel Chavkin Music Supervisor and Vocal Arrangements: Liam Robinson Choreographer: David Neumann Scenic Design: Rachel Hauck Costume Design: Michael Krass Lighting Design: Bradley King Music Director: Eric Kang Performers: Nathan Lee Graham, Maria-Christina Oliveras, Matthew Patrick Quinn, J. Antonio Rodriguez, Hannah Whitley, Dominique Kempf, Belén Moyano, Nyla Watson, Jordan Bollwerk, Shavey Brown, Ian Coulter-Buford, KC Dela Cruz, Courtney Lauster, Colin LeMoine, Cecilia Trippiedi, Sean Watkinson, Racquel Williams Previous Next

Back Lesson in Forgetting, English Language Premiere Pleiades Theatre, Young Centre for the Performing Arts Cylla von Tiedemann Joe Szekeres Sometimes, works of artistry defy commentary. In the right hands of a committed artistic team, live theatre is skillfully crafted to become either beautifully cerebral and/or sharply felt within the heart. This is Pleiades Theatre’s ‘Lesson in Forgetting’. But I will do my best to comment. I attended this production with a friend who was intrigued as I was. We dissected as many theatrical elements of the production during the car ride all the way back to Oshawa following and then wondered if we were doing justice and being fair regarding this extraordinary presentation. If anything, we hope there might be future talkbacks (at least one?) for future audiences as the depth and breadth of this, what I will call, ‘mystical production’ remains with me even as I write at this moment. HE (a stunning, marvelous performance by Andrew Moodie) has suffered a massive brain trauma as a result of a car crash some years earlier. At the top of the show, we hear the crash so a possible trigger warning for future audiences. Ever since, the only thing HE can remember is how much he loves his wife SHE (immeasurably poignant and emotional character arc work by Ma-Anne Dionisio). SHE is confined to caring for him for the rest of her days and wishes nothing more than for him to forget that he loves her so that she might yet start over on her own path of life. Initially Reese Cowley as the Narrator puzzled me. Why is the person there? I needed to sit overnight on this question. When I re-read Ash Knight’s Director’s Programme note, then it suddenly made sense to me. Cowley’s confident performance at the top of the show where we are introduced to these two characters is noteworthy. The Narrator becomes the split in SHE’s mind and (spoiler alert for the rest of this paragraph), thus the reason why SHE is dressed in red and the Narrator is dressed in white. SHE has been broken and bleeding for so long as she does what she can to be of assistance to HE. The Narrator becomes that split in SHE’s mind as she is constantly wondering if there is something else for her beyond the struggles she now faces. How often have each of us wondered about this when we believe we can’t deal with our own personal struggles and challenges? Jackie Chau advantageously places the set in the middle of the auditorium with the audience on both sides. This sense of free flow allows for actor maneuverability and for the audience to be drawn immediately into the story action. Stages left and right are mirrors of each other as we see rectangular risers and boxes placed equidistant from each other. Marissa Orjalo’s selection of eerily sounding music coupled with Arun Srinivasan spectral lighting design foreshadows unearthly and metaphysical visions and movement. I loved that feeling of anticipation in hearing something and then wondering what might occur shortly. Denyse Karn’s Projection designs are breathtaking to watch as they appear so true to life that I felt like I wanted to reach out and feel the leaves falling into my hands. At one point, when SHE mentions how everything just stopped after the accident, the falling leaves are perfectly timed to cease at that moment. Exhilarating to watch and to take it all in visually. Jackie Chau’s costume designs suitably reflect the other worldliness captured in her set design. Dionisio majestically utilizes her deep red dress in a definitive, regal like movement. Moodie’s subtle earth tones of matching pajamas, beige housecoat and comfortable looking slippers offer a visual juxtaposition of two individuals who care deeply for each other but are worlds apart on account of the trauma and its aftermath. According to Andrey Tarasiuk, Pleiades’s Artistic Director, Haché’s script is super poetic and delicately written. How veritably true is this statement. Periodically, I found myself closing my eyes and just listening and hearing each spoken word of the text delivered with clarity, definition and understanding. Not once did Moodie or Dionisio’s monologue delivery ever sounded rushed. They instinctively allowed the words to speak and to sound what they mean and infer, an important task for all good actors to attain. To me, it appeared Director Ash Knight tenderly cares very much about the three individuals in this production. Might I even say he loves this piece as he asks us, in his Director’s Programme Note, if love is enough because by going deeper into the complexities of love between this man and woman, we realize love’s complexity challenges our minds and hearts. Both Ma-Anne and Andrew are certainly up for this challenge. I had the chance to interview her a few weeks ago and asked her how rehearsals are going. She stated the piece is a wonderful observation about the vulnerability and fragility of the human mind and heart, and the human spirit. And it is, but I’ll go one step further. What makes this production memorable for me is Knight’s vision in centering real grounded performances from Dionisio and Moodie. One example occurred in the dancing choreographed by Nicola Pantin. From my seat in the house, just watching Ma-Anne and Andrew move and sway themselves, their bodies and, ultimately, their souls in time with the music and with each other was sensually and sensitively arranged through Intimacy Director’s Siobhan Richardson’s coaching. There was nothing erotic or sexy about the dancing or movement between HE and SHE. It’s all about that spiritual and soulful connection we all wish to have in our lives, and that made the dancing bewitching to view. Again, in her recent interview with me, Dionisio reiterated how she has trained herself for the work to come through her, and never making it about her. How true this statement is for both actors. Never once during the heightened, tender, anguished, and wrenching emotions did either of them ever venture over the top into unbelievable melodramatic emoting, not once. Near the end of the production, I felt a gasp of breath as if I had been slapped in the face when we learn something about HE from SHE, but Dionisio moves forward as if to say it’s important to know, but going forward is it really worth it to know and to remember? Final Comments: There is a line from the play that resonated with me and I wrote it down in the dark hoping I could decipher it later: ‘Your body has forgotten desire, but not love.” In her playwright’s Progamme Note, Emma Haché asks of us if love is sufficient given what we may encounter in our lives? What kind of love then? Familial love, selfless love, unconditional love? Questions upon questions upon questions….but that’s what makes good theatre. This ‘Lesson in Forgetting’ is good theatre. Running Time: approximately 75 minutes with no intermission Masks in effect at the Theatre Production runs to May 22 in the Michael Young Theatre at the Young Centre for the Performing Arts, 50 Tank House Lane, Toronto. For tickets, visit www.youngcentre.ca or call 1-416-866-8666. LESSON IN FORGETTING by Emma Haché Translated by Taliesin McEnaney with John Van Burek Commissioned by Pleiades Theatre Director: Ash Knight Choreographer: Nicola Pantin Set & Costume Design: Jackie Chau Lighting Design: Arun Srinivasan Projection Design: Denyse Karn Sound Design & Composition: Marissa Orjalo Intimacy Director: Siobhan Richardson Stage Manager: Laura Lakatosh Production Manager & Technical Director: Madeline McKinnell Performers: Reese Cowley, Ma-Anne Dionisio, Andrew Moodie Previous Next

Back Room Now onstage at Toronto's Princess of Wales Theatre Dahlia Katz Joe Szekeres, Canadian Theatre Critics' Association This ‘Room’s’ emotional gut punch is still strongly evident for the most part at the Princess of Wales After seeing the emotionally jaw dropping ‘Room’ at London, Ontario’s Grand Theatre several weeks ago, I was making the sign of the cross and hoping I would receive another invitation to look at it once again. I’ll include the link to the Grand Theatre piece I had written at the end of this article. Thank you to Mirvish for extending an invitation to return and see this extraordinary cast perform this almost near emotionally gut punching production which, despite its traumatic and possibly triggering storyline, remains triumphantly wonderful. Kidnapped as a teenage girl, Ma (memorable work by Alexis Gordon) has been locked inside a purpose-built room in her captor’s garden for seven years. Her five-year-old son, Jack (played at this performance by the up-and-coming Lucien Duncan-Reid) has no concept of the world outside what he calls ‘Room’ and happily exists being there with the help of Ma, her games, and his vivid imagination where Rug, TV, Lamp, Plant, Bathtub, Table, Sink and Wardrobe are his only friends. The young Jack knows of the world through watching it on television but doesn’t grasp that it is possible for him to experience the world directly. Ma makes an intense decision for she and her son to escape and face their biggest challenge to date: to learn to exist and be outside Room and to reconnect with the world she once knew over seven years ago. When I saw the show at The Grand, there was so much to examine about the play regarding the plot, the characters, and the theatricality of the presentation. To watch the stage adaptation again with fresh eyes in knowing the plot has made me pay closer attention to important elements and fully appreciate them even more. One example is the extraordinarily fascinating performance by Brandon Michael Arrington as SuperJack. For those who have read ‘Room’, SuperJack does not appear in the novel. In her Playwright’s Programme Note, Emma Donoghue states: “Adding SuperJack was a pragmatic device to avoid making our very young actors deliver long monologues, but [his addition] turned out to be a rich way of showing what superpowered ever-questioning minds can inhabit little bodies.” Arrington’s inherent richness as an actor was powerfully reflected on this opening night, and most splendidly during the second act especially in his emotionally tortured musical solo. He and the adorable Lucien Duncan-Reid’s top-flight synchronicity in the gelling of child movement throughout the first act was a wonderful sight to behold and hear. It is in the second act where we see Arrington’s impressive work as an actor when he breaks the fourth wall and speaks to the audience compellingly. Alexis Gordon’s triumphant performance as Ma continues to remain consistently compelling throughout as she so fearlessly revealed at The Grand. Her vocal solo at the end of Act One involving her son continues to soar past the rafters of the POW and still drew a tear from my eye. Ms. Gordon never one ventured over the top into histrionic shouting and crying in so many dramatic moments as she soundly remained in believable emotional control and always remained bravely aware in the present moment. From my seat in the house, I could just feel a credible and assured maternal connection she has made with the young Duncan-Reid through the passionately stirring gamut of feelings. Marvelous! Supporting players continue to remain in superfine form. Ashley Wright is a weasly, terrifying and creepy Old Nick. As Ma’s parents who are experiencing familial and tense discord themselves, Tracey Ferencz’s Grandma soulfully searches within herself to do what’s best for Jack while Stewart Arnott’s Grandpa restores faith that one can truly change his vision of seeing things especially when the life of a child is at stake through no fault of his own. In her brief appearances as the police officer, television interviewer and Popcorn Server, Shannon Taylor serves as a stark warning of those individuals who may think they are doing their best to help understand the effects of trauma but in fact are only continuing the problem. The sickeningly claustrophobic sound, look and feel of the ‘Room’ where Ma and Jack have struggled to live prevails and looms on the Princess of Wales stage. I had the perfect vantage point from my seat where I could see and study it carefully so once again attention must be paid to Bonnie Beecher’s subtle lighting design and John Gzowski’s distinct sound designs. Projection Designer Andrzej Goulding black silhouetted scrim with simple child drawings on stage right and stage left are clear reminders of the importance of knowing this story is told from a child’s perspective. The eerily humming and buzzing noise of what sounds like fluorescent lighting has been gorgeously captured audibly in the auditorium. That marvelous choice to incorporate music and song for character development was an excellent choice so a huge credit of acknowledgment continues to be extended to Cora Bissett and Kathryn Joseph. I continued to glean so much about the characters from listening to the lyrics and hearing the music surrounding the plot action on stage. At the Grand, I spoke how Gavin Whitworth’s music direction sometimes overpowered the singers and I couldn’t clearly hear some of the song lyrics. That didn’t occur at all this time as I could clearly hear the words. However, one component near the end of the play left both my guest and I feeling just a bit disappointed. In the Grand production, there was a final onstage tableau in Act Two with Arrington, Duncan-Reid, and Alexis Gordon that remained embedded in my mind even as I wrote the article the next day. I don’t want to give that moment away, but a very important plot component was missing from the Toronto production where that final tableau did not punch gut me hard as it did at the Grand. Just a slight quibble, that’s all. Final Comments: This primo ‘Room’ cast deserves to be visited and experienced firsthand. Room is an unforgettable experience and reminder of the power of resiliency in extremely trying circumstances. Covid Protocols in effect at the theatre. Running Time: approximately 2 hours and 30 minutes with one intermission ‘Room’ runs to May 8 at Toronto’s Princess of Wales Theatre, 300 King Street West. For tickets visit www.mirvish.com or call 1-800-461-3333. My review of The Grand Theatre production: https://insidelookingin60.wixsite.com/mysite/post/review-room-now-onstage-at-london-ontario-s-grand-theatre ROOM by Emma Donoghue, adapted for the stage by Emma Donoghue In a co-production with the Grand Theatre, London, Ontario, and Covent Garden Productions, UK With songs by Cora Bissett and Kathryn Joseph Directed by Cora Bissett Set and Costumes: Lily Arnold Lighting Design: Bonnie Beecher Movement Coach: Linda Garneau Projection Design: Andrzej J. Goulding Sound Design: John Gzowski Fight & Intimacy Director: Siobhan Richarson Associate Director: Megan Watson Performers: Stewart Arnott, Brandon Michael Arrington, Levi Dombokah, Lucien Duncan-Reid, Tracey Ferencz, Alexis Gordon, Shannon Taylor, Ashley Wright. Starr Domingue, Thom Marriott, Christopher Parker, Alix Sideris Previous Next

Back 'Witness for the Prosecution' by Agatha Christie Now on stage at The Royal George Theatre, Niagara on the Lake until October 13. Courtesy of The Shaw Festival website Geoffrey Coulter, actor, director, adjudicator, arts educator “The Shaw Festival bears witness to this fine film noir take on Agatha Christie’s courtroom whodunit, firmly planting tongue-in-cheek – and it’s terrific.” Agatha Christie’s plays are well known for their wordy dialogue, intricate plots, spurned lovers, murder, betrayal and double-cross. Most of her work was produced for mid-twentieth-century audiences with all the sentiments and attitudes of a bygone era. “Witness for the Prosecution” was a departure from her standard narrative of suspects congregating in an old home and acting all suspicious. Here, Christie adapted a 1925 short story, and the full-length version premiered in London in 1953. She had two other plays running simultaneously, “The Mousetrap” and “Spider’s Web,” making her the only female playwright to have three plays running simultaneously in the West End. A feat unbeaten to this day. Of course, “Witness” is chock full of dated stereotypes and melodramatic overtones. The Shaw Festival’s production brilliantly embraces the campiness, presenting this version as a film-noir homage to Billy Wilder’s 1957 classic big-screen thriller starring then-Hollywood heavyweights Charles Laughton, Tyrone Power and Marlene Dietrich. When I say brilliant, I mean that for half of the first act, you’re not sure whether to take things seriously or whether the laughs are intended. This is where director Alistair Newton adroitly gives his audiences the wink-wink, nudge-nudge. I’ll admit it confused me at first. Several scenes weren’t played as a send-up. The courtroom scenes are high drama. But then I realized that this smattering of melodrama signals that we can’t take this all too seriously, so why bother? His cast is serious about not taking themselves too seriously! The affable Leonard Vole (Andrew Lawrie) is being tried for the murder of a wealthy woman, and legendary lawyer Sir Wilfrid Robarts (Patrick Galligan) has chosen to represent him. Unfortunately, Leonard's alibi depends on the testimony of his aloof and sultry wife, Romaine (Marla McLean). Yes, Leonard has the motive, but did he do it? A series of puzzling revelations unfold. As the curtain rises, we’re in Robarts’ legal chambers, where EVERYTHING is, well, in black and white. Karyn McCallum’s striking monochromatic walls, furniture, props, and paintings make us feel like we’re in a 1950s movie. Ingenious! Even the fireplace flickers colourlessly. The same inspired grey-scale design is seen in the grandiose courtroom at the top of Act 2, garnering audience gasps and whispers. Judith Bowden’s spot-on 50’s costume design complements this monochromatic design with everyone wearing similar shades of grey, black and gauzy white. Only Romaine’s form-fitting ensembles pop with primary colours. As a further nod to the movie, sound and music designer Lyon Smith punctuates critical scenes with authentic jazzy, modernist music scores from the fifties. When sultry Romaine slinks on and offstage, she’s accompanied by smoky sax music and melodic vamps. Siobhán Sleath flawlessly recreates the era's film mood lighting. Her high-contrast positioning of light fixtures and extensive use of shadows and projections prove she’s aced the style of German expressionism that influenced an entire genre of filmmaking. But it’s Newton’s direction and dedicated cast that seriously sell the campy double-crosses and plot twists. Everyone is convincingly British – and European - with consistent and authentic accents, mostly. Many play multiple roles. As the meek Leonard Vole, Andrew Lawrie is thoroughly believable in his naivete. Still, his speedy and monotone (and sometimes quiet) line delivery in Act One bordered on tedious, though he did have beautiful moments in the courtroom scene in Act Three. As his wife Romaine, Marla McLean is having a grand time as the sultry femme fatale, strutting like a Paris fashion model, pausing for a wink or two to the audience. What a joy to see Shaw veterans doling out their considerable talents. Fiona Byrne has remarkable comedic subtlety as the busybody secretary Greta and Shawn Wright is more than up to the challenge of his dual roles of legal assistant Carter and pompous Judge Wainwright. Patrick Galligan as Leonard’s lawyer, Wilfred Roberts, and Graeme Somerville as prosecutor Myers shine in act two’s courtroom scene as they deftly trade melodramatic barbs and zingers. These gentlemen are exceptional, their dialogue and timing so well-rehearsed it seems like the first time they’ve spoken them. Kristopher Bowman makes a stoic solicitor as Mr. Mayhew, while Martin Happer swaggers on and off stage as the self-absorbed Inspector Hearne (looking every bit an American private dick sporting a floppy fedora and oversized trenchcoat). Lawrence Libor has much fun playing a side-kick detective, policeman and nerdy Thomas Clegg. Cheryl Mullings as Dr. Wyatt/Mrs. Barton testifies with a short speaking part, which deserved more expressive delivery, while Ryann Myers, as the Courtroom Clerk/The Other Woman, spoke far too quickly, rendering her almost unintelligible. Monica Parks shared this same lack of clarity as housekeeper Janet MacKenzie. Her thick, muddled accent made her nearly impossible to understand—a note to voice and dialect coach Jeffrey Simlett. This show is great fun, and thanks to director Newton’s light-hearted treatment, we forgive the cringe-worthy, misogynistic lines like, “Ungrateful beast, women!” and “If you were a woman, Miss Plimsoll, I would strike you.” He knows the show is dated and wants you to know it, too. He’s conceived a genius approach to making this aging classic accessible – and highly enjoyable - to a modern audience. Advertising for the 1957 movie version and this play pleads with audiences not to reveal the “shocking” ending. Today, it doesn’t have the shock it once had. It's more like smiling satisfaction. At the sold-out performance I attended, audiences were thrilled and rewarded the company with a standing ovation. If anyone can accuse Shaw of providing an entertaining, highly stylized and brilliantly imagined interpretation of a dusty Christie classic, I’d say guilty as charged! Running time: Running time, approx. 3 hours with two 15-minute intermissions. The production runs until October 13 at the Royal George Theatre, 85 Queen St, Niagara-on-the-Lake, ON L0S 1J0. For tickets, call the Box Office at 1-800-511-7429 or visit shawfest.com The Shaw Festival Presents Agatha Christie’s “Witness for the Prosecution” Directed by Alistair Newton Set and Projections designed by Karyn McCallum Costumes designed by Judith Bowden Lighting designed by Siobhán Sleath Original Music and Sound designed by Lyon Smith Movement Direction by Alexis Milligan Performers: Kristopher Bowman, Fiona Byrne, Patrick Galligan, Martin Happer, Andrew Lawrie, Lynn Laywine, Larence Libor, Marla McLean, Cheryl Mullings, Ryann Myers, Monica Parks, Graeme Somerville, Shawn Wright Previous Next

Back Glenn Sumi Looking Ahead --- Joe Szekeres I’ve read many of Glenn Sumi’s articles in Toronto’s NOW Magazine over the years. At the conclusion of his profile, he speaks about being balanced and fair in his commentaries on live theatre and film. Whether we are critics, reviewers, columnists or simply theatre and film goers, let us hope as we emerge from this Covid world in which we now find ourselves that we can also be ‘balanced and fair’ in how we view any work of art. Glenn is the Associate Entertainment Editor at NOW Magazine, where he’s written about film, theatre and comedy since the late 1990s. A member of the Toronto Film Critics Association and the Toronto Theatre Critics Association, he’s written about and discussed the arts for a variety of outlets, and for three years was a weekly pop culture commentator on CTV News Weekend. He misses live theatre and seeing movies in actual theatres. Being part of the recent Canadian Screen Awards feature jury – done on Zoom – was the most fun he’s had in 13 months. We conducted our conversation via email. Thank you so much for adding your voice to the discussion, Glenn: 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. Wow, what a place to begin. Bare minimum, this crisis has made me think about the enormous social and economic gaps in society. Most office workers have been able to work remotely from home, but that’s impossible if you’re a supermarket clerk or factory worker or security guard. It’s cracked open how badly run many of our institutions are. Did any of us know how long-term care homes were run until last year? Did we ever think that we’d get more useful and practical vaccine information from a pop-up Twitter account called Vaccine Hunters (@VaxHuntersCan) than from our government? Seeing anti-mask and “freedom” demonstrators has been utterly demoralizing and has made me think a lot about personal vs. collective freedom. Seeing how places like Taiwan, Australia and New Zealand have handled the virus – strict lockdowns (including limitation on how far you can travel), contact tracing, quarantining – has shown it’s possible to return to some normalcy if you follow the science and work together. On a personal level, I didn’t realize how important even casual day-to-day interactions were before this: working in an office, sitting in a café, sharing small talk. Your world is so much richer and more interesting when you’re exposed to other people and ideas on a regular basis. I live alone, and I haven’t hugged anyone in 14 months. I was never a big partygoer, but I miss being in small groups eating, drinking, and laughing, meeting friends of friends, that sort of thing. I miss big family gatherings, catching up with people in person and not via social media or email. 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 of the live theatre industry been altered and changed? I guess I instinctively knew it before, but only after the pandemic did I fully grasp how many people are actually involved in the theatre industry: everyone from the box office clerks and ushers to the photographer who does the season brochure to the restaurant workers near the theatre. I’ve also been thinking about the economic realities of theatres – things like the minimum audience capacity needed in a theatre to break even. And it’s made me think about something that’s been troubling me for the 20+ years I’ve been writing about theatre regularly and interviewing its artists: how so many people in the industry come from privileged backgrounds and have families to fall back on in tough times. On a more positive note, some of Toronto’s more creative companies have found ways to keep the theatrical spirit alive, via phone plays, audio dramas and other creative substitutes. What are you missing the most about the live theatre industry? Live theatre? I miss everything. The artistry, of course. The energy communicated between the performers onstage and the audience. The 3D-ness of it all – watching a filmed play on a screen doesn’t come close to being at the play. (I was wondering why, in the single time I visited the Art Gallery of Ontario last summer, I was so drawn to the sculptures, and I think it was because I was so tired of looking at flat surfaces.) I even miss annoying things, like the crush at the box office and intermission refreshment stands, the fidgeting and talking. The live theatre industry? Harder to say. The excitement around opening nights, I suppose. Seasons that don’t have the word “virtual” in them. What is the one thing you will never take for granted again in the live theatre industry when you return to it? The importance of a group of people sitting together in the dark experiencing something together. Describe one element you hope has changed concerning the live theatre industry. I hope last summer’s Black Lives Matter protests and the recent anti-Asian racism incidents have made the industry seriously question who runs theatres, who sits on theatres’ boards of directors, and how that affects the art form. Explain what specifically you believe you must still accomplish within the industry. Encourage and support more talented BIPOC writers to consider arts journalism and criticism. 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 as an audience member observing the theatre? It’s inevitable. I’ve already seen lots of COVID-related material on social media and in comedy – both sketch and stand-up. You have to address the elephant in the room. And some TV shows that have taped seasons after the pandemic began decided to set their show during the pandemic, showing proper health protocols, etc. I’m very curious to see how theatre artists respond. Back in December, the satiric Beaverton already predicted how painful this trend might be, with the headline: “Health Canada Warns of Inevitable Spring Wave of Terrible COVID-inspired Fringe play.” As with all things, it takes time for the full effect of an event to inspire original and lasting art. I think at first, audiences may be so exhausted and fatigued by the real thing that they may want to experience escapism. Personally, I’m looking forward to plays that don’t rely on traditional narrative. Like millions of others, I’ve watched a lot of film and TV over the past 14 months, and I want to engage with theatre that’s less story-based and more abstract and metaphor-based, stuff that doesn’t necessarily work well on Netflix. What specifically is it about your work that you want future readers to remember about you? People don’t have to agree with what I write, but I hope they feel I’ve been balanced and fair. To connect with Glenn Sumi on social media: Twitter: @glennsumi Instagram: @goaheadsumi Previous Next

Back 'Charlie and the Chocolate Factory' Now onstage at London, Ontario's Grand Theatre Credit: Dahlia Katz. Pictured: Mark Uhre as Willy Wonka Joe Szekeres "Even adults can learn life messages from stories that seemingly only appeal to children. That forgotten thought becomes abundantly clear watching this slick ‘Charlie and the Chocolate Factory’ now onstage at The Grand." I owe the memory of Roald Dahl the sincerest of apologies over these last years. I was never a fan of his children’s books and considered them odd growing up. I wasn’t interested in watching the 1971 film where Gene Wilder plays Willy Wonka, either. What an unimaginative choice to make on my part. Be imaginative, you colossal fool. This slick opening night production of ‘Charlie and the Chocolate Factory’ at London’s Grand Theatre allows audiences to return to the childhood wonder of imagination. Although the musical is not at the top of my must-see lists, ‘Charlie’ is worth doing, especially since I’ve never seen the show. There are tuneful songs like ‘The Candy Man’ and ‘Pure Imagination’. There are some glitzy dance numbers to see. Much work has gone into the Grand’s production, and it shows. But why the apology to Roald Dahl’s memory? ‘Charlie’ becomes a teachable reminder to all, youth and senior, never to lose sight of tapping into imagination at any age. I did. Sometimes, being imaginative can help cope with daily life’s complex, actual, and often harsh realities. The story focuses on a selfless and compassionate Charlie Bucket (a precocious and adorable Greyson Reign Armer at this performance) who dreams of acquiring one of the five golden tickets to tour Willy Wonka’s (Mark Uhre) Chocolate Factory. Charlie is among the last to find the ticket in a candy bar he purchases. He can’t believe his luck when it finally happens. Let’s look past this immediate gratification of childhood wants for the moment. What the young Charlie does not recognize to be his luck are the adult role models in his life who care about him. Yes, the father figure is absent. However, he has a mother (poignant moments by Melissa Mackenzie) who works hard because she knows she must do so. She loves her son very much. Although they may not be as sprightly as they once were, Charlie has his two sets of grandparents alive who love him very much: Grandma Georgina (Krystle Chance), Grandma Josephine (Barbara Fulton), Grandpa George (Salvatore Scozzari) and Grandpa Joe (a doting, adventurous David Talbot) who accompanies the young lad on the tour even though he doesn’t feel well. The other four winners to tour the factory represent deadly vices. There is the gluttonous Bavarian Augustus Gloop (Nathanael Judah), accompanied by his mother (Krystle Chance), and the petulant and greedy Veruca Salt (an over-the-top demanding Nicole Norsworthy) accompanied by her patsy of a father (Salvatore Scozzari) who gives his daughter anything she demands. We also meet the world champion gum-chewing dancing celebrity Violet Beauregarde (Mikela Marcellin), who is fascinated with fame and achievement no matter the cost. She is accompanied by her father (Aadin Church). There is Mike TeaVee (Elena ‘Elm’ Reyes), a hyper computer hacker who represents the vice of sloth. He is accompanied by his mother (Meg Buchanan-Lunn). Each of these supporting characters has their moment to shine in some terrific song and dance numbers backed by a lively ensemble of dancers. ‘Veruca’s Nutcracker Sweet’ and ‘Auf Wiedersehen Augustus’ are only two examples. When the five contest winners attend the tour, their parents must sign a dubious and unclear contract. Everyone has no idea what they’re getting themselves into. Couple this with the reality that Wonka does not appear to be what he seems to be on the outside – as the story goes on, we discover that he might be, in fact, a rather dangerous individual. Scott Penner’s set design remains visually impressive, especially in the second act when everyone finally enters Wonka’s factory. The colours, shapes, and sizes are extraordinary. Every inch of space on the Spriet stage is used to the full extent, and it works. Nothing ever appears cramped. Siobhán Sleath captures gorgeous lighting designs throughout the show with beautiful hues and tints. Sound is also vital in this production to ensure everything can be heard. For the most part, it is thanks to Brian Kenny’s work. The spoken dialogue is clear. There are moments in a few of the musical numbers where I couldn’t hear all the lyrics. I’m not concerned about this quibble; I’m sure it will be rectified now that the show is running. Cameron Fraser’s projection designs nicely transport us to another world. Skylar Fox’s magic designs are perfectly timed. Something happens in the first act that flies over the audience’s heads and just disappears. Truly outstanding to watch. Joseph Abetria’s vibrant costume designs are truly remarkable as they help delineate who the characters are. The Oompa Loompas’ costumes are only one example of Abetria’s fine choices he makes. Director Jan Alexandra Smith, Music Director Alexandra Kane, and Choreographer Robin Calvert joyfully transport the audience to another time with a knowing wink, a tuneful ditty, and a jig of a dance. I liked the introduction of The Candy Man (Mark Uhre in an effective disguise) at the top of Act One. He is an oddity who owns the local candy store. Everyone likes candy; however, Smith, Kane and Calvert cleverly use this opening scene as a teaching moment. Maintain your sense of humour when things get a bit odd in life, as they sometimes will. It’s okay to indulge in a bit of chocolate. Don’t sacrifice your health in the meantime as the contest winners do. Mark Uhre is a theatrical gem as Wonka. He dances and moves with tremendous fluidity and ease. But Uhre purposefully reveals a dark side to Wonka, as do all humans. This becomes another teaching moment. Uhre shows that some people may not appear the same on the inside when we see them from the outside. For example, when some contest winners get their just deserts for not following instructions or not listening carefully, Uhre simply gives a suggestive stare to the others of “I told you not to do that” and simply moves on as if the individual did not exist. Harsh, callous, and cold are only three adjectives that may come to mind, but they are reminders to all, as Republican Candace Owens recently told a group of entitled young college sophomores – “Life’s tough. Get a helmet.” Final Comments: Just because the Christmas/holiday season fast approaches does not mean people will not experience the challenges of daily life that we all face. They will. Yes, it’s a wonderful time of the year. It’s a filling to the belly time of year. It’s also a grim reminder that life may be harsh for some. “Charlie and the Chocolate Factory’ is that theatrical reminder of this fact. London’s Grand Theatre made a solid choice to stage this production as the holiday season approaches for its razzle-dazzle excitement of colour, song and dance. Don’t forget the critical messages lying underneath the text. Running time: approximately two hours and 30 minutes. The production runs until December 24 on the Spriet Stage at the Grand Theatre, 471 Richmond Street, London, Ontario. Call the Box Office (519) 672-8800 or visit grandtheatre.com for tickets. GRAND THEATRE presents Roald Dahl’s ‘Charlie and the Chocolate Factory’ Book by David Greig, Music by Marc Shaiman with Lyrics by Scott Wittman/Marc Shaiman Based on the novel by Roald Dahl Songs from the Motion Picture by Leslie Bricusse/Anthony Newley Orchestrations by Doug Besterman and arrangements by Marc Shaiman Directed by Jan Alexandra Smith Music Director: Alexandra Kane Choreographer: Robin Calvert Costume Design: Joseph Abetria Set Design: Scott Penner Lighting Designer: Siobhán Sleath Sound Designer: Brian Kenny Projections Designer: Cameron Fraser Magic and Illusions Designer: Skylar Fox Stage Manager: Kelly Luft Performers: Greyson Reign Armer/Neela Noble, Matthew Armet, Kih Becke, Meg Buchanan-Lunn, Krystle Chance, Aadin Church, Barbara Fulton, Nathanael Judah, Christopher Lucas, Amanda Lundgren, Mikela Marcellin, Jamie Murray, Nicole Norsworthy, Melissa Mackenzie, Elena “Elm” Reyes, Salvatore Scozzari, Julius Sermonia, Michele Shuster, David Talbot, Mark Uhre. 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Back 'Frog Song - A New Children's Opera' Book by Taylor Marie Graham; Music by William Rowson A WORLD PREMIERE Presented by Here for Now Theatre on the grounds of the Stratford Perth Museum Courtesy of Here for Now website Geoffrey Coulter, Guest writer, actor, director, arts educator “Frog Song” has passion but needs to leap a little further to proclaim itself a true children’s opera. What does a boy in a frog suit, an insecure soprano, her free-spirited costume designer friend, a fairy-tale inspired singing competition and a trio of hopping frogs have in common? They’re all summer campers at the enchanted Camp Songbird, discovering how song will change their lives and relationships forever. Stratford’s independent theatre company, Here for Now, presents the premiere of the new one-act children’s opera, “Frog Song”, a charming and fanciful tale of facing fears, self-confidence, finding new friends and lots of operatic singing. Navdeep and Wyatt are two disparate pre-teens paired to participate in a singing competition. Though divergent in talents and attitudes, they have mysterious dreams featuring a trio of mischievous singing frogs. With the help of other campers and their director, they must defeat their fears and sing their respective truths to the world. The dynamic cast of 7 talented performers, three doing double duty morphing between human campers and pouncing polliwogs, thoroughly invested themselves in their extraordinary characters, with an exaggerated but never phony acting style. After all, this is a show geared to a particular audience and is rightly limited to a 65-minute running time for those who may get squirmy after an extended period of sitting still. This is a show that needs to provide constant stimulation to keep younger viewers interested and engaged. This production started well. More on this later. The venue, located on the grounds of the Stratford Perth Museum, is refreshingly unique; a small rectangular white tent, open on one side to a small patch of grass and an endless vista of farmland (with an encroaching housing development in the distance). The action takes place on a small elevated square stage within and, aptly, on the turf beyond. Performers enter and exit from outside, popping in and out from their jungly backstage. A rather heavy summer deluge earlier in the day left most of the grass and pathways a soggy, slippery bog, a particularly authentic setting for the frogs but often making actor (and patron) exits and entrances precarious. A wet and muddy stage and soiled costumes didn’t faze this cast in the slightest. Director Liza Balkan does an admirable job staging her actors’ comings and goings both within and outside the tent, keeping the narrative flowing and interesting. Unfortunately, Beth Kates’ projections of some very cool abstract art above the stage were washed out and awkwardly positioned. I’m sure most of the audience didn’t see them. The simple low-budget set dressings by designer Bonnie Deakin evoked a fantasy summer camp with funky lawn signs and games - a bit sparse but we got the idea. Deakin’s costumes are rather ordinary, consisting of pastel T-shirts, leggings, shorts, and running shoes with an occasional vibrant shirt, vest and bowtie PLUS a onesie frog costume. Changing the chorus from frogs to humans by having them don and doff ball caps with bulbous eyes secured to them was innovative and practical. Under William Rowson’s deft musical direction, the cast brings cadence to his pleasant but standard compositions of coloratura and arias. Curiously, the program billing proclaims this production “…with the Stratford Symphony Orchestra”. I was puzzled when only two keyboards provided piano accompaniment. Priya Khatri, as Navdeep, the resilient, empathetic camper with a heart of gold, blesses us with her angelic soprano though my companion and I had trouble understanding all her lyrics. As flamboyant camp director Jay, Derek Kwan’s bel canto tenor, charming smile and affable demeanour are right on. However, at times his lyrics were also difficult to discern. Wyatt, played by Ben Skipper, gives us a multi-dimensional and utterly convincing performance as a melancholy young camper caught in a personal crisis. Darcey Baker as Riley, a quirky and fun-loving old friend of Navdeep’s, has an expansive voice with volume to spare (perhaps too much for such a wee venue). As the frog chorus (and campers), Megan Dart, Michael Neale, and Lucy Sanci spend most of the show crouched on the wet grass and boast excellently stylized physical and vocal abilities and interpretations. “Frog Song” is billed as a children’s opera but needs to connect more meaningfully with its junior crowd. The script’s decisive message of cooperation and friendship starts well but loses its staying power. Kids have visceral but finite reactions to the extraordinary. Children at the show I attended were completely engrossed for the first half of the show, especially in Wyatt, dressed as a giant frog. However, attention waned in the second half. Perhaps the fairy tale element needs embellishment or more outlandish costumes and props. Perhaps the lead characters need funnier, wackier, more off-the-wall dialogue. Maybe lyrics and music need to be exhilarating, catchy and memorable. The story can’t let up for a moment. Opera is a bizarre, wonderful, head-on collision between music, drama, and passion. “Frog Song” has passion but needs to leap a little further to proclaim itself a true children’s opera. Running Time: approximately 65 minutes with no interval. The production runs until August 12 on the grounds of the Stratford Perth Museum, 4275 Huron Road. For tickets, call the Box Office: 519.272.HFNT(4368) or visit herefornowtheatre.com. Previous Next