Back Tim Campbell Moving Forward Denise Grant Joe Szekeres Tim Campbell’s name is another one I’ve recognized over the years at the Ontario Stratford Festival. Some highlights of performances in which he appeared include ‘The Crucible’, ‘To Kill a Mockingbird’, ‘All My Sons’, ‘Macbeth’ and ‘The Cherry Orchard’. What I did not realize was his extensive work in some noteworthy productions across North America plus in some of my favourite television shows over the years: ‘Republic of Doyle’, ‘Coroner’, ‘Flashpoint’ and ‘Hollywoodland’. Tim was born in Quebec and raised on Vancouver Island, before returning to Quebec to attend Bishop’s University, where he studied theatre. He was hired as an apprentice at the Stratford Festival in 1998 and has since performed in more than thirty productions there over the last two decades. Tim was the recipient of the 2003 ‘DORA MAVOR MOORE’ TYRONE GUTHRIE AWARD (for outstanding contribution at the Stratford Festival). We conducted our conversation via email. Thank you for taking the time to chat, Tim: It has been an exceptional and nearly seven long months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? I guess like most of us living in Ontario, I’m concerned about the recent uptick in the number of cases and the apparent onset of a second wave. Though I’m certain that as a society we will get through this, how scathed or unscathed we emerge on the other side is entirely up to us, and at this point, up in the air. My sincere wish is that public health policy will be shaped by the best available data in the uncertain years to come. That something as fundamental as mask-wearing has become political depresses the hell out of me. How have you been faring? How has your immediate family been doing during these last six months? I’ve been good. Good? Mostly good. Parts of the enforced isolation have been an unexpected boon. My wife (who’s also an actor - Irene Poole) and I are frequently so busy through the summer months that we don’t get as much time as we’d like with our two school-aged kids. Quarantine allowed the four of us to spend welcome time together and develop new family traditions - hard-fought daily 5PM euchre, camping trips, days at the beach on Lake Huron. We had a large decision to make in late summer as to whether the kids would be studying at home or attending class in person. Because they’re both in the French immersion stream, there was no online distance learning option - we’d have to have homeschooled them. That seemed a bit daunting, so we decided that they would return to school in person. We are lucky to be living in Stratford, where the number of active COVID cases has remained low so it seemed a reasonable risk - even in larger than ideal class sizes, they are both really happy to be back. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? I found the sudden and absolute interruption of our entire industry disorienting. Like getting punched in the face. One day I was in the middle of an eight-show week, the next I wasn’t. Months went by, and the strangely buoyant, high-alert sense of being in an emergency began to fade. These days, as a clearer (and professionally dire) picture emerges of what the next few years will likely entail, I have struggled with staying positive. Like thousands of other actors who work predominately in the theatre, I have devoted the whole of my professional life to developing competence in a very specialized set of skills. To have the marketability of those skills (and as a result my ability to earn a living) disappear overnight is frightening. But I’m trying to keep my chin up, and mainly succeeding. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I was in the final week of a show that was cancelled in mid March and was supposed to do another in June. I’m assuming that there are no plans to revisit these projects - understandably so - but haven’t heard anything certain. What have you been doing to keep yourself busy during this time? Parenting, cooking, reading, watching tv, lifting weights in my basement, and honing the art of the self-taped film audition. I’m a bit of a homebody by nature, so that aspect of the pandemic has not been a hardship. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? I wouldn’t presume to offer advice to my colleagues, but for recent graduates? Hmm. I guess I’d suggest that they take advantage of this fallow season by expanding their understanding of what kind of art moves and excites them - read plays, listen to music, watch films. Develop an aesthetic. Look at this as a gift of time. Do you see anything positive stemming from Covid 19? Sure. I think the pause has given us an opportunity to examine those things that sometimes life moves too quickly for us to consider. Both big things (Is market economy capitalism providing the most good for the most people, and should we do something about that?) and little things (The colour of this living room is actually pretty dingy, time to paint?) Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? Absolutely. My fear is that many theatres may not survive. We work with such ridiculously thin fiscal margins and such anemic government support that it’s difficult for most theatre companies to weather a rainy day, let alone a rainy few years. Even larger companies. Maybe especially larger companies. Size and scale of productions are bound to be affected for the foreseeable future. I just don’t see the possibility of any functional model of professional theatre (or live music concerts, or stand up, etc.) while an audience must be capped at 50 or 100 people. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I’m not sure that I’ve seen enough of it to form a firm opinion... but... early in the pandemic, I watched the National Theatre Live production of One Man, Two Guvnors, and more recently, Hamilton. When the Stratford Festival re-released the filmed productions they’ve shot over the last few years, I watched those too. All of them were very watchable and very good, and I felt like I was able to extrapolate the intended effect of the live productions, but my enjoyment of them was always at a slight remove. As an archival exercise, filming these productions is invaluable. If you aren’t able to see something in person, it’s the next best thing. But live theatre will always be more potent live. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Loads of great memories. I trust there will be many more to come. Previous Next

Back 'Bed & Breakfast' by Mark Crawford Now onstage until June 30 at the Port Hope Capitol Theatre, 20 Queen Street. Now onstage until June 30 at the Port Hope Capitol Theatre, 20 Queen Street. Joe Szekeres “Make a reservation for actor/playwright Mark Crawford’s BED & BREAKFAST at Port Hope’s Capitol Theatre. Smartly directed by Rob Kempson with sharp, delineated performances by Kyle Golemba and Amir Haidar.” Brett (Kyle Golemba) and Drew (Amir Haidar) are weary of their cramped downtown Toronto condo and the disappointment of seven failed home bids. Their lives take an unexpected turn when Brett, upon the passing of his beloved Aunt Maggie, inherits a house in a small town east of Toronto. He and Drew decide to seize this opportunity and start a bed and breakfast in Maggie’s historic home, setting the stage for the unexpected in their lives. The couple experiences comic woes running a B&B. As members of the LGBTQIA+ community, Brett and Drew also face friction in this small town for who they are. By the end of the play, the two of them discover that life is not always straightforward when trying to escape complicated situations. I’ve heard of playwright/actor Crawford’s script before. I only knew it was a two-hander and involved the actors playing multiple characters. What a delight to finally see it live. ‘Bed & Breakfast’ is not an easy play to stage. From a visionary perspective in comic timing, there is much to consider in understanding the vast array of who each character is and their connections to each other, as well as their importance in moving the plot events forward. Ensuring Crawford’s intuitive script remains timely is quite a challenge. This terrific opening night performance met this challenge head-on with gusto. First, Capitol’s Artistic Director Kempson's staging of the play in June makes complete sense since this month recognizes the LGBTQIA+ community. ‘Bed & Breakfast,’ however, is more than just recognizing its roots within the community—it is far more. ‘Bed & Breakfast’ emphasizes the importance of belonging and the feeling of having an essential place within any established community. Joyce Padua’s costume designs purposefully characterize the vast array of characters who enter and exit the condo and the house. Her split-level set design of Brett and Drew’s intimate Toronto condo also nicely outlines the lower level of the B & B. The few steps up and down signify other parts of the house. Michelle Ramsay’s clearly defined lighting design focuses attention where needed, especially in several monologues Brett and Drew deliver to the audience. Round of applause to La-Nai Gabriel’s sound design when the precision and timing of the cues add much to the comedy of the moment. Rob Kempson's assured and confident direction of the subject content does not become preachy or ‘in your face’ at any time. Instead, he guides Kyle Golemba and Amir Haidar to sculpt authentic people who are vital members of all communities everywhere, regardless of their personal lives. Brett and Drew’s struggles, wins, losses, joys, sorrows and laughs have become mine, too, within the two-hour running time. There are moments where I rooted for Brett and Drew and other times when I could empathize with their sadness, loss, and frustration, especially in some of the horrific treatment they sometimes endured from others in this small town. Kyle Golemba and Amir Haidar are the reasons for seeing the show. They’re the kind of neighbours I’d like to have. They’re personable guys with whom you could have a beer or a cup of coffee and talk about everything or anything. They deliver likeable performances. They’re funny. They can be serious. They’re lively. They’re also in physically good shape for all the running around they do on the Capitol stage. Kyle and Amir do a lot of running and quick movements as they become the next character in mere seconds or a quick flourish, perhaps donning a specific piece of clothing or assuming a pose. There is one moment during the second act where all hell breaks loose in the B & B. Kempson has intricately staged that moment with impeccable pacing. I put my pen away, closed my notebook, and watched two solid actors whisk me away to what they know how to do—perform with focus and remain in the moment with intent and purpose. At the close of that scene, the audience erupted into a wild round of applause for Golemba and Haidar, which was appropriately earned. A feel-good opening night production with tremendous heart and joy of life, this ‘Bed & Breakfast’ travels to Winnipeg in the fall to entertain audiences with humour, pathos and drama. Before it leaves Port Hope’s Capitol Theatre, make that reservation and visit this local production. Running time: approximately two hours and ten minutes with one interval/intermission. ‘Bed & Breakfast’ runs until June 30 at the Port Hope Capitol Theatre Mainstage, 20 Queen Street. For tickets, visit capitoltheatre.com or call (905) 885-1071. PORT HOPE Capitol Theatre presents ‘BED & BREAKFAST’ by Mark Crawford Directed by Rob Kempson Set and Costume Designer: Joyce Padua Lighting Designer: Michelle Ramsay Sound Designer: La-Nai Gabriel Dialect Coach: Alison Deon Associate Sound Designer: Christie Heriot Stage Manager: Tamara Protić Assistant Stage Manager: Wei Qing Tan Performers: Kyle Golemba, Amir Haidar Previous Next

Back 'Monster' by Daniel MacIvor Part of a double bill by Daniel MacIvor now onstage at Toronto's Factory Theatre Provided by B-Rebel Communications. Pictured: Karl Ang Joe Szekeres "A puzzlement of a script but oh so frightfully fascinating to watch unfold. Karl Ang and Soheil Parsa are extraordinary artists who dig deep into the human psyche and uncover some dark intentions." ‘Monster’ and ‘Here Lies Henry,’ written by Canadian playwright Daniel MacIvor, are on a double bill this month at Toronto’s Factory Theatre. I saw the opening night performance of ‘Monster.’ Another Our Theatre Voice writer will comment on ‘Here Lies Henry.’ ‘Monster’ was, well, a puzzlement. Don’t get me wrong. The production contains a memorable performance of emotional control and nuances by Karl Ang and is directed with careful precision and understanding of each individual line by Soheil Parsa. But a lot is happening here…at times, ‘Monster’ is frightening. Other times, it’s alarming… But where is Karl Ang taking me? That’s what I want to find out. The Factory website bills the solo show as peeling back the 16 layers of 16 different characters to reveal the dark heart of the individual experience. ‘Monster’ invites its audiences to confront our fears and embrace the complexities that make us human. Hmmm… Trevor Schwellnus’ bare stage goes completely dark at the top of the show where we then hear someone yelling ‘Shut Up’. To whom is this directed? It just comes out of nowhere. Karl Ang then appears. The programme lists Allie Marshall as Wardrobe Stylist. Ang is dressed comfortably. He appears to be the kind of guy we want to sit down and talk with. Was this he who shouted at someone to shut up? At first, I thought someone was talking in the audience and was all this staged as part of MacIvor’s script? Schwellnus’ eerie lighting design doesn’t leave me feeling comfortable. For some reason, I just sense that something is not right here. But I want to keep going. Ang then proceeds to regale with stories and various characters that somehow are all related. For most of the running time, he is rooted centre stage with a spotlight on him. Aided by Thomas Ryder Payne’s meticulously executed (and sometimes frightening sound design at the right moment), Ang is an incredible performer who can switch from one character to the next, whether male or female, in seconds. For example, there’s the story of a young boy who hacked up his father in the basement. We then meet lovers Al and Janine, who argue, make up and then decide to marry, although there is this strong sense the marriage will not last. What’s the connection? MacIvor was recently interviewed by Aisling Murphy for Intermission. The following made me re-think again more about ‘Monster’: “The world has become both tender, and more brutal. The notion of evil is a very different conversation today…More and more…my responsibility is to step further into telling truth, so I can bring the truth of myself, or whatever the hell that is…” What truth is told in ‘Monster’? And then it finally dawned on me about halfway through the 75-minute running time. Does it really matter if truth is told in the end? Another frightening element to consider. The final few moments of the piece are spellbinding and haunting. Karl Ang is a changed man at the conclusion. I will never look upon Burt Bacharach’s ‘Raindrops Keep Falling On My Head’ in the same way again. ‘Monster’ is one of those solo shows that once again demands a talk back. Hopefully there will be some scheduled in its run to December 17. Side note: there’s talk that it might be a good idea to see both ‘Monster’ and ‘Here Lies Henry’ on the same day. I didn’t have that opportunity this time. However, it might be something to consider. Running time: approximately 75 minutes with no intermission. The production runs until December 17 in the Studio Theatre at Factory Theatre, 125 Bathurst Street, Toronto. For tickets, visit factorytheatre.com or call the Box Office (416) 504-9971. FACTORY THEATRE presents ‘Monster’ by Daniel McIvor Directed by Soheil Parsa Production Dramaturge: Ric Knowles Set, Props and Lighting Design: Trevor Schwellnus Sound Design: Thomas Ryder Payne Wardrobe Stylist: Allie Marshall Stage Manager: Meghan Speakman Performer: Karl Ang Previous Next BACK TO TOP

Back Bâtardes by Chloé and Jade Barshee (English translation: Bastards) Theatre Passe Muraille Jules Bédard Joe Szekeres I really wanted to make a connection to this production of belonging, but alas. Sigh! I was really hoping Chloé and Jade Barshee’s ‘Bâtardes’ would make a comment on how important it is for all of us to feel we belong somewhere in a community not divided by race, creed, colour but by who we are as individuals. There were so many positive things going for the play initially that I thought, okay, three times going to be the charm to conclude Passe Muraille’s #BeyondTO series. For one, because I knew the production would be in French with English surtitles, this would have been my opportunity to put my undergraduate knowledge of French to work without looking at the surtitles but knowing I could if I didn’t catch everything. Additionally, I liked reading the e-zine presented for each of the three productions as important information was given as a focus along with the online house programme. When I read in the e-zine that Jade was asked the question where she was from as a child in her grade school, she realized the ignorance of the person who asked the question. When I taught Core French to grade/elementary school years ago, that context (d’où viens-tu?) was part of what we had to teach to the kids. Obviously, this syntax formatted question must now be handled sympathetically as context is so important, even though our woke world today tells us context does not matter in any case. Upon entering the auditorium Sarah-Jeanne Doré’s visually simple set design would allow me to focus on the action of the play. William Couture’s video design of the adorable young Barshee girls and their parents in everyday momentary life situations at least showed me there was a sense of belonging within this family of a Tibetan father and Québecoise mother. I really liked the preshow spot lighting of what appeared to be a transistor radio on the stage. Jonathan Léo Saucier’s costume designs nicely delineated the characters of the Barshee girls at different points in their lives. The school outfits were perfectly fitted for the girls. Mathieu Beauséjour’s monster costume worked extremely well for me as I felt this was the kind of entity that a young child could conjure up in her mind if something (or someone) was bothering her. I especially liked Chloé and Jade Barshee’s introduction to the audience as the top of the show. I bought them entirely as they became truly believable young girls at school just through the various idiosyncrasies of young people both artists adopted. But how did my interest and focus on the story wane? It was the presentation of the English caption at the top of the set. Yes, I have some working knowledge of the French language, but it has been years since I’ve actually sat in a classroom either to teach the language or to focus my attention either in hearing or listening to the language. It became so frustrating for me as the play progressed and I began to lose interest in the plot and any kind of connection I was to make to the characters. From my seat near the back of the house, the font size remains abysmally tiny to read. I kept squinting my eyes (and I wear bifocals) and looking at the top of the set to catch what was being said especially in some of the charged dramatic moments. When it didn’t improve as the show continued, I gave up in trying to keep up. At one point, the girls are speaking one right after the other that sometimes the captioning didn’t keep up with the pacing of the dialogue. That became clear to me with my limited French knowledge and again I continued to lose focus in what was being said. Please, Nina Okens, Sean Baker, and Elizabeth Morris, make the font size larger so audiences can follow the action. Here, in Toronto, neither everyone has a working knowledge of French nor is fluently and/or functionally bilingual. I get that an English translation may not be able actually to express the emotional impact of a line or thought spoken in French. At one point, the term ‘pure laine’ is used, and I remember discussing that terminology in French as a Second Language Faculty of Education classes many years ago and debating that it could not be translated and mean the same thing in English. But it’s a shame that an important play like ‘Bâtardes’ does not have the emotional impact as it should. Running Time: approximately 80 minutes with no intermission. Covid Protocols in effect. ‘Bâtardes’ runs to June 4 at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto. For tickets, call 1-416-504-7529 or visit www.passemuraille.ca . BÂTARDES written and directed by Chloé et Jade Barshee Artistic Consultant: Patrick R. Lacharité et Phillippe Cyr Dramaturgical Consultant: Pascal Brullemans Video and lighting design/Stage Manager: William Couture Costume Designer: Jonathan Léo Saucier Set Designer: Sarah-Jeanne Doré Sound Designer: Ariane Lamarre English Captioning: Nina Okens Captioning Operator: Sean Baker Captioning Consultant: Elizabeth Morris Cast: Chloé Barshee, Jade Barshee, Mathieu Beauséjour Previous Next

Back 'Fisherman's Friends, The Musical' Now onstage at Toronto's Royal Alexandra Theatre Pamela Raith Joe Szekeres A story of real, humble, and hardworking people from Cornwall, England, ‘Fisherman’s Friends, The Musical’ is directed with a dedicated conviction of heart and told by an energetically enthusiastic and spirited company of performers. A tremendous joy in song emanates from the stage with blissful purity in sound. Who would have thought a group of lifelong friends who started singing together at school would end up on the Glastonbury stage? For we North Americans, to be invited to sing there remains a prestigious honour as it is one of the most recognized worldwide music festivals. What a sense of pride that must have been instilled not only in the artists but also in the town of Port Isaac, north of Cornwall, England. Its residents would have fondly recalled that time when these men, the ‘Fisherman’s Friends’, stepped out on The Platt to sing a few sea shanty songs to raise a few quid for the lifeboat. That sense same of accomplishment and honour that must have been felt then was evident to me on the opening night of ‘Fisherman’s Fiends, The Musical’ at Toronto’s Royal Alexandra Theatre. Directed with a dedicated conviction of tremendous heart by James Grieve, this uber-enthusiastic cast of energetically dynamic performers stole my heart with their clever witty repartee solidly bantered back and forth. It takes a few minutes to get used to hearing the dialect but that’s what makes ‘Fisherman’s Friends’ so uniquely worth the visit to learn more about this ‘buoy band’ and, what Director James Grieve writes in his Director’s Programme Note: “[to follow] a story about the universality of music and the power of singing to bring people together. To uplift and enthral…to link families and communities through history.” Musical Directors James Findlay and James William-Pattison incorporate thrilling acapella songs that became euphoric to my ears. I love the sound of acapella music when it’s done right and well. It took all my effort not to close my eyes and simply listen to the beautiful harmonies momentarily since I want to remain as objective as I possibly can in letting readers know what I thought of the production. The group is discovered by Danny (Jason Langley) a music manager on a trip from London. Once he hears this group sing, Danny is stoked to ensure their vocal sound is heard outside of this small port fishing village and manages with a bit of ‘fudging’ to get the boys to sing in London for his manager, Leah (Fia Houston-Hamilton) who doesn’t hold a lot of confidence in Danny. She has heard the group sing and respects them for it, but recognizes they are not for her. Danny also becomes interested in Alwyn (Parisa Shahmir) who works at the local pub where the Friends sing on the weekend. There are amusing moments in Amanda Whittington’s book. The group ends up in London after Danny ‘fudges’ a bit on telling the truth to get the boys to come to London. The boys end up singing and mixing with the locals in a gay bar and not realizing that life outside Port Isaac is so different from what they know it to be. Lucy Osborne’s set design is two levels and functions well on the Royal Alexandra stage. The friends sing in a bar owned by Rowan (Dan Buckley). The bar is losing money so the friends sing there on weekends to help raise some much-needed cash. The band plays on the second level with a lively percussionist at the drums. Set pieces roll in and out with much ease to mark them in place for various scenes. Osborne’s costume designs are also what one might expect from a sea shanty town – boots, overcoats, slickers, and turtlenecks. Johanna Town’s lighting design magically transports from scene to scene and nicely sets in underscoring the emotional mood. Matt Cole’s dynamic choreography reminds me of the same foot-stomping and boot-kicking work of Kelly Devine’s in ‘Come from Away’. Some terrific song renditions along the way: ‘John Kanaka’ ‘(What Shall We Do With The) Drunken Sailor’ and ‘Blow the Man Down’. There are some solid performances as well. Parisa Shahmir’s Alwyn’s two solo numbers angelically explode from the roof of the Royal Alexandra. I can’t remember their titles and that’s where the programme comes in handy. However, when I looked at it, only the song titles are there and not the names of the character or the singers. I hope this can be rectified in future to include the names either of the artists or the characters. Throughout the story, we learn Jason Langley’s Danny was let go from his job as a record producer because he has substance abuse issues. As Danny, Langley remains dynamically vigorous throughout. There are a couple of moments where I wondered if Langley purposefully played Danny as if he was high and then came to the bar. What is redeeming about Danny is knowing he will overcome these substance abuse issues and make amends. I found the ending where he purchases the bar uplifting both in soul and spirit. The death of one of the characters becomes a stark reminder of how precious life truly is and how important it is to leave a positive mark somewhere in our world first and foremost. Final comments: Passionate storytelling in song, ‘Fisherman’s Friends, The Musical’ becomes a veritable feast for the ears. Many working-class themes are presented as part of the story and in song: debt, motherhood and friendship are only three. I felt as if I was transported to another world for a few hours and heartily enjoyed the sea-faring voyage. I hope future audiences will also partake in the journey. Running time: approximately two hours and 30 minutes with one intermission. ‘Fisherman’s Friends, The Musical’ runs until January 15 at Toronto’s Royal Alexandra Theatre, 260 King Street West. For tickets call 1-800-461-3333 or visit mirvish.com. FISHERMAN’S FRIENDS, THE MUSICAL A David Mirvish, ROYO, Flying Fish Productions Island Records and Mighty Village Production Book by Amanda Whittington Music as Performed by Fisherman’s Friends Based on a screenplay by Nick Moorcroft, Meg Leonard, Piers Ashworth Choreography by Matt Cole Musical Director: James Findlay & James William-Pattison Musical Supervisor and Arrangements: David White Directed by James Grieve Artists: James Gaddas, Jason Langley, Parisa Shahmir, Robert Duncan, Susan Penhaligon, Anton Stephans, Dan Buckley (plus others listed in the programme.) Previous Next

Back 'Kelly v Kelly' Book by Sara Farb with Music & Lyrics by Britta Johnson Now onstage at Toronto's Berkeley Street Theatre Dahlia Katz. Centre: Eva Foote surrounded by members of the ensemble Joe Szekeres A unique musical theatre spin on a courtroom drama that stirred the nation in the early twentieth century. 'Kelly v. Kelly' takes place in 1915. It is based on a true story that caused a stir in the United States. Helen Kelly (Jessica Sherman) has her daughter Eugenia (Eva Foote), a 19-year-old socialite, arrested and taken to court for incorrigibility. Eugenia engages in a romantic relationship with Al Davis (Jeremy Walmsley), an older professional dancer whom she meets at a tango tea. These dancers, also known as tango pirates, frequented high-end cabarets of the time, teaching young socialite girls how to tango. These men charged the women for dancing with them, and some of the girls would have lost a great deal of money if the men discovered they had a lot of it. When Helen discovers what is going on, she demands her daughter end the affair with Al. When Eugenia refuses Helen takes her to court. The presiding Judge (Mike Jackson) oversees the case. Helen’s by-the-book lawyer (Joel Cumber) is out to embarrass and put Eugenia in her place. Lorenzo Savoini's set design is visually captivating with its two-level construction. The lower level, featuring chairs, gives the audience a courtroom experience, while the upper level offers a unique perspective of others watching the proceedings. On stage left, Jonathan Corka-Astorga's band adds to the performance, and two staircases on either side allow the ensemble to move up and down effortlessly. The actors' ascent to the second level adds grandeur to the story, creating an impression of depth and space. The shadowy lighting in the cabaret scenes, where Eugenia dances with Al, is particularly appealing, enhancing the cigarette-smoky and alcohol-smelling atmosphere of the secret establishment. Alex Amini's costume designs faithfully capture the essence of the early twentieth century. Joel Cumber's tailored coat and slacks radiate a strong sense of privilege, embodying his character as Helen's lawyer. The ladies' dresses feature chic fabrics and colours, while the men's clothing of the rest of the ensemble exudes a fashionable and polished look. Sara Farb's engaging book arouses curiosity about Helen and Eugenia's actions and motives. Some moments, however, need to be fleshed out. For example, there are brief introductions to two influential individuals in Helen’s life – her husband and mother. I would have liked to see further development in how they strongly influenced the mother and daughter’s present situation ending up in the courtroom. There are some strongly intense dramatic musical moments in Britta Johnson’s songs: ‘Helen Calls Detective Welsh’ introduces just how it is possible the New York Police Department employed shady men. ‘You Scare Me’ is especially poignant as I could see Eva Foote wipe a tear from her eye. ‘Love and Money’ is also visually striking as it offers some strong underlying reasons why men behaved the way they did as tango pirates. However, several of the key company musical numbers suffer from a sound imbalance with the band, which makes it difficult to hear the lyrics. Unfortunately, I couldn't catch anything in the closing number, 'The Final Word,' and I fear that I may have missed out on some essential plot information. I hope this issue will be addressed promptly, as it detracts from the overall experience of the show. Director Tracey Flye powerfully depicts the unyielding fortitude of women in the early 20th century through her artistic vision. Helen and Eugenia, despite their disparate upbringings, exhibit unwavering conviction and belief in what they feel and think. The male characters' contrasting personalities serve to emphasize the dominant nature of the female leads. Joel Cumber's fastidious demeanour as Helen's lawyer provides clever comedic moments while emphasizing how white privileged men view the role of women at the turn of the century. The show’s pacing never feels rushed thanks to a solid ensemble of actors who keep it moving along briskly. Jessica Sherman and Eva Foote remain convincingly believable as mother and daughter throughout. Sherman’s distress is palpable as a distraught mother who never veers into hysterics over her daughter's behaviour. Foote’s entrance at the top of the show reminds me of an Eva Peron type who confidently uses her fame to get noticed. Jeremy Walmsley is a dashing Al Davis who credibly sweeps Eugenia off her feet. Tracey Flye’s choreography of the sultry tangos between Walmsley and Foote reveals a bubbling relationship of passion and romance. While not as prim and persnickety as Joel Cumber’s Lawyer, Mike Jackson and Peter Fernandes solidly reflect in their performances the white male patriarchal society that women hold a specific place and should never deviate from it. The story is propelled forward by a devoted ensemble who embody significant individuals. Among them are Helen's friends who sneaked her out of her house and took her to the cabaret for the first time. Additionally, there are the reporters present during the courtroom proceedings, eager to find any sensational tidbit to sell their newspapers. Notably, Flye’s fine choreographed movements of the ensemble in some of the musical numbers are another highlight of the show. Final Comments: ‘Kelly v. Kelly’ is a musical in development. There is a programme notation under the Musical Numbers that the songs listed are subject to change. At this point, I am enjoying what I am seeing (although I understand that my perception of the show may change if presented again in the future). For one, the show’s messages are most timely. ‘Kelly v. Kelly’ focuses on what it means to be a woman in a time of societal change in the early twentieth century. Sounds rather ironically familiar, doesn’t it, from a woke twenty-first-century perspective? On Canadian Stage’s website, the Toronto Star bills Britta Johnson as Canada’s musical theatre’s next great hope. I certainly look forward to seeing what she has in store next. In the meanwhile, go see ‘Kelly v. Kelly’ and the birth of a new musical. Running time: approximately 90 minutes with no intermission. ‘Kelly v. Kelly’ runs until June 18 at Berkeley Street Theatre, 26 Berkeley Street. For tickets, visit canadianstage.com or call 1-416-368-3110. To learn more about Canadian Stage: www.canadianstage.com . To learn more about The Musical Stage Company: www.musicalstagecompany.com . THE MUSICAL STAGE COMPANY in association with CANADIAN STAGE presents the World Premiere of KELLY V. KELLY Book by Sara Farb with Music and Lyrics by Britta Johnson Director and Choreographer: Tracey Flye Music Supervisor, Orchestrator & Arranger: Lynne Shankel Music Director: Jonathan Corkal-Astorga Set and Lighting Designer: Lorenzo Savoini Costume Designer: Alex Amini Sound Designer: Brian Kenney Stage Manager: Lisa Humber The Band: Jonathan Corkal-Astorga, Sasha Boychouk, Jessica Deutsch, Anna Atkinson, Erik Larson The Performers: Dave Ball, Joel Cumber, Peter Fernandes, Eva Foote, Mike Jackson, Julia McLellan, Jessica Sherman, Margaret Thompson, Kelsey Verzotti, Jeremy Walmsley Previous Next

Back Michael Man 'My life is pretty exciting right now, and I hope it will continue." Pierre Gautreau Joe Szekeres The theatre company's name - ‘Shakespeare BASH’d’ - made me do the proverbial double take. Does ‘Bash’ mean what I think it means? After last year’s engrossing and pared-down ‘King Lear’ with Scott Wentworth in the title role, why was I thinking what I did? The Bash’d production of ‘Lear’ made for good theatre on a freezing night. This month, it’s ‘The Two Noble Kinsmen,’ a collaboration between Shakespeare and John Fletcher. According to a release I received, ‘Kinsmen’ explores many of the same themes expected from Shakespeare’s plays, including love, friendship, honour, and duty. Those familiar thematic topics are shown to audiences from new and unfamiliar perspectives, challenging expected ideas of gender, sexuality, romance, and ceremony. Although written over four hundred years ago, much of ‘Kinsmen’ feels incredibly modern, exploring many relationships, including same-sex love and attraction, in some of the most overt ways of a play from this period. Recently, I spoke with Michael Man, who plays Arcite, one of the title characters and asked him to tell me a bit about the plot without spoiling any intricate surprises since I’ve never seen the play before. Man was keen that I knew nothing about the show. His wish is for audiences to do the same to come and enjoy. There are two love triangles in ‘Kinsmen.’ In the first, two kinsmen are deep, deep friends who go to war and get jailed. While in jail, they see a woman for whom they fall madly in love. As part of this first triangle, these friends learn how to cope with each other falling in love with and fighting for the same woman. The second triangle involves what occurs in jail. We meet the jailer and his daughter, who falls madly in love with one of the kinsmen. Meanwhile, the jailer’s daughter is also being pursued and chased by another lover. For Michael, the theme and idea of friendship aren’t discussed much, and these are two reasons audiences should see ‘Kinsmen.’ Since our world is still changing due to the pandemic, Michael thinks a lot about friendship attrition and how difficult it is to maintain friends because they’re worth so much. How do we keep friends through difficulties? How does one describe friendship and love, and what happens when they blur, if they blur, or do they blur? ‘Kinsmen’ explores friendship, what it can and cannot be, and how we maintain it. Rehearsals have been going fine so far. Man loves working with these folks. He loves this company because SHAKESPEARE BASH’d is text-centric and actor-focused. Audiences attend to hear the text spoken hopefully well by people who are passionate about what they do. His biography on TAPA lists impressive credits. This summer will mark his fourth season with Shaw Festival. A Queen’s University and George Brown Theatre School graduate, he is an actor, musician, and theatre maker. Man has performed across the country. Having previously served on the Dora Indie Jury 2018/2019 and the Ontario Arts Council Skills and Careers Development Jury in 2015, Michael has experience critically and objectively discussing the merit of the works of his peers. He has fond memories of his undergraduate years at Queen’s along with a great support network from his undergraduate years and his training at George Brown. He met some incredible friends: “My life is pretty exciting right now, and I hope it will continue." Man has also voiced the same frustrations and perhaps concerns about where the performing arts are headed due to so much change in the industry over the last nearly four years. Change will always remain a constant. There’s now an urgency to do what he wants to do. He chooses to stay with what he’s doing now and do it with all his might and heart. As an artist, there’s a certain level of faith and optimism in choosing to do something others might see as an unstable or unreliable career. How important is it to continue honing his skills as an artist: “I feel very lucky that I get to do what I really like, so why wouldn’t I take every opportunity to learn how to do it better?” Outside of getting to see theatre, Man loves the arts and getting out to see what others are doing. It’s exciting to find out how people are communicating, what is interesting, and what is being received well or not received well. If he has the resources and the time, of course, he’ll take the time. But there’s learning to be done in other different ways from the people with whom he’s working, along with any personal reading he may undertake. How important is it for Michael as an artist to hear what audiences, reviewers, critics, and bloggers say about his work? There was a slightly uncomfortable laugh from him as he challenged me to continue asking other artists that same question. Again, we both shared a good laugh over it. Man is in the art of communications. He is trying to communicate to the audience. The best communication is never one way. It’s always a dialogue both ways, so it’s essential to hear and understand what’s being received and what isn’t. But Michael is an artist. He's sensitive, as he believes most artists are, so that side is protected. He knows he must defend that sensitivity even though he may not know how others will process the created work. Artists put themselves out there and wear their hearts on their sleeves. Just as a rave review cannot bring him to the heights and skies, negative or poor feedback must not bring him down to despair. He’s working on how he receives all kinds of feedback. Our discussion then turned to the changes in the industry. Michael is grateful that honest and meaningful conversations are taking place and getting more to the forefront. That said, coming out of these four years, he feels that as much as change is happening, a lot remains the same. The landscape is now very different. Yes, stories are still being told; people attend to hear stories told and want to be seen, heard, validated, and listened to. He appreciates there is an essence of what remains true among all of us. But there is still work to be done, and there is an added sense of urgency to do it. Many places around the world do not allow freedom of expression. This means Michael must continue to work in the arts formed by reason and with a convicted heart. He feels grateful for being able to do his work and knows many artists who have either stepped away from the business or are pausing to take stock of where they are. Change will remain a constant and will always happen. For example, there’s a lot of discussion in film, television, and voice work about the influence of AI (artificial intelligence). This item has been hotly debated and must remain a significant concern for the artist/actor. Technology is a reality, but the actor/artist must learn to react and safeguard themselves. Money and funds are always an issue in the theatre, even now more pronounced. As theatres continue to consider budget, Man hopes financial oversight will not discourage artistic risk across the board. He hopes both can go hand in hand and that artists aren’t fearful this will happen. After ‘The Two Noble Kinsmen’ completes its run, what’s next for Michael? He returns to Shaw this summer and ecstatic that it and Stratford will perform East Asian-centric plays this year. He’s writing for Shaw which has commissioned an adaptation to produce ‘The Orphan of Chao’ based on a 13th-century Chinese drama, ‘The Great Revenge of the Zhao Orphan,’ by Ji Junxiang. Man is grateful for the opportunity to have his words presented in this adaptation. He will also appear in a new adaptation of ‘Sherlock (Holmes and the Mystery of the Human Heart)’ and will act in another adaptation of a 13th-century Chinese drama – ‘Snow in Midsummer.’ As we concluded our conversation, Man spoke of something he holds dear to his heart: “Regardless of who’s performing in a show, what stories are being centred, or where the stories are coming from, I hope audiences come out to see that we are all the same underneath. That’s what’s important.” And what’s next once Shaw concludes its summer/fall season: “Who knows, Joe, who knows? …I try to trust my gut in what I do, so I will continue to seek out exciting and interesting work done by exciting and interesting people.” ‘The Two Noble Kinsmen’ directed by James Wallis, opens on January 25 and runs to February 4, 2024. All performances will occur at The Theatre Centre, 1115 Queen Street West. For tickets: www.shakespearebashd.com . Previous Next

Back Eda Holmes Self Isolated Artist Olivier Clertant Joe Szekeres Over the years while working as a full-time teacher, I’ve travelled to Montreal to visit relatives and friends in the summer, (et parler francais aussi). I’ve only attended The Centaur Theatre sadly just once as the theatre was usually closed for July and August. Since I’ve been reviewing for On Stage Blog, I made it a point to get in touch with The Centaur again as I was receiving word there was ‘good stuff’ going on, and I wanted to check it out since my retirement from teaching. I must credit a lot of the ‘good stuff’ going on for the last two seasons to Artistic Director, Eda Holmes, and her vision for the theatre. From 2010-2017, Ms. Holmes was Artistic Director of Ontario’s Shaw Festival. Her curriculum vitae reveals extensive professional experience she has had across Canada. Her training at rather prestigious ballet schools in New York City, San Francisco and Houston, Texas plus her training at Montreal’s National Theatre School in Directing are quite impressive. When I attended opening night productions to review the last two seasons, Ms. Holmes eloquently opened each performance with a warm welcome to guests and patrons. I thought to myself here was a lady who genuinely cared about The Centaur and wants it to be a leading spot for theatrical creativity. During this pandemic lockdown, Ms. Holmes still wanted to ensure audiences and patrons do not lose sight of the artistic and creative force of The Centaur. There are Saturday Salons where guests can listen to individual discussions. On Saturday May 23, the Salon features Playwright’s Workshop Montreal with Emma Tibaldo and Jesse Stong about our Queer Reading Series. On May 30, Eda’s guest will be Centaur’s former Artistic and Executive Director, Roy Surette. Roy is now Touchstone Theatre’s Artistic Director in Vancouver. We’re all looking forward for Eda and Roy to talk about their love for Centaur. The last Saturday Salon will be held June 6 with Imago Theatre’s Artistic and Executive Director Micheline Chevrier. Montreal’s Imago Theatre is a catalyst for conversation, an advocate for equal representation and a hub for stories about unstoppable women. Ms. Holmes and I conducted our interview via email: 1. How have you been doing during this period of isolation and quarantine? Is your family doing well? I feel really fortunate that I am home and well with my husband Tim Southam. Even though Montreal is a real hotspot of the pandemic we are lucky to live near the mountain where we can be out in nature a bit without having to go very far. For the first two weeks of the whole thing Tim had just returned from LA so he had to self-isolate and I was in Niagara-on-the-lake where we were supposed to start rehearsals for The Devil’s Disciple - which we ended up doing entirely via Zoom. I was able to come back to Montreal after 2 weeks and that felt really good. Now if it would just get a bit warmer outside, I would feel really hopeful! 2. I know that ‘Fences’ was shut down at The Centaur when the pandemic was declared, and everything began to be locked tightly. How long was the production in rehearsal? How far was it from premiere? Will ‘Fences’ become part of any future slate at Centaur? Fences was supposed to start rehearsals 3 days after we closed the theatre on March 13th. At that point, the set was built and waiting in the theatre to be set up on the stage, the costume and set designer Rachel Forbes was in town and the costumes were just getting started. We had a video shoot planned for the first day of rehearsal as well to create a trailer for the show and the posters had just started going up inside and outside of the building. Since we didn’t really know the scope or scale of the situation yet, we decided together with our co-producers at Black Theatre Workshop to delay the start of rehearsals for one month in the hopes that things would calm down enough to make it possible to do the show a month later - how naive we were! By the end of March it was clear that nothing that involved people gathering was going to be possible for quite a while so we paid the creative team and the actors their cancellation fees and postponed the show indefinitely. Quincy Armorer the AD at Black Theatre Workshop (who was also going to play Troy Maxson in the production) and I committed to finding a way to make the production happen with this cast and creative team in the future even if it meant waiting 2 years. It was initially sort of stunning but eventually the numbness gave way to real sadness. 3. What has been the most challenging part of the isolation and quarantine for you personally and professionally? I think that the two most challenging things have been 1) trying to figure out how best to support the artists and core staff at Centaur as we navigate the upheaval of cancelling shows and finding ways to be authentically “online” in the short term, and 2) the fact that I did not get to have any creative time with all the artists that I was looking forward to being in a room with working on my show at Shaw. That said, the thing that has gotten me through has been the people both at Centaur and at Shaw - everyone has been so inspiring and supportive of one another it confirms that the theatre is the best family in the world. 4. What have you been doing to keep yourself busy during this time of lockdown? Every day feels like a week and every week feels like a year. For me the thing that is kind of surreal is the fact that even though everything has supposedly stopped, nothing seems to have stopped for me. I was rehearsing with the Shaw actors until May 10th by Zoom and at Centaur I have been planning and replanning how to keep the theatre creatively alive while we wait to see what is possible - something that changes almost hourly. I am hoping that it will all calm down soon and I will be able to at least read a bit, listen to music and spend some quiet time thinking, cooking and watching the Spring come alive. I might even dance a bit! 5. What advice would you give to other performing artists who are concerned about the impact of COVID-19? What words of advice would you give to the new graduates emerging from the National Theatre School? Even though no one knows how long this extraordinary situation (where we are not able to gather in public) will last - I know that it won’t last forever and when it is over the need to share our stories and make each other laugh and sing and think will be immense. The thing that has been most impressive has been the way all the artists I know have simply taken what is in front of them in this crisis and looked to make something of it. It might be bread for everyone they know, it might be a new song or a series of photographs or paintings or it might even be a commitment to get back to the basics of their own lives without the crazy race that a life in the arts usually entails, but every one of them seems to be saying “What is in front of me right this minute and what can I do with it.” So I guess my advice is the same as I would give an actor in a play - be in the moment and listen - that is the only way that I know to bring the full force of your own ability to the table with real authenticity. 6. Do you see anything positive coming out of this pandemic? I can only speak for myself on this one but I know that this crazy time has reminded me that you have to work with what you have and not lament what you don’t if you want to find a creative way forward. We can’t try to remake the world in its old image once this over - that would be a tragic waste of the immense toll the pandemic has taken. Never before, in my lifetime at least, has there been a single event that has impacted people around the world the way this virus has. We can’t help but be affected by that. It may not all be positive - we are human after all - but it will change all of us and hopefully it will give us the courage to make choices politically and collectively that will provide a better future than the one we were heading toward before we were all sent home. 7. Do you believe or can you see if the Quebec and Canadian performing arts scene will somehow be changed or impacted as a result of COVID – 19? It can’t help but be changed in both good ways and sad ways. I know that some companies will find it hard to survive or certain projects which were absolutely perfect before this crisis may fall away because the world will be so different afterward they are no longer as relevant. But the performing arts in Canada in general and Quebec in particular is full of intensely driven creative people who will be pushing at the gate to come forward and take on the new world and wrestle with what it all means. And the fact that Canada as a nation provides real effective public support for the arts at every level of government means that we have the best chance of coming out of this crisis ready to work. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts and comments about this? Are there any advantages or disadvantages? Will streaming/online/ You Tube performances be part of a ‘new normal’ for the live theatre/performing arts scene? The thing that we all crave in the performing arts is the experience of being personally in the room with something extraordinary - a brilliant performance or a perfectly cast audience that hangs on every word or note or step with the performers. It happens in real time with each person on either side of the footlights making a million choices in 3-dimensional real time together. The online world cannot reproduce that real time impact we have on each other in the room. Also we are all very sophisticated consumers of recorded media which at its best is the result of a very selective creative process that results in an intensely edited 2 dimensional final product. So I think that the theatre needs time to find authentic ways to create for an online platform - simply filming performances and broadcasting them will only work some of the time and only when the performance lends itself in some way to that selective edited final product. Painters have been playing with the surface of the canvas and all artists toy with the desire for or avoidance of verisimilitude all the time. It has always led the arts to innovate. I am sure that will happen during this period while we are not able to be in a room together - but it will never replace being in the room together. 9. As the Centaur’s Artistic Director, where do you see the future of Centaur headed as a result of this life changing event for all of us? I want to see Centaur continue down the path we were building toward becoming the theatre for all Montrealers. This city has changed so much in the past 10 years. The old notion of two solitudes is being dissolved by a young generation of artists who speak at least 2 languages, come from a variety of backgrounds and who have a wide range of influences. It makes the work that comes from here completely unique and I want to put Centaur at the centre of that creative energy and offer our audience the highest quality and most relevant theatre in the world - as soon as we can make theatre again! As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: 1. What is your favourite word? Wicked 2. What is your least favourite word? Nice 3. What turns you on? Fierce Joy 4. What turns you off? Laziness 5. What sound or noise do you love? A purring cat 6. What sound or noise bothers you? Music at the wrong volume. 7. What is your favourite curse word? It is unrepeatable. 8. What profession, other than your own, would you have liked to attempt? Chef 9. What profession would you not like to do? Accountant 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You’re late.” To read and learn more about Montreal’s Centaur Theatre, visit www.centaurtheatre.com . Previous Next

Back Paul Constable and Steve Ross “Something as light as a panto takes away the darkness of this time” – Paul Constable Selfie provided by Messrs. Constable and Ross Joe Szekeres These two personable guys kept me smiling during the Zoom call. I had the opportunity to profile Steve Ross at the height of the pandemic almost three years ago. A National Theatre School graduate, I’ve seen Steve’s work on the Stratford Festival stage. He’s been a member of the company for fifteen-plus years now. Go here for Steve’s first profile: https://www.onstageblog.com/profiles/2021/2/3/theatre-conversation-in-a-covid-world-with-steve-ross Paul Constable appeared as Gary in the Canadian Tire commercials for ten years. He attended the University of Windsor and attained a Bachelor of Fine Arts in Acting from the School of Dramatic Art. His comedic training came from Second City classes, just doing improv shows in Toronto. With a smile, he stated he’s done other things, and his work as Gary was only one job. What draws these two affable guys together? They’ve recently opened in Port Hope’s Capitol Theatre’s annual panto during the Christmas/holiday season. This year’s production is ‘Jack: A Beanstalk Panto’ written and directed by Rebecca Northan. There’s singing and dancing. The story is a very loose presentation of the fairy tale with loose meaning many liberties can and will be taken. The Capitol’s panto has two versions: the Family and the Naughty. Naturally, I chose the latter. Audiences can decide which one they would like to attend. I will attend the show this week. Look for my review to follow. From seeing Paul’s limited work in commercials, he had a wry sense of humour as Gary. I’ve seen more of Steve’s comedic work at Stratford – Amos Hart in their production of ‘Chicago,’ Mr. Mushnik in ‘Little Shop of Horrors’ and as the Narrator in ‘The Rocky Horror Picture Show.’ Who can forget those fishnet stockings, Steve? What perfect timing for writer/director Northan to put these two together in a panto. This is Constable’s first time performing on the Capitol stage. Ross did a reading of Yasmina Reza’s ‘Art’ years ago but never an entire show. Rehearsals went well. According to both, everyone was in a really good space before opening. Paul said it’s amazing what can be accomplished in two weeks and comically mentioned how the first day lifting a rock in front of him might not have been possible. Two weeks later, the rock is over his head, and he’s doing okay. He added further: “We’ve run the show many times. Now we got to tech week, and everything became stop and start, that’s wrong, take two steps, and now take three steps back. It didn't push us back because we were in such a great place for tech week. There’s always the excitement of the preview crowds coming to the show, hearing the laughs, and figuring out where the pacing is and timing issues, it put us in a really good place for opening.” Compliments galore from both Paul and Steve about their cast members. Steve called Rebecca a great ship captain; he took this gig because he’s been a fan of hers. Every day, she knew what she wanted to get done, and it was completed. For him, an exciting part of working with Northan was noticing she was in the cleaning process of the show on the second day. Cleaning is something usually not done until a tad closer to show dates. Steve also commented on how quickly the rehearsal process went for the show. It’s a three-month process at Stratford, but there’s been a brain shift in thinking about how to tackle the panto. It was an intensive two-week process, but it went well for him. The talent of the cast still amazes Paul. He jokingly said he is becoming a two-and-a-quarter threat. Steve said that Paul can get the t-shirt because it’s true. Both agreed Rebecca wanted clean comedy. That’s what she’s getting, and that’s what audiences will be getting. Everyone is having fun; it’s a good time, which has made this show a good opportunity for everyone involved. The two coyly said chickens weighed into the show and would leave it there. If you’re a chicken fan, you will like the show. Was there any distinction about the chickens between the Family and the Naughty version? Ross said the show is universal chicken and will be played as such. The two versions are fun, but Constable prefers the Naughty. Steve has never been involved in a show with two versions, so he doesn’t have a preference. For him, it’s virtually the same show with the dial turned up for the Naughty. Along with Rebecca, the guys clarified an essential item for the audiences on how the actors will approach the show's subject material. The Naughty version will not push into a place of blue and dirty for the sake of being blue and dirty. Paul is thankful the naughty version didn’t go there because his parents, wife, son, and friends are coming. He didn’t want them to feel embarrassed, and he didn’t want to cringe at any blue material. Steve also felt the same way as Paul. Instead of being blue: “It’s fun. It’s smart. Rebecca knows a line to walk. You’re laughing because it’s a joke, not harmful or hurtful. Sometimes stuff happens in life, and it’s silly. It’s the kind of show you’ll talk about with your friends and say: “Maybe we shouldn’t say this.” Sounds like double entendres and second glances are on the menu for the Naughty version. Nothing’s hurtful, except ‘anti-chicken people’ might consider it bothersome. I’m sensing the show might just make a few comments on how our woke world has become extremely sensitive to the point where no one feels comfortable laughing anymore. Oh, by the way, now I’m curious how these barnyard animals will figure into the show. The two are excited to gauge the audience's responses from both versions. There’s improvisation involved from everyone. Sometimes, a joking improv on a Tuesday audience might kill, and the actor might consider bringing it back on Wednesday. However, that audience might not respond in the same way. For Paul, that’s the beauty of improv. Are there messages in the show that the cast hopes audiences will take away with them when they exit the theatre? When Rob Kempson (Artistic Director of the Capitol) and Rebecca first approached Steve with the offer, the term ‘forward thinking panto’ was coined. He’d never heard of it. Body shaming gets addressed, and fluidity of sexuality gets addressed (not directly). These are only two messages. None of the messages is ever hammered over the audience’s heads. Doors are open; if people want to see that stuff, it’s there. Steve also shared Rebecca had seen pantos in the UK and even in the GTA, where the dame, always in drag, also gets booed. Rebecca is not interested in someone getting booed. The panto is crafted in such a way that no one will feel the need to boo. Steve admires Kempson and Northan for trying to do something different within the genre. Paul concurred and added that the show will have its own message subconsciously. There are mixed characters and situations, but no one will ever feel as if they are being preached to or told how to feel: “At the end, you’ll probably be exhausted from laughter. Something as light as a panto takes away the darkness of this time, and you’ll forget about whatever you were thinking about when you came to the theatre.” As we neared the end of our conversation, it turned to some changes in the industry that hit the live artists hard. Steve referred to the Writer’s Strike. Since returning to work, he has noticed gratitude at Stratford. He set himself that goal of gratitude for the two years he sat inside his house, not working. If he is lucky enough to be back, he will not complain about anything, whether it’s a 12-hour day or why something might be missing. Steve has also noticed there’s an understanding that artists do work hard and that it’s okay to say one must take care of him/her/themselves for the day. Steve is also quick to add it’s not just him. He sees so much gratitude for the profession because Covid was the reminder it was taken away for two years. Gratitude is easy to forget in the theatre/performing arts industry, and Steve doesn’t want it to happen again. Paul agreed Steve nailed it. The former returned to a different rehearsal process, and Covid permitted people to acknowledge what was bothering them. Paul mentioned a joke I hadn’t heard before – how do you make an actor complain? Give him a job. That joke couldn't be any further from the truth. Since the return, Paul has noticed a check-in at the beginning of each rehearsal. Rebecca and Rob set that tone right from the start. That was something new, but it was welcomed because Paul just saw so much of the attitude of learning lines, showing up, doing what is asked of you, saying nothing, and going home before Covid changed the world we know. Once the panto concludes its run at the Capitol, what’s next for Paul and Steve? A piece of advice was shared I had never heard either – as actors, you just get used to not knowing, and somehow you will land on the ground. Paul was Gary for ten years with Canadian Tire. The actors are in a strange place, and there’s some hope union actors can return to work in commercials. If that happens, Paul hopes to be a part of it. Paul is pleased he took the panto job because it allowed him to step back into theatre. He hopes artistic directors are listening and looking for his talents (hint, hint, call his agent). Steve will put his writing hat back on before returning to Stratford for the upcoming 2024 season. He has two drafts he’s working on. He’s excited to sit at his laptop and write for the month. There will be some free days during the panto run, so he’ll continue writing. (Rob Kempson, are you listening? Steve will send you the drafts). ‘Jack: A Beanstalk Panto’ runs to December 23 at the Port Hope Capitol Theatre, 20 Queen Street, Port Hope. For tickets, call the Box Office (905-885-1071) or visit capitoltheatre.com. Previous Next

Back Jamie Mac Looking Ahead --- Joe Szekeres Holding these conversations with many professional theatre artists this last year have been enlightening and informative where we’ve also shared in some good laughs and smiles. Artist Jamie Mac certainly made me laugh in reading his answers for his dry wit and subtle poking that put a smile on my face. We conducted our conversation via email. I’m quite thankful Jamie made the time to add his voice to the conversation. I look forward to the time when I am able finally to say hello to him in person once we emerge from this pandemic cocoon of the last sixteen months. He was scheduled to perform at the Stratford Festival last summer when Covid hit. I look forward to seeing his work back onstage there when it’s safe for all of us to venture indoors to sit down and watch a live production. Jamie submitted his brief bio to me. I’m going to place it here because his wit made me smile on this Saturday morning: “Jamie Mac was born on an island incorrectly identified by Giovanni Caboto as newly found. He studied the speaking of words and the movement of the body at a university with a toppled statue. Full time he collects money from the government, helps the neighbours with chores, reads books, plays basketball, makes fun videos with his friends, and auditions into a void of silent apathy. The majority of his creative life has been centralized around a man named William. He sometimes re-evaluates this decision. One day he’d like to go to the moon.” Thank you, Jamie, for contributing to the discussion: 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. Apparently, scientists estimate the entire global mass of the SARS CoV-2 is less than 10 kilograms. Something you could fit into a cargo-pocket did all this. That puts a new spin on the phrase “there are no small parts…” Also, I’ve been thinking, when individuals, groups, communities, political figures, and even whole countries make poor decisions, it really does fundamentally change the course of history forever. If Jagmeet Singh didn’t needle Trudeau to up the funds to Canadians, I really don’t know how I would have survived. If Trump didn’t… well… you can fill in the blank there. If I didn’t hit the animal on the highway the other day, I might not have been paying attention when the child fell into the road 5 minutes later. Everything is so brutally linked, and we all have such a responsibility not to make idiotic decisions; the plates of the future are so precariously balanced. (And I feel awful about the roadkill, still. The child is fine.) With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? Yeah, live theatre should be the last thing to return. We should miss it terribly, achingly, so we can rededicate ourselves to its value. Honestly, the world really was not valuing it. We inject Netflix into our faces and doze off into obscurity. Let’s get back to live people engaging our actual active imaginations. I want to do some beautiful skits in the rubble of lost potential. As a professional artist, what are you missing the most about the live theatre industry? Words, man. Woooords. Gathering together and speaking about ideas is kind of the highest function people have. It’s like, the best thing we do… sometimes. And the great thing is: some writers are actually good, and that’s magic when that occurs. Oh! And every now and then, some foolish director actually says that I get to speak those words… to other actors… in front of an audience! Like, wow. What kind of fantasmagorical world is this!? That’s privilege, that is. So. It’s the ‘live’ part I miss most – like best. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? Once, I had an actor absolutely shower me in spit for about 45 seconds, multiple times. It was a close intimate impassioned speech. It was… My. Own. Personal. Hell. But I would have done that every day of 2020 - luxuriating in the spittle like a shampoo commercial - instead of sitting around in my fuckin’ house. So yeah… passionate actor spit. That’s my answer. Describe one element you hope has changed concerning the live theatre industry. This is just me, and probably not what is going to happen, but I think people should complain less, and argue more. Respectfully. Yes. Always. But I sense we all tiptoe around too much, and no one really fights for great ideas. It’s very Canadian. I want everyone to speak up, be wrong, get corrected, learn, and fight another day. If we trust that no one is necessarily wholly defined (as a person) by some previous utterance – and make space for people to grow, they might. It is a deep form of personal respect to demand the best from each other. Let’s continue to get things gloriously wrong. That’s the only way to make things more better (as the late, yet incandescent, Ian Watson used to say.) Explain what specifically you believe you must still accomplish within the industry. Surprising myself. Acting faster than I can decide, and really discovering. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. It seems an evolutionary imperative for people to do ‘plague stories’. There’s a really weird chapter in one of Moses’ books detailing how to diagnose and treat different spots, and pox, and plague on peoples’ bodies. I don’t recommend it, but I suppose it was helpful at the time, pseudo-scientifically or anecdotally. Even the phrase ‘opening Pandora’s box’ (or jar) is a warning story about releasing sickness. Evidently, we have to tell these stories, or we’re dead. Mercifully, Shakespeare didn’t write about being stuck in his house… and instead delved into humanity, and conscience, and malevolence, and tragedy. So, good writers hopefully know the difference between being ‘current’ or reaching for timelessness. Nothing will suck more than the sound of an audience groaning under their masks at a brutal social-distancing joke. I’ll probably fall into the trap myself, if anyone ever hires me again. None of us are immune from being relentlessly lame. (See what I did there.) But there is always a place for a good allegory, just let’s not put Zoom on stage if we can avoid it, yeah? As an artist, what specifically is it about your work that you want future audiences to remember about you? I’m still wrestling with the possibility that to serve a story properly is to be forgotten. I don’t know if that’s true or not. It’s either one of these two: 1) Risk being terrible attempting to be great, or 2) Risk being forgotten in the service of the story. I probably go back and forth on those ideas, depending on the part. I would love for people to think I was intensely versatile over the course of my career, but I also would want audiences to feel I was deeply human, whatever that might mean. I just want them to laugh despite themselves, and cry if they needed a cry. But like, the rest is up to the subconscious muse of the writer. You can check out Jamie Mac’s Twitter and Insta handles: @JamieMacLive. Previous Next

Back Lisa Rubin Moving Forward Leslie Schachter. Joe Szekeres My recent Zoom call with Montreal’s Artistic/Executive Director of the Segal Centre, Lisa Rubin, led me to discover that she has had an interesting mix of training. Lisa’s major was in Drama at Montreal’s McGill University, but it was more academic based and not a conservatory program. During her McGill years, she spent three consecutive years at the Charlottetown Festival. For Lisa, that was training for her and what an opportunity to be trained with this prestigious company. Lisa has had years of dance training and singing and voice lessons. She grew up in theatre programs of acting, singing and dancing. Lisa has been the Artistic and Executive Director of Montreal’s Segal Centre since 2014. A bit of my own online research revealed she has had an important part in the development of new musicals including ‘Prom Queen’ in 2016. In the online blog ‘The Montrealer’ in 2019, Peter Kerr had written that “Lisa is understandably proud of the reputation that the Segal has garnered…while honouring the history of the Centre, their audiences and donors.” I couldn’t agree with him more as she is an articulate, passionate and very calm lady who clearly is ready to take the reins and move the Segal forward once we are all given the clearance to return to the theatre. Thank you, Lisa, for taking the time from your schedule for our conversation: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again in Ontario and Quebec. How are you feeling about this? Will we ever emerge to some new way of living? Yes, I do, I do think that when there’s a vaccine the clouds will part. I do believe that. Unfortunately, it’s the only time the clouds will part. Over the last eight months, people’s hopes and expectations have been giving us all whiplash. There’s an acknowledgement at this point that a true return to normalcy, the crowds, and our ability to connect with family, friends and the community will be post vaccine. It will take time. I’m sure there will be remnants of everything we’re doing now in terms of health and safety and protocols will stay with us for quite some time. How have you been faring? How has your immediate family been doing during these last eight months? For me, personally, it’s been very good. And I think that’s one of the struggles that have is balancing the acceptance and enjoying the change in my life that this has brought on while my other love and work love and work life and the industry is suffering. Personally, it has been five, almost six years in my job that has completely devoted to it in terms of travel, in terms of weekends, in terms of evenings, in terms of long, long hours. I have been grateful for every minute of it and I love it so much. It’s such a privilege to do what I do. It’s also taken me away from my family. It’s taken me away from finding the time to invest in myself. I’m not Oprah and not getting up at 5 am to exercise. I’ve exercised pretty early, but 5 am is just a tad too early for me. Reconnecting and just being home with my kids and cooking again and exercising daily is something I didn’t realize how much I loved. As a dancer, it’s made me want to sing again and dance again. I have incredible healthy kids at a good age, they’re 12 and 13. They have their independence, and they need it as they’re beginning their teenage journey. They also still like to hang out with us at night a little bit too, and cuddle. We spend a lot of time together. I remember very clearly what it was like to have little kids and I think this pandemic would have been very different for me and my family if my kids were younger. To me, parents and little kids are heroes right now, and the teachers, the doctors, the nurses. I’ve seen a lot of silver linings for myself. It hasn’t changed how hard I work or how many hours I sit in front of the screen. It’s just a different way of doing it because I’m home. I want to get back to seeing shows, to directing, to travelling, to being in the room and all that, but I don’t want to forget what this gift of time at home has meant. As an artist within the Montreal performing arts community, what has been the most difficult and challenging for you professionally and personally? I am seeing that show business is hard enough. To see people from back stage to technicians to the painters, the designer to the actors, to not have access to any work right now and leaving the business and going through mental health issues and financial crises, that’s where the guilt and trying to do the best that I can with the power that I have. I have a lot of power in my position and I have a job. There’s are things we’ve been talking about at the Segal Centre right now. What can we give back right now? And how do we continue to support our audiences and how do we continue to raise money? But how do we really look at what we have and how lucky we are to have what we have and give back to the community. At the Segal Centre, we’re giving away free space. We’re hiring and engaging with independent companies than we ever have before so we can put money in their hands and funnel it through. Although we don’t want to be doing online theatre, we’re doing online programming so we can just hire people. We can put money into companies and artists, and all of the things we want our audiences to enjoy and to help find some joy during this time. Another difficult and challenging thing we want to overcome is not getting done on what we had before. Let’s focus on what we have right now and remembering that everyone is dealing with this so we can get back to do what we love and want to do. Prior to the pandemic, the Segal Centre was on an incredible trajectory. Our new musicals keep getting better and stronger. There is so much potential and collaboration out there. To work now under this condition that we don’t have a season and only do some things, that’s okay. Even though I love musicals, we can’t do those right now and that’s okay. Instead let’s just focus on what we can do. I found it helpful to focus on the immediate future – such as looking at three months ahead – with the budgets we have and be motivated by what we have right now and the gratitude that comes with that. I know and feel very lucky so when I see others suffering, I want to help. I just can’t help everybody. I don’t think everyone is expecting me to, but artists look to the institute and organization for support as well. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? Yes, it was ‘Oslo’ which is a Tony award winning play with a cast of 15. We were a week and few days away from first rehearsals starting. The entire set was built. Actors had memorized their lines. ‘Oslo’ was a really hard one to cancel as it’s a phenomenal show. I’m absolutely going to do it again. But it’s one of those shows that may have to wait until we get back on our feet because it is so big. We also cancelled a world premiere play, a world premiere comedy called ‘Siberian Summer’. This one I’m determined especially since it is a world premiere and the playwright can re-invent the piece so that it makes sense in a post-Covid world or an on-going Covid world that the story holds true and the relationships that we build the characters on all hold true. Now what happens if they have to wear masks? What happens if they have to stay 6 feet apart? How does that affect their life in this context? There are some exciting things coming up for ‘Siberian Summer’. We also cancelled the Yiddish Theatre. That was hard too because that’s community theatre. So community theatres around the city all had to cancel and that’s hard too. We also had to cancel our musical fundraiser for which we were rehearsing for 3-4 months. That was hard as we were ready to move into the theatre in March for Tech week. Some other things may never happen that we were working on or they might. Art is always changing. Art has to change so the shows we do will reflect the time and the artists we want to work with. We’ll see what makes sense for us to keep doing or what doesn’t. What have you been doing to keep yourself busy during this time? I have to tell you that I work a lot of hours. (Lisa laughs as she shares this) I still work a lot of hours. Outside of the work hours, I exercise, I go to COSTCO. I take care of my kids. I run errands. I’m also part of a volunteer group from The Federation. I’ve done quite a bit of deliveries. Volunteering is also something I personally enjoy because it makes me feel like I’m contributing. I’ve taken my kids with me when I volunteer, and we really enjoy bringing food and bringing gift bags to seniors’ residences. Reading a lot. I think about how I did everything before when I travelled so much. I think a busy person can do everything, and yet I’m also making more time for disconnecting because the connections are so intense during the week that Sunday I’m going for walks or bike rides or just lying on the couch and watching Netflix like everybody else. This is a change from my life before and I’m enjoying it. I’m never bored. I miss my friends, socializing, I miss my family. I haven’t seen my dad in a year. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? There are two messages. One is perhaps a tough love message and that is our industry will have shrunk a little bit. There will be less opportunities for a bit than there were before. There will be smaller productions maybe than there were before. In order to excel in this field, you have to train, you need your technique. You need to keep singing. You need to keep dancing. You need to do all these things. I understand there may be this need of “I don’t want to” and permission to allow yourself to not also. But when the time comes, artists, you need to keep yourself and your SELF healthy. So, the training, the work, you can’t stop investing in yourself as an artist. I believe it will come back. Theatre is one of the things that if you like it as an audience member OR if you’re in it as an artist, you can’t live without it. It doesn’t matter. Nothing is going to change that. It’s going to come back, so will Broadway. Theatres will open again. It’s not going away. Hang in there. I know it’s hard, but you have to invest in yourself as an artist because if you want to work that’s what it’s going to take. As a result of what’s happened with Black Lives Matter and the major racial revolution and changes happening, the Segal Centre and others will be investing even more in mentorship opportunities and apprenticeships and training, and ensuring that we make that marginalized communities or voices that don’t belong in white American theatre WILL BELONG and will have opportunities for artists. That’s ongoing investments in artists. Do you see anything positive stemming from Covid 19? Oh, yeah. Access and having online programming, even if it’s not theatre, even if it’s our ‘talk show’ format presentations or educational opportunities gives people access to those who cannot attend the theatre. I feel as if I’ve become closer with my Board. I’ve become closer with leaders in the Montreal community. I’ve become closer with members of the French community. I’ve become closer with arts workers in the US because I do weekly Town Halls. It’s actually strange in how well you start getting to know people because you spend so much time online with them. There have been so many wonderful connections made as a result of not being able to travel to establish connections. This is going to make us appreciate the in person work even more. I also think many of us have been hustling, and I just hustle in a different way because it’s my job. The hustle of the working independent artist, whether he/she is or they are trying to work, investing in themselves and auditioning OR the working artist who goes from contract to contract to contract, they have not stopped. You can’t stop this. This forced stopping from the pandemic in the beginning, I think, was a wake up call for so many. If you talk to many artists who were non stop in the beginning, these artists realize they were forced to concentrate on other things like baking, reading, relaxing where they don’t have to study the script, learn lines or audition. I know it’s too long of a break, but I think artists deserved that break, actually, big time. These artists deserved not to hustle for a little bit. Now, we’re eight months later, so artists you are going to have to put the work back in for sure. Do you think Covid 19 will have some lasting impact on the Montreal/Canadian/North American performing arts scene? I think it’s going to be the same around the world. It’s going to take a lot for the vulnerable, regardless of age, who have been afraid these last eight months to find their way back and to have trust. There’s a whole group who would attend tomorrow if they know they could. There’s an inevitable loss from Covid as well. We may not be able to be at full capacity for some time so I think by the time we’re at full capacity happen again truly, it will have been this gradual 100 more, then another 100 more, so it will be a slow re-instatement of people to have that trust. We’re going to have to see it reflected in the numbers. We’re in for a slow re-awakening in the theatre industry but it will happen. I think this is the same for everywhere around the world and not just in Canada. It is what it is. I have hope but we will have to look at the audiences who will come to the theatre and program accordingly and just think differently. Everyone recognizes that old models may change and may shift. I’d like to be one of the innovators. We’re all a little burnt out just dealing with the whiplash, the HR, the granting, the cancelling. If it’s not me, someone else will and I’ll be grateful to them. We’ll help each other. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I think it’s so wonderful that artists who have done their own thing on streaming. I’ve seen some awesome work. Good for them. If actors are going to be hired and used for online streaming for our audiences, then yes, they should be compensated appropriately. Despite all this fraught tension and confusion, what is it about the art of performance that Covid will never destroy for you? Covid will never destroy the energy I feel even connecting during an online dance class. It doesn’t change. Being in person makes it better but it doesn’t change. It’s like an addiction. Once you’ve tasted it, you just know. Your love of food, your love of music that does not go away. Again, Covid will never destroy that energy. To learn more about Montreal’s Segal Centre, visit www.segalcentre.org . Previous Next

Back "Four Minutes Twelve Seconds' by James Fritz Now onstage in the Extraspace at Tarragon Theatre Credit: Dahlia Katz. Pictured: Megan Follows and Sergio Di Zio Joe Szekeres VOICE CHOICE Tight direction and a masterclass in acting performances. Disturbing. An absorbing production of character nuance and surprising plot twists, Studio 180 Theatre’s opening night performance of James Fritz’s ‘Four Minutes Twelve Seconds’ elicits nervous laughter at one point and shocked gasps of disbelief the next. That’s real life for me. Playwright James Fritz’s Olivier Award-nominated drama is extremely dark and unusually comical. The script contains surprising plot twists that made me do some double takes, as they did to others sitting around me in Tarragon’s Extraspace Theatre. I’m trying my best not to spoil anything about the plot. You must experience this story live. Given ‘Four Minutes’ has been nominated for an Olivier award, I would have to assume many place references in Fritz’s script are from the UK. Here, the story takes place in Scarborough. These script changes didn’t bother me at all. Fritz’s themes of moral incertitude, consent, injustice, privilege, deception, and the horrific consequences of modern technology remain universal. The Studio 180 Theatre production becomes an alarming reminder this story can be any parent’s possible worst nightmare in a world of instantaneous feedback to gain online followers. Dave (Sergio Di Zio) and Di (Megan Follows) are the parents of seventeen-year-old Jack. Jack is a good kid, but like many young adults, he sometimes makes poor choices regarding his actions and friends. The production opens with Di holding a bloodied private schoolboy’s shirt. Jack has been involved in a fight outside the school grounds. This event threatens everything Dave and Diane have strived for with their son, as they only want what is best for him. Jack is up in his room, afraid to speak with his mother. Having spoken privately to him about what happened, Dave wants to speak to Di about that conversation. With events resulting from this fight spiralling out of control, it appears that Dave and Di may be unable to trust Jack, his closest friends Nick (Tavaree Daniel-Simms), Cara (Jadyn Nasato), or even themselves. The creative team has made many good choices in staging this North American premiere. Using Tarragon Theatre’s intimate Extraspace is the first. Jackie Chau’s set design is unchanging but allows the actors to move across the stage effortlessly. The diamond point shape at the apex closest to the audience places us right in the action. Logan Raju Cracknell’s lighting sharply focuses attention where needed. Two spotlit moments highlight Megan Follows beautifully. Lyon Smith has created exciting sound designs to invoke the rising tension. Mark McGrinder directs with controlled and tight precision. As a parent, he understands young people's actions and what makes them behave as they sometimes do. Every action, reaction, and response by the four characters has a valid reason for occurring. McGrinder exposes the harsh reality of raising a family in the twenty-first century amid virtual reality. It’s often challenging and complicated. It’s not pretty. McGrinder’s awesome cast makes him proud. As Jack’s friends Nick and Cara, Tavaree Daniel-Simms and Jadyn Nasato remain entirely genuine and convincing as young high schoolers about to graduate. Daniel-Simms’s initial shyness with Di as she comes to speak with him makes the young man appear very likable. He wants to remain neutral and stay out of any trouble himself. I was siding immediately with Nick and became annoyed that Di bothered the young man on his way home from school. Nasato, as Cara, has more of a direct connection and interest in what has occurred. To put it bluntly, she’s pissed about what has happened; however, that does not give Cara the right to be flippant towards a caring mother who wants to get to the bottom of what happened. There are moments where Cara’s treatment of Di becomes downright disrespectful. Nevertheless, Nasato effectively makes this irreverence work entirely in her favour as the story unfolds further. To explain further is to spoil what happens. Nasato is spot-on in her performance. Sergio Di Zio’s David is at first puzzling. He and Di don’t seem to be on the same page in raising their teenage son. Di calls David the ‘hippie’ and good-time father who wants his boy to experience what boys do and behave as they usually do. How long has this parental division been going on? Di Zio’s voice and personal stance appear nonchalant as a parental figure compared to his wife, who remains firmly grounded in her view that her son is still a good kid. Sergio makes this work to his advantage. Masterfully. His pauses and timing as David become stronger and more believable. Even eye-opening as the story continues. Megan Follows is utterly convincing as Di and is the reason to get tickets to see this production. She rarely leaves the stage and intently focuses on each person with whom she shares the scene. She delivers a remarkable performance as a confused mother and a tad overwhelming wife who learns disturbing truths about her son and husband. Grounded in a fiery and feisty spirit, Follows rears her mama bear temperament with gusto and zeal while never overplaying the emotional peaks and valleys. I walked with her step by step as she climbed that mountain of recognition that perhaps young people in the twenty-first century are not as innocent as they might appear. And Another Thought: In his Director’s Program Note, McGrinder calls ‘Four Minutes’ a play of questions—troubling questions, human questions. That becomes abundantly clear in Follows's last unsettling moment on stage, which is disquieting. Her final line delivery and state of mind took my breath away. Good theatre is supposed to do that. ‘Four Minutes Twelve Seconds’ is exceptionally good theatre. Running time: approximately 85 minutes with no interval/intermission. ‘Four Minutes Twelve Seconds’ runs until May 12 in the Extraspace at Tarragon Theatre, 30 Bridgman Avenue. For tickets, call the Box Office at (416) 531-1827 or visit: https://studio180theatre.com/productions/four-minutes-twelve-seconds/ STUDIO 180 Theatre in association with Tarragon Theatre present the North American premiere of: ‘Four Minutes Twelve Seconds’ by James Fritz Directed by Mark McGrinder Assistant Director: Chantelle Han Set and Costume Designer: Jackie Chau Lighting Designer: Logan Raju Cracknell Sound Designer: Lyon Smith Stage Manager: Sandi Becker Production Manager: Charissa Wilcox Performers: Megan Follows, Sergio Di Zio, Tavaree Daniel-Simms, Jadyn Nasato Previous Next

Back 'Celestial Bodies' by Jacob Margaret Archer The Studio at Toronto's Young People's Theatre Jimmy Blais Joe Szekeres A challenging dramatic monologue of body imaging which is difficult to discuss, ‘Celestial Bodies’ is treated with the utmost care, dignity, and respect for the human person. Young People’s Theatre once again handles youth issues with care, class, and dignity for the human person. Produced by Montréal’s Geordie Theatre, ‘Celestial Bodies’ becomes a hard-hitting, poignant tale of a young girl entering high school who becomes self-consciously aware of her diverse body image and how she appears different from others. But, though, when we look at the galaxy and the universe, there are diverse shapes, bodies and sizes that are beautiful and extraordinary in their own unique way. As a retired 33-year schoolteacher, I will admit this is an issue which truly hasn’t become any easier to discuss with young people. If anything in our social media age, some young people become fixated on maintaining the perfect body image to the point of health and relationship issues with others. Protagonist Stella is what I will call the normal teenage girl from my years in education – a fast talker because she’s trying to relay as much information as she can and how she is feeling about it. At the beginning of the story, she is sitting in a hockey locker room deep breathing to calm herself down after a panic attack. To calm herself down, Stella shares with us she is interested in the galaxy and dreams of becoming an astronaut. Whenever she feels panicky, she imagines she is wrapping herself up in the universe and the galaxy and this seems to calm her nerves. Stella is at the pharmacy with one of her two mothers conversing with the pharmacist about weight gain. Her mother Imma who is overweight is very warm and accepting while her other mother, Andie, was a former Olympic hockey player from the Turin Olympics who is always giving pep talks to her daughter. She’s going into Grade 9 and like any other young person going into high school wants to fit in. She tells us about a boy who was in her French class in Grade 8 and used to wink at her when he handed out the homework. Stella took a fancy to his winks and hoped more would come from this connection he made to her. Going into Grade 9 poses its new set of problems. The boy who used to wink at her in Grade 8 is now very mean to Stella. He and another girl end up throwing a yogourt cup at the back of Stella’s head. She leaves the room with her dignity intact but loses her composure in the bathroom as she’s trying to get the yogourt out of her hair. A girl, Essie (who is different from the others at the school) comes in to help Stella wash the blueberry yogourt of her hair. They later become friends. Essie encourages Stella to become part of the hockey team with her brother, Noah, whom Stella calls a cute guy. Noah learns of Stella’s interest in the galaxy. The next day, when she is at school, Stella’s science teacher makes a comment about her size and her wanting to become an astronaut which he realizes afterwards was a huge error on his part, but the damage inflicted through words is already done. While in the cafeteria, bullies start taunting Essie and Stella once again and throw another yogurt cup. Because Stella has been practicing goalie moves, she captures the yogourt cup, and tosses it to Essie who then flings it back at the bullies. Essie and Stella are then given detentions even though they are the ones who did not start this teasing incident. A staff-student hockey game in which Stella participates becomes a high point of interest where she maintains her dignity about herself and her place in the world, including the galaxy. As Stella, Riel Reddick-Stevens remains most believably and consistently grounded in the moment and very real in her performance of a young girl who is confronting so much stuff in her life. She never ventures into tears or overacting but allows the words of the monologue and their meaning to speak for themselves. Director Jimmy Blais envisions this story with dignity and compassion for all diverse body individuals because he writes in his Director’s Note: “This play hits home for me and for whoever has struggled with body image.” Thank you so much for your candour, Jimmy. Tim Rodrigues’s lighting design fluidly moves from shadows to warmth with ease from scene to scene and from moment to moment naturally. The multitude of colour hues from the galaxies has been effectively captured on stage. I especially liked Eo Sharp’s set design. On the floor are pictures from the galaxy where there are pictures of planets from space. Reddick-Stevens believably moves from around the Studio playing space sometimes while standing on a planet or at other times in the middle of the galaxy. Reddick-Stevens also maneuvers around the stage in what looks like three mushroom stands. You’ll see them in the picture above. These set pieces are quite effective in providing an interesting visual perspective because nothing in the galaxy ever appears the same. Things are constantly changing shape and size continually. As Blais says in his Director’s Note: ‘We are like stardust’. Final Comments: As a 33-year retired schoolteacher, I would heartily recommend ‘Celestial Bodies’ as a trip for elementary and secondary students, first as an opportunity to discuss with students the importance of self-care, self-image, accepting and loving ourselves in the way we have been formed. Second, this is an extraordinary performance to watch a recent theatre school graduate share a story that gripped the attention span of the young audience members I saw around me. Running Time: approximately 60 minutes with no intermission. There are some Q & A after the performance so check when you purchase tickets if you are interested. ‘Celestial Bodies’ runs until December 9 in the Studio at Toronto’s Young People’s Theatre, 165 Front Street East, Toronto. For tickets, call 416-862-2222 or visit youngpeoplestheatre.org. ‘Celestial Bodies’ by Jacob Margaret Archer Produced by Geordie Theatre Directed by Jimmy Blais Set and Costume Designer: Eo Sharp Lighting Designer: Tim Rodrigues Design Assistant: Sorcha Gibson Production Manager/Technical Director: Aurora Torok Stage Manager: Annalise Pearson-Perry Performer: Riel Reddick-Stevens as Stella Previous Next

Back Michaela Washburn Moving Forward Denise Grant Joe Szekeres Before I interviewed Michaela Washburn this morning, I had to go back and see how many performances I’ve reviewed where she has appeared. I counted five and I think I might be missing a couple. Personally, I have never forgotten how powerfully visceral her performances have been on stage, particularly in three productions: ‘This is How We Got Here’ at the Aki Studio, ‘Almighty Voice, and his Wife’ at Soulpepper, and ‘Guarded Girls’ at Tarragon. Michaela hails from Alberta and is a proud Métis artist of English, Irish, French and Cree descent. She is now based in North Bay, Ontario. Michaela’s expertise spans theatre, film, television, hosting, writing, spoken word, clown, improvisation, workshop facilitation, and stand-up. An award-winning actor, Washburn also has multiple nominations - most notably, for the Ontario Arts Council’s Indigenous Arts Award and the K. M. Hunter Artist Award for Theatre. She has performed internationally at festivals and theatres in Wales, Aruba, and across Canada and the United States. She studied clown with John Turner in 2001 and graduated (on scholarship) from the Second City Training Center in Toronto, in 2003. Outside of that, and various workshops along the way, the learning of her craft has been primarily experiential. Her post-secondary studies in the late '80s were in nursing and, during the course of our telephone conversation, I discovered she had also been a high school guidance counselor. It appears that after five exceptionally long months, we are slowly, very slowly, emerging to a pre-pandemic lifestyle. Has your daily life and routine along with your immediate family’s life and routine been changed in any manner? Like many folks, I too have had my ups and downs during these last five months. There have been days where I feel confident and hopeful about the future, and there have been other days where it has been almost impossible to feel anything beyond grief and despair. As my chosen career and the whole industry of live performance has come to a screeching halt, I realize now, that for me, it is a matter of acceptance, and adjusting to the situation by focusing what I can do versus what is beyond my control. Were you involved or being considered for any projects before everything was shut down? I was booked from March – December 2020 from Banff to Victoria to Winnipeg. It was to have been my first time in Banff as part of the Indigenous Playwrights Circle followed immediately by the Banff Playwrights Lab. There would have been an intersection with many international artists and the incorporation of several languages within the work. It was to be a highlight of my year, and unfortunately, all of that work is now gone. I have a Great Aunt who is turning 94 this year, and so I also had plans to visit her in Vancouver and record an interview with her. She is one of the last of her generation and holds so much knowledge of our family’s history which I was hoping to capture on film. Describe the most challenging element or moment of the isolation period for you. I was living in a basement apartment in Toronto and was finding it incredibly isolating and increasingly difficult to get outside. I was often anxious, as when I was out for walks during the day, I began to notice less and less physical distancing and few people in the area were wearing masks. There was a small backyard but a family with a toddler lived upstairs. I understood completely that the backyard was the only space where the child could safely play, and I didn’t want to jeopardize that. Since then, I’ve moved out of the city, which has helped a great deal. What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? I am one of the Ontario Councillors for the Canadian Actors’ Equity Association, and I serve on several committees as well. There is a great deal of advocacy work being done which has been keeping me busy during these last five months. I was also one of the folks who recently stepped forward to help coordinate the online panel discussion and subsequent take-over of the Stratford Festival’s social media platforms for the Indigenous community in June. I felt proud to offer messaging reminding us all to be kind and patient with ourselves and one another as we navigate this extraordinary time. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? For all performing artists who have been affected by COVID – 19 – remember that storytelling is intrinsic to our well being. It is a practice that has seen humankind through many a disaster before and we will find a new way to experience live performance once again. To the new theatre graduates: Trust. Have faith in your dreams and in the gifts you carry within you. They are your medicine. Art is love, and love heals. If you have a dream and are driven to do it, then you’re meant to do it. Trust that. Dreams may also shift and change, and to lean into that rather than fear it. All things happen for a reason. I firmly believe that. Do you see anything positive stemming from this pandemic? As I can only speak for myself, this giant pause has offered me the opportunity to re-evaluate what’s important and to examine closely the impact of my choices on my personal health and balance, that of my fellows, the earth, and all the creatures we share it with. It has revealed many areas that desperately require immediate attention, socially and environmentally, and has reinforced that we need to work together to practice more respectful, responsible, and sustainable ways of being. Identify the actions we can take, and then take them. In your informed opinion, will the Toronto and North American performing arts scene somehow be changed or impacted on account of the coronavirus? For sure. There is so much to consider for the safety of everyone when we return to our theatres from the actors and crew to the audience members. Safe social distancing will be paramount when we first return, and I believe that the inability to fill our houses will have a significant impact on revenue, and thus whether or not some theatre companies will even survive. All artistic teams are going to have to get creative and innovative. In fact, several conversations have already begun across the country, to discuss how and what protocols and procedures will need to be in place, and who will be responsible for their implementation and maintenance. But we’re creative folks! It’s what we do. dream and build and manifest..so I have total faith that we will find our way. What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? I’m not personally interested in participating in live streaming, although I am happy for those who have found expression there helpful. I imagine that it may become part of the performing arts scene, and in fact, think that folks will continue to be creative in how they adapt their crafts. For me, I feel like what’s missing in live streaming is the conversation that is at the heart of live performance… sharing the same space and time together. I am happy for folks who are enjoying the online medium, but if I am to work digitally, my preference is to do so in film and television. What is it about performing you still love given all the change, the confusion, and the drama surrounding our world now? I love the transformation and resiliency which is the crux of being a good storyteller. We have the ability to adapt to whatever situation in which we may be placed, and we must hold fast to that and remember that these are transferable skills. As storytellers, I love that we are able to utilize life as a toolbox from which to build an imagined reality, and in this case, an entirely new one. With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: a. What is your favourite sounding word? “Chum” – not what you throw in the water to attract sharks. ‘Chum’ is the word I use to refer to most of the people in my life. It’s a term of endearment that I love to use. b. What is your least favourite word? Hate. I try not to use that word at all to the best of my ability. c. What turns you on? Kindness d. What turns you off? Aggression. e. What sound or noise do you love? The laughter of children f. What sound or noise bothers you? Crying children whom I can’t comfort or the suffering of others over which I am powerless to help ease. g. What is your favourite curse word? “Shitballs” What is your least favourite curse word? In the spirit of my mom, I’d love to eventually surrender vulgarity altogether. I remember reading somewhere “The absence of profanity will offend no one” and I really like that idea. h. What profession, other than your own, would you have liked to attempt? I often miss the work I did with the youth as a high school guidance counselor, and many times have considered becoming a therapist. I would also like to become a skilled tradesperson, as I believe things like carpentry, painting, drywalling, and home repair are important skills to have. i. What profession would you not like to do? Taxidermy j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You rose to your name, Shining Light, and left the world a better place for it. Now come, your ancestors are eager to dance with you.” To follow Michaela, visit her Twitter: @themichaelaw Facebook: Michaela Washburn Previous Next

Back Nabil Traboulsi Self Isolated Artist Emily Lambert Joe Szekeres Just before the pandemic shut everything down, I had the chance to attend a terrific production of Ella Hickson’s ‘Oil’ at ARC. I had never heard of ARC theatre before but was seeing many online advertisements for the play that piqued my interest. I was pleased to have written a profile of Bahareh Yaraghi, one of the artists from this production. As I was thinking about other artists whom I’d like to invite for an interview, I remember that Nabil Traboulsi also gave a memorable performance that evening. I was pleased when I had contacted him and he agreed. Nabil has received solid training as an actor according to his biography from his website. He has performed in New York, Toronto and Brussels. He is fluent in English, French and Arabic so I will have to practice my knowledge of the French language with him sometime. I see he has also performed at Theatre Francais de Toronto so I will have to attend a performance there as well. We conducted our interview via email: 1. It has been the almost three-month mark since we’ve all been in isolation? How have you been doing? How has your immediate family been doing during this time? I’ve been doing well given the circumstances. I mostly feel gratitude for being here in Canada where there has been some support provided to help us through this difficult period. There have been things that could’ve been more successful bug as a whole I believe we are doing well. Of course, some days are more difficult than others and it’s a time to be especially kind to ourselves and each other, but I live with my partner and we keep each other happy. My parents live in Beirut, Lebanon (which is where I grew up). I have two brothers living in Berlin and Dubai and they are all safe and healthy. We talk regularly. 2. As a performer, what has been the most difficult and challenging for you professionally and personally? We make our living by being around people, collaborating with other artists, and putting on shows for live audiences, so it’s been hard to have that taken away so abruptly, but it’s what needs to be done to get to a place where it’s safe to get together again. Looking ahead has also been a source of anxiety because it feels like theatres won’t be able to open safely for awhile. 3. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I was in performances for ARC’s production of ‘Oil’ by Ella Hickson when the world came to a standstill. Thankfully, we were able to have two weeks of performances and we only had to cancel the last of our three-week run. I’m so grateful that we were able to share this very important play with our audiences and I wish the people who were planning on seeing it during the last week had been able to do so. Who knows, maybe a remount in the future? My heart goes out to all the artists who were involved in shows but weren’t able to share their work with their communities. I know that theatres are working hard to incorporate these plays in future seasons so I have high hopes. 4. What have you been doing to keep yourself busy during this time? I’ve been doing a lot of things that I usually do or want to do but didn’t have enough time for because of work. It’s been lovely to just be able to spend some time with my partner, Margaret, and sip a cup of tea in the backyard. We’re both actors so she’s been organizing weekly play readings on Zoom which has been a great way to discover new plays or revisit familiar ones so it’s a different experience from reading it alone. We also go for daily walks and I try to exercise as much as possible. I quickly notice that when I’m not active, I tend to feel ‘smaller’ and more prone to having a bad day. And then more of the common pastimes that a lot of us have resorted to: cooking, reading, watching films and tv shows, podcasts, tuning into Zoom readings and/or live interviews and panels. Music has been a part of my life since I was a teenager and it’s been an important creative outlet. Oh, and I seem to have developed an interest in birds, which is something I never thought I would be into. They’re fascinating and incredibly unique and watching them makes me think of characters and acting. This makes it sound like I’m accomplishing a thousand things a day so I want to clarify that there has also been A LOT of just sitting on the couch mindlessly browsing the internet or social media and some very unproductive days. 5. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty? I’m trying my best to take it one day at a time and take in what’s happening around me. The actor in me is always and forever will be a student of human behaviour so I think it’s a good time to check in and see how I feel on a regular basis, but also to tune in and watch other people around me. 6. Do you see anything positive stemming from Covid 19? Yes, I see a lot of positives. The status quo we were operating under before the pandemic hit was bad. The dominating capitalist and consumerist paradigm that we’ve developed over the past 50 + years is wreaking havoc on the planet and our ability to live in a fair society. I think it’s interesting that from a purely biological perspective, a virus has spread to curtail humans’ need (?) to drill for oil, pollute the planet and produce mass quantities of useless products. It feels like a self-regulation of sorts and it should be a wake up call going forward. The success of societies should be gauged by how the most vulnerable people are faring, and not by how many billionaires we produce or how much value we’ve created for shareholders and large corporations around the globe. I sincerely hope that on a macro scale, we will adjust in a way that is appropriate, before irreversible damage is done. The only thing is that this has allowed us to stop and reflect on what truly matters in our lives. Even our industry can be a bit of a rat race, where we’re all trying to book the next job. I think a lot of people have been able to take a deep breath and feel like they have time to rest and organize their thoughts. Nevertheless, it’s important to recognize that even this is a privilege and that a lot of vulnerable people don’t have that luxury and have to hustle even harder to make ends meet during the pandemic. 7. Do you think Covid 19 will have some lasting impact on the Canadian/North American performing arts scene? On a practical level, I think all industries worldwide will be impacted. It will take some time to recover economically as a country and a lot of our theatres depend on public funding. Overall spending is going to decrease which means less tax dollars for governments, in addition to the burden of making up for the crucial emergency benefits that were created and helped so many of us stay afloat, will make the recovery difficult but not impossible. However, we’ve been putting on plays and telling stories for millennia so the core of what we do as artists doesn’t change and the core of how we experience art as an audience doesn’t change. It’s deeply ingrained in our DNA and our culture, and that is a comforting thought. We are resilient and we will adapt to the circumstances. 8. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I love it! I’ve watched a lot of performances online and it’s been a blessing. Live readings are even better. However, I don’t think this will replace live theatre in any way, shape or form. Theatre needs an audience to exist and nothing can replace that. If I wanted to experience something through my screen, I’m more likely to watch a movie or TV show because that was created for that medium specifically, and so it will be crafted more successfully than say, a video recording of a play. This is a temporary situation and we will be back in our theatres when it is safe to do so. You can’t replace the live experience of the theatre the same way you can’t equate watching a concert online with being there. 9. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? The connection with my fellow actors and creatives. The community around it. The pleasure of being in front of a live audience. The joy of crafting a performance and finding the nuances and subtleties, and most importantly, understanding the human story that is being told. Those are some of the reasons why I love being an actor and they exist independently of Covid. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton here are the ten questions he used to ask his guests: 1. What is your favourite word? Pamplemousse 2. What is your least favourite word? NO 3. What turns you on? The idea that all humans are connected through biology but also through our stories and myths, no matter when and where. 4. What turns you off? Negativity 5. What sound or noise do you love? Birds chirp in the morning. 6. What sound or noise bothers you? The air show. 7. What is your favourite curse word? COCK AND BALLS ! 8. Other than your own, what other career profession could you see yourself doing? Musician or investigative journalist 9. What career choice could you not see yourself doing? Soldier 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Come on in, man, they’re waiting for you.” To learn more about Nabil, visit his website: http://www.nabiltraboulsi.com . Previous Next

Back Lynn Slotkin "I will continue with fairness and objectivity. And I'll probably be as angry about the state of things. But we also live in hope." Provided by Lynn Joe Szekeres At the bottom of her email correspondence, Lynn Slotkin concludes with: “Reviews for people serious about the theatre.” That’s the first thing I remember about meeting her several years ago at a Theatre Ontario workshop, ‘Writing Reviews that Matter,’ which she moderated. One thing is sure—from reading her articles, she is serious about the theatre, and her passion for the industry is undeniable. She cares deeply about it and wants people to attend. That passion remains prominent even in her periodic rants on her ‘Slotkin Letter’ website. I respect those rants. Highly. Let’s stop and think about what it means to be passionate. In my 33-year career, I held tremendous zeal for education in Ontario, specifically Catholic education, as Lynn does for the theatre. I’m retired now, but when my school board employed me, I wanted kids to succeed and reach their full potential. I never wanted anyone to be unsuccessful. As a Catholic educator, I wanted my preparatory work behind the scenes to be top-notch because it was worth it for kids and parents. Accountability and standards were part of my daily work ethic. I held myself and others to these markers for success in and outside the classroom. Lynn is just as fervent about how theatre can influence people to their full potential. She also believes in that same ethic of accountability and holds the industry to standards onstage and offstage. I cared about the Ontario education system, and I still do even after retirement. Lynn cares about the theatre and still does, even after an illustrious 35-year+ career. Not everyone had to agree with me when I was a teacher, and not everyone has to agree with Lynn’s review of a production. When I taught, I was allowed to voice my opinion openly regarding education for young people. Some tried to silence me, but I wouldn’t allow them, nor would my federation. I was a professional and sought to be treated as one without a question. Lynn, too, is a highly respected professional in the industry. I’ve heard her give talks and continue to read her articles. She has and must continue to voice her opinion freely about the theatre. That’s the way it works in a free society. There’s nothing wrong with adhering to standards, especially when this province's education and theatre industry costs big bucks to maintain and produce. Now that I’m freelancing as an emerging theatre reviewer, I am learning about standards and accountability again. I believe there are more significant changes coming in the theatre industry. In a continued woke world, I’m doing my best to know what might be coming soon. Lynn is someone who keeps herself aware of what might be coming soon. She shares her thoughts in her writing and on her website. So, I get where this observant ‘Passionate Playgoer,’ comes from in her rants. We recently had an email check-in conversation. Three years have passed since our first chat. That link can be found at the bottom of this profile. Three years ago, she saw her role as a theatre critic as telling the truth about evaluating an event in a fair-minded, respectful, and entertaining way so that the quality, flavour, story, artistry, and many other elements of a show are conveyed to readers and listeners. She sees it even more now: “As the decimated media becomes more pronounced and serious theatre coverage is also diminishing, I still think a robust, thoughtful, fair assessment of a piece of theatre is important. It informs the audience; it acts as a historical record of the play, what it looked like and the assessment of its intention and whether it was worth doing or successful as a piece of theatre.” Slotkin raises a good point about the decimated media becoming more pronounced and the diminishing of serious theatre coverage. That’s the keyword here- serious. In the future, she believes we need more informed, educated, diverse voices writing about theatre with rigour, assessment, evaluation and fairness. And without an agenda. She also offers some sage advice to theatre bloggers: “As more and more bloggers offer varying opinions, also varying is the background and rigor of the blogger and the knowledge or lack thereof, of theatre and plays. A review without an assessment of the play’s successful and not successful aspects is not helpful to the art form, the audience or for the record.” Lynn continued by stating that there are as many opinions of a theatrical event as people in the theatre watching it. The opinions are all valid, but they are not equal. What does an audience member have to know then about opinions about being valid but not equal: “A person has to evaluate whether or not they consider an opinion valid or not to see a show based on their own criteria. In my practice, I needed an education to take me deeper into the art form so that I could do that form justice when I wrote about it.” Lynn has voiced two essential statements for all theatre lovers that have made me think. Yes, we are all entitled to our opinions about a play. However, hopefully, any articles and reviews we read about the play will help the audience understand what makes a production successful. That’s where education comes in, perhaps through a discussion in an informative talkback immediately after a show or a written/oral review. I also know of a theatre company in my hometown that provides that kind of educational experience immediately following a performance. Three years ago, Lynn thought theatre makers and heads might rethink what is important about art and how to create it and engage with their audience. According to her, this grand objective still has a long way to go. Statistics still indicate that audiences are NOT returning to the theatre after Covid. There have been reports of concern from the U.S., Canada, and the UK regarding the diminishing audience, lack of funding, and coverage of the art form in only three areas of concern. It’s not just the high-ticket prices in Toronto that are of concern. Slotkin points out many theatres have Pay What You Can tickets. There are Arts Worker tickets and free tickets for people under a certain age. What she did say made me think again: “It’s been noted that programming is the deterrent [why people are not returning].” Hmmm… Lynn explained further that Crow’s and Coal Mine Theatre are two not-for-profit theatres doing something right by catering to their audiences with challenging fare. In the for-profit sector, Mirvish Productions offers fare that its audiences want to see, and the result is full houses. In these three examples, keeping track of the audience is easy. She asks a good question that theatres may want to take into consideration: “I wonder if anyone asked people not returning to the theatre WHY they aren’t returning. That might give a clue.” As our email conversation began to wind down, I inquired about Lynn’s crystal ball gazing into the future to see where she believes the industry is headed in the next three to five years. Crystal ball gazing is not her thing. No one looked into one and saw a pandemic coming in 2019. She said the pendulum that was ‘way over there’ with divisiveness and anger was swinging back quickly. It doesn’t matter what one perceives in three to five years as it will be different and maybe even the same. And where does Lynn Slotkin, the observant, direct and point-blank theatre critic, see herself in that same three-to-five-year time period: “The role is the same. I will continue to do it with fairness and objectivity. And I’ll probably be as angry about the state of things. But we also live in hope.” Visit www.slotkinletter.com to read Lynn’s reviews and her varied rants or two. To read the first check-in with Lynn, go here: https://www.onstageblog.com/profiles/2020/4/14/inside-the-artists-self-isolation-studio-toronto-profile-of-lynn-slotkin?rq=lynn%20slotkin Previous Next

Back ‘The Shape of Home – Songs in Search of Al Purdy’ at Toronto's Crow's Theatre Created by: Frank Cox-O’Connell, Beau Dixon, Hailey Gillis, Marni Jackson, Raha Javenfar, Andrew Penner. Dahlia Katz Dave Rabjohn The players ambled into the space, resembling a 60’s era Riverboat coffee house, and plunked themselves down as if they were a family meeting around the kitchen table. Such was the casual opening of ‘The Shape of Home’ – a ‘song cycle’ of Al Purdy’s life and work. Presented by Crow’s Theatre and Festival Players, the casual opening reflects much of Purdy’s poetic style. The strength of this production comes from the collaboration of the cast of talented musicians in experimenting with Purdy’s literary works. Al Purdy had a long and varied career and is often considered Canada’s unofficial poet laureate. Born near Prince Edward County in Ontario, he often wrote about the land in his home province and other parts of Canada. Living a hardscrabble life, he jumped among a number of working-class jobs while continuing to write with little early success. Success came later and Purdy became partly responsible for a coalition of Canadian writers during an early rise of prominent Can-lit. This production poignantly observes the various highs and lows of his life and career. Each of the performers/creators invokes different parts of his personality while using his writings to create powerful music. Opening with gorgeous acapella harmonies, the musicians then took turns with a variety of instruments, solos, and duets. Beau Dixon was compelling with his signature harmonica. Raha Javanfar also invoked some haunting lyrics with her signature violin work. Moving through the diverse parts of Purdy’s life, humour is marked as many of his works have comic elements. He was also very self-deprecating as personified brilliantly in a scene by Frank Cox-O’Connell where he demurely performs an embarrassing piece of doggerel. Cox-O’Connell was also particularly poignant in his piece about loading bags of dried cow’s blood. Hailey Gillis has a soaring and moving voice in many of the stunning duets. Andrew Penner displayed amazing diversity with a variety of instruments and performances. The relaxed set design, by Steve Lucas, displayed a variety of instruments installed on the wall from tubas to a base drum eight feet above the floor. What became fascinating was that every instrument was used in the performance – they were not just window-dressing which gave the production integrity. After building his ‘castle in the woods,’ an A-frame cottage near a small lake in Prince Edward County, Purdy’s success grew and a number of emerging Canadian writers began to visit and gather – sort of a Canadian version of an Algonquin roundtable. Margaret Atwood, Dennis Lee and Irving Layton were among them as was Milton Acorn. These academic meetings were tempered by some raucous nights of drinking and arguing as displayed in a riotous drunken scene with Acorn. With a casual and colloquial tone, Purdy became one of Canada’s best storytellers and this was fully on display with ‘The Shape of Home.’ This production was magnificent in, through brilliant musicianship, echoing Purdy’s ability to perceive the universal in the Canadian commonplace. ‘The Shape of Home – Songs in Search of Al Purdy’ Performers and creators – Frank Cox-O’Connell, Beau Dixon, Hailey Gillis, Marni Jackson, Raha Javenfar, Andrew Penner. Director – Frank Cox-O’Connell Set Design – Steve Lucas Sound Design – Steafan Hannigan Production runs through September 25, 2022. Tickets at www.crowstheatre.com Previous Next

Back 'A Wrinkle in Time' by Madeleine L'Engle with adaptation for the stage by Thomas Morgan Jones Now onstage at Stratford Festival's Avon Theatre Credit: David Hou. From left: Noah Beemer, Nestor Lozano Jr, Robert Markus and Celeste Cantena. Guest writer Geoffrey Coulter, actor, director, arts educator There’s much to take in at ‘A Wrinkle in Time.’ Unfortunately, it’s not a good thing. “A Wrinkle in Time,” a new adaptation of Madeleine L’Engle’s 1962 novel aimed at young readers, is an audio/visual frenzy of other-worldly video projections and sounds, taking its audiences on an interdimensional trek with its young protagonists to save Earth, the galaxy and one lost scientist father. Along the way, we’re joined by enigmatic guides, fantastical creatures, and alien landscapes while battling an evil force that threatens to take over the galaxy. Sound like a lot to take in? It is, especially if, like me, you’ve never read the books or seen the 2018 film starring Oprah Winfrey and Reese Witherspoon. This is not a good thing as the play assumes you’re part of a niche crowd familiar with the characters, their setting, and situations. This production forced me to accept that things would happen on-stage without context or explanation for who, what, where, when, and why. The “plot” revolves around 13-year-old Meg Murry, her genius kid brother Charles Wallace and Meg’s friend Calvin O’Keefe. Charles and Meg’s father Alex, a secret government scientist involved in space-time continuum stuff, has been missing for two years. Why he disappeared and where he might be aren’t revealed. On a dark and stormy night, the Murry’s new neighbour, Mrs. Whatsit drops by for a visit. She mentions something about a “tesseract.” The next night, a curious Meg and Charles decide to visit Mrs. Whatsit to find out more. Along the way, they coax Calvin O’Keefe, Meg’s schoolmate, to accompany them. Once at Mrs. Whatsit’s house, they see she has a guest, Mrs. Who, who has a penchant for spewing quotes from famous people. Another strange voice is heard from a Mrs. Which who promises the Murry’s that she and the other Mrs. W’s will help them find their father. The enigmatic Mrs. Ws can transport themselves and the children through time and space, wrinkling time so distant galaxies and planets can inter-connect. They discover that an evil entity called The Shadow threatens to take over the universe. The Mrs. Ws also know that the children’s father, Alex, is being held captive on the planet Camazotz. For some inexplicable reason, the Mrs. Ws are powerless to help the children save Alex, so it’s up to the kids to bust him out. To do that, Charles must allow himself to be taken over by an all-seeing group mind called “it.” Will the children be able to find and rescue Alex? Will they be able to release Charles from the hold “it” has on his mind? At this point, I didn’t really care. Of course, the play answers these questions, but meh. My fundamental problem with this show is that the plot isn’t straightforward. I had no idea what was happening except that three children were trying to save the father of two of them with the help of three supernatural women who seemed to turn their powers on and off as they saw fit. Sadly, I could care less if they succeeded or not. The plot is convoluted, illogical, and obtuse, with huge unexplained gaps in logic and storytelling. Who are these Mrs. Ws? Why do they have magic powers? How is it they know where Alex is? The questions are multitudinous. Could we not have had a few lines of explanation from some of the characters to help us understand some of what’s going on? The silly eccentricity of Thomas Morgan Jones’ direction (he also adapted the original source material), ludicrous, out-of-step choreography, ropey dialogue, and implausible situations had me and my companion tuned out. This is a show for fans only. Production elements are slightly more engaging. Ethereal recordings of storms and alien sounds add atmosphere. On an otherwise bare stage stand two large monolithic rectangles, courtesy of designer Teresa Przybylski. Strange, fantastic, bizarre, often cheesy videos of planets, galaxies, storms, and assorted manic images by jaymez are projected onto each side of these rotating trapezoids, suggesting new locations. The only furniture pieces are square steel frames suggesting a bed, kitchen table, and chairs. Lighting design by Kimberly Purtell is often shadowy and flat due to the extensive use of side lighting to illuminate faces. Costumes by Robin Fisher are a delight - creative and whimsical. Humans wear everyday hoodies, jeans, and fleece pullovers, but aliens like the denizens of Camazotz wear oversized grey business suits with red umbrellas and pocket squares. The Mrs. W’s are colourful and over-the-top with high wigs and Viking helmets. Also notable is the frightful glowing eyes and sharp claws of the evil “it” minion, the Man with Red Eyes. The three lumbering four-armed dinosaur-like Aunt Beast characters are both fantastic and awe-inspiring. With such a muddy premise, thank goodness the cast does their best to commit to their threadbare characters and corny situations. At least they understand what’s going on. I think. As Meg, Charles and Calvin, Celeste Catena, Noah Beemer and Robert Markus convincingly played children with energetic exuberance. Beck Lloyd is fine doing double duty as a cerebral earthling Mom Kate and a Camazotzian mother. As Dad Alex, Jamie Mac does his best with a one-note performance. As the three Mrs. Ws, Nestor Lozano Jr. as Mrs. Whatsit was mostly engaging, but their dialogue seemed somehow forced and often disingenuous. Khadijah Roberts and her interminable habit of quoting people seemed to distance her from the audience. Are we supposed to recognize the obscure quotes and the people who said them? Kim Horsman as Mrs. Which plays a serious diva who looks ready to star in a Wagnerian opera. Erica Peck plays a manic whirling dervish called Happy Medium whose character has no purpose whatsoever. With all the sci-fi babble, talk of tesseracts and inter-dimensional travel, abstract visuals and sound effects, children may be intrigued by this show. Then again, they may not. Despite its sometimes-exotic production values, it fails to tell a straightforward story with enough detail to make it understandable. You may be appeased if you’ve read the books and are familiar with the stories. If not, you’ll spend 95 minutes scratching your head in confusion rather than delighting in awe. Running time: approximately 95 minutes with one intermission. ‘A Wrinkle In Time’ runs until October 29 at the Avon Theatre at the Stratford Festival. For tickets, visit stratfordfestival.ca. Previous Next

Back 'Wildwoman' by Kat Sandler Now onstage at Soulpepper Theatre Now onstage at Soulpepper Theatre Dave Rabjohn A blistering new work by Kat Sandler initiates Soulpepper Theatre’s “Her Words Festival” – a program meant to highlight the work of women creators. ‘Wildwoman’ begins this program with force. An imposing set, five brilliant performances and brisk direction staggers the audience. As mentioned in Ms. Sandler’s notes “. . . this is a true story. Mostly.” In 16th-century France, Henry II made his way to the throne amidst some shady circumstances. He marries the mercurial Catherine de Medici, and, not without some strange complexity, they finally have the heirs he demands. The “complexity” comes from various sources, including Henry’s interest in exotic creatures, a much older mistress, and a scheming servant coyly played by Gabriella Sundar Singh. The brilliance of the performances is in each character’s chameleon-like changes throughout the play. It was a demanding challenge creatively met. Seeds of their future personas are delicately planted and then are ferociously activated into the second act. Tony Ofori displays a wide range of skills as the fourteen-year-old Henry cavorts with an equally young Catherine (Rose Napoli.) It is like a kindergarten class on steroids. The farcical style belies the serious issues of sexuality, politics, and alleged murder these youngsters are thrown into. Power mutates Henry into an angry, suspicious misogynist - murderous and hateful. In a fierce and resolute performance, Catherine also transforms from the doey-eyed not-entirely-naïve girl into a sinister, raging victim bent on revenge. A skillful performance comes from Rosemary Dunsmore as the older mistress, Didi. Confidence soon leaks as events push her to the sidelines, and she becomes confused in her new subservient role. Ms. Singh’s Kitty is artful and ambitious. But marriage and motherhood soften her robust persona as she becomes a source of reason amid evil. The strange hairy ‘beast’ is played by Dan Mousseau. A real man with a very rare condition is a caged oddity and a play toy for the young king. The inarticulate Pete grows curious and becomes a worthy husband and an aspiring academic. Set design by Nick Blais is a dramatic punch to the senses. Massive antlers envelop the stage as they rise, almost two stories seething masculinity. The hunting motif is turned upside down as Catherine becomes the more accomplished hunter while she overtakes her evil husband. The court is austere and stylish, with dark wood and deep golden curtains—a bust of the severe former king peers down at the proceedings. Ms. Sandler’s writing ranges from high farce to compelling tragedy. Highlights include Henry’s retort when asked to mould a country – ‘I don’t want a mouldy country.’ Kitty’s brilliant, tragic speech about the Spanish jail is rich and heartbreaking. As mentioned, the story is mostly true, giving it even more vitality. The final historical suggestion is that Catherine ignites the infamous St. Bartholomew’s Day massacre, resulting in the murder of thousands of protestants. The title not only suggests Catherine’s bizarre relationship with Pete – but it also poses questions - does her eventual wildness come from within or without? What triggers ambition and cruelty? Ms. Sandler’s play is a testimony to the implications of these questions, especially in a female context. ‘Wildwoman’ by Kat Sandler Performers: Rosemary Dunsmore, Rose Napoli, Gabriella Sundar Singh, Dan Mousseau, Toni Ofori Direction: Kat Sandler Lighting: Kimberly Purtell Set design: Nick Blais Costume design: Michelle Tracey Performances run through October 29, 2023. Tickets: soulpepper.ca 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 Christopher Bautista The Self Isolated Artist Bec Taggart Joe Szekeres I mentioned in earlier profiles there are some artists with whom I would like to sit down and have a beer. I’m putting University of Southern California Graduate, Los Angeles and Toronto based artist Christopher Bautista on this list as well. I saw Chris perform in ‘The Negroes are Congregating’ with friends at Theatre Passe Muraille just before the pandemic was declared and all the theatres were shut down. This performance was one that hit me right square in the face when it came to some of the societal issues presented. My friends and I wanted to speak with some of the actors after the talk back as the opportunity was made for audience members. I approached him and remember asking my question which, I think, probably put him on the spot now that I think of it even more. But my question did not faze him. Instead, Chris was extremely patient with me, took the time to explain, and to help me re-examine the issue from another perspective which was extremely crucial to complete the review. Thank you for remaining calm and patient, Chris. Before we began our interview, Chris did state for the record he’s had a lot of experience and practice in explaining and remaining levelheaded. We conducted our interview via Zoom conference call: It has been over the three-month mark since we’ve all been in isolation, and thankfully we’re starting to emerge slowly. How have you been faring? How has your immediate family been doing during this time? We are, we’re like low crawling out of our caves, aren’t we? I’ve had a lot of time to focus on self-care. I’ve made my own moisturizer. I’ve done something I imagined I never would have done. (laughs) I ordered raw shea butter and raw jojoba oil and made this concoction. I looked it up on the internet. This is one of the satisfying things I’ve done all of COVID. I have this moisturizing routine. (laughs) I don’t know how many people are interested in hearing about it. (laughs) It’s pretty cool. Us guys, a lot of time, don’t take a lot of time to do that. A lot of contemplation on this current state of global affairs. It’s given me an opportunity to focus on my physical, spiritual, economic, and mental well being, as well as the well being of people that look like me. It’s given me the opportunity to think about what we prioritize as a global community of brothers and sisters. I would like to see Canadians and everyone, for that matter, as concerned about dismantling institutional racism as they are for solving and providing solutions for COVID. This includes police brutality, our health care system, housing, economic and political equity, infrastructure and community development and funding, as well as equity for the arts. We’re talking tech and business sectors. This includes representation, pay, administrative roles that provide equity in terms of position and power. Coverage and representation in the media to include a maximum effort to remove 500 years of both unconscious bias as well as intentional misrepresentation based on colonial and white supremacist ideologies. This is a lot to unravel, so I have a lot of time to think about these things. Who would have thought the thing that would have put 4000-7000 people on Bloor Street would have been anti-Black racism. It’s a beautiful thing. I’m super grateful for this time. I think we’re living in the best possible time ever in history. Isn’t that amazing? It means we have a responsibility which is huge for the next generation. What we do today is going to lay precedence for the new system that is going to emerge. My immediate family is doing well. I’ve had some people affected by COVID. I’ve also had some people very unaffected by it. I’ll leave them unnamed but I’m very proud of them as they took a road trip to LA. They were safe when they arrived. For the most part, everybody is having their ups and downs but they’re trying to make the most out of this. As a performer, what has been the most difficult and challenging for you professionally and personally? Funny enough, professionally, the most difficult thing has nothing to do with my job. I feel very fortunate to be able to do what I love and what fulfills me spiritually, economically, and artistically. On the other hand, in the matter of a year, I’ve had several people carry out micro and major aggression in terms of race. This includes a show I was working on that was canceled five days away from opening because a very white director accidentally (if there were such a thing) using the ‘n’ bomb during conversation with his almost entirely black cast. This was one of the most difficult things I had to deal with in my professional career that had nothing to do with my job. It shouldn’t have happened. It has inspired me to really be a champion for putting black people in positions of power within the artistic community which includes the theatre. I’m uninterested in these place holder positions that don’t have any power attached to them. Let’s put people in artistic director roles, on Boards of Directors so that when these situations happen, and they’re going to continue, when they do happen then we have people in positions of power that can handle them correctly to minimize the amount of collateral damage that is put on these performers. We need to learn the most from them without bias, without the sort of automatic denial or worse, suppression. On a personal level, Joe, I like that you say challenge because that’s how I perceive it. It’s not something that I’m not able to get past because I’ve been able to get past those challenges, both personally as well as professionally. The things I’ve been able to implement in my life have really allowed me to refrain from those situations. Personally, there are two things: the first, I feel being in my 30s, my entire adult life, I have been screaming what everyone has been listening to and hearing for the last month. This last month, I finally feel as if I’m being listened to and more than that, heard, acknowledged, and responded to. People are really taking this on for action. This has been one of the most challenging things. The other has been my transition from my decade long stint in the military into the life of an artist. It wasn’t seamless. Although I don’t regret that decision, it’s one I do not have any intention of going back from. I’m happy with the lessons I’ve been able to learn from that time. Some of these lessons affect my professional and personal life – determination and focus on my goals. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I was in the prep process for my role as Prospero in Company of Fools production of ‘The Tempest’ in Ottawa. We were set to start rehearsals on June 1 and to go into production in July. I’ve been very impressed by the company’s handling of the situation. They were very communicative throughout the entire process and I look forward to next summer when we can begin the production of ‘Tempest’ again. What have you been doing to keep yourself busy during this time? Aside from my self-care routine? (laughs) I know you saw me on television last week on Bloor Street when I spoke to the CTV reporter on combatting black racism. I’ve been active in the Black Lives Matter movement, meditation. Exercise. I like playing basketball but a lot of creative projects of my own on the go, along with weekly play readings with my acting teacher and fellow students of The Lighthouse Actors’ Studio. Celebrating Black Lives and cultural contributions through the creation of my series of events called BLVCKFEST. We had our first event on June 7. – Instagram.com/blvckfest. I’m working on some other exciting things with more details to come. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? Do what you can with what you have. I cannot stress this enough. Stop waiting for someone to hire you for that job. Paint that painting. Make that film. When you focus on resources you do have, the number of resources that you’re able to employ automatically increases. Keep moving, keep going. Momentum is the name of the game. Build up your content. I’m working on two shows of my own and constantly writing on those as well as developing Blvckfest. Things can stop out there but they can still be going on in here (points to his brain/mind). Don’t get discouraged if that show isn’t going this summer. That show will come back. It always comes back. Do you see anything positive stemming from COVID 19? A re-set. The re-set. Who would have thought that COVID 19 would have awakened people to the 500 years of anti-black racism that has been woven into global systems, especially in North America? That’s huge. Now we have an opportunity to learn about that, to dismantle it. The one thing about all people – we’re really smart. We can do this if we really want to do this. That tells me one of two things: We didn’t know, or we didn’t care. Now that we know, what are we going to do about it? Either we can or we don’t want to because it benefits too many people. At what cost does your comfort come at? At what cost does my comfort come at? Does it come at the cost of the livelihood of some people, at the oppression of some people? In my heart of hearts, I believe we are inherently not only good but great. When we level up in terms of our consciousness, we realize our well being doesn’t have to come at the cost of someone’s oppression. Our pain doesn’t have to be the ammunition for us to put that pain on someone else because that’s when we’re elevating. There is no separation as a global community. If my brother is suffering on another part of the planet, I’m suffering. Once we begin to look at things like this, we can turn this bad boy around. Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? Absolutely. You look at platforms at Ghostlight.ca, Monologue Slam, what they’ve done for Canada and globally. The Canadian Isolation Film Festival – the people at Mann Casting have put this badboy on. I’ve had the opportunity to do meaningful work with some incredible friends and colleagues. The fortunate part of this is it is giving artists, theatre-makers and filmmakers the opportunity to innovate, not avoid what we’re dealing with. Zoom allows us to create while social distancing. What are the ways that will weave into the stories that we want to tell? There’s talk about relaunching of ‘The Negroes are Congregating’ that you saw at Passe Muraille virtually (and which was nominated for a Dora). This is long-lasting. It’s like everything else. It’s a revolutionary time that we’re in and a reflection of the transitional period in which we’re now in. Streaming is an opportunity to increase viewership. Are we going to use traditional forms of storytelling and pretend we’re not in the world we’re in, or are we going to utilize the period in which we find ourselves and find ways to tell the stories? Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I think that depends. Are people paying for that streaming service, then yes, the artist should be paid. We need to re-investigate how we look at streaming across the board, and how artists are to be paid across the board which is one of the tenets of Black Fest. Black Fest is an opportunity to change all this and to put money into artists’ pockets. For 500 years, black people have been under-compensated, and Black Fest is an opportunity to change that. This should be a focus for everyone when we really think about it. Who would have been able to get through COVID without art? Art provides value to our lives and we need to compensate the people who are giving value to our life. Despite all this fraught tension and confusion, what is it about performing that COVID will never destroy for you? The joy, the electricity that I feel when I’m on stage, on set, on a Zoom call with my scene partner. It doesn’t matter if we are inside, if we’re connected in some way, I’m feeling it. It’s been like that for me since the first time I was on stage as a child as Eeyore. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton here are the ten questions he used to ask his guests: What is your favourite word? Gratitude What is your least favourite word? Ooooo – I had an answer before but I’m not going to say that answer. Thanks, Nigel (Shawn Williams)…Ok, my least favourite word…’can’t’ What turns you on? Compassion What turns you off? Apathy What sound or noise do you love? Djembe drumming – follow Blvckfest on Instagram What sound or noise bothers you? Police sirens What is your favourite curse word? Motherfucker – it’s a noun: person, place or thing. What is your least favourite curse word? Oooooo… the ‘n’ word Other than your own, what other career profession could you see yourself doing? Artist, activator, and activist, and that’s about it. What career choice could you not see yourself doing? The military. I always say that’s the best role I ever played. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “What took you so long? Hurry up! I’m tired of your Grandma Shirley kicking my ass at Scrabble and dominoes. She’s ready for you.” Yeah! That’s it. https://www.eventbrite.ca/e/the-negroes-are-congregating-zoom-reading-tickets-112565955804 Chris also wants audiences to be aware how artists are to be paid across the board which is one of the tenets of BLVCKFEST. BLVCKFEST is an opportunity to change all this and to put money into artists’ pockets. Previous Next

Back Six The Musical Now onstage at Toronto's Royal Alexandra Theatre Credit: Joan Marcus. Pictured: Julia Pulo (centre) and Jaz Robinson Joe Szekeres Sassy, Sultry and Sexy Girl Power! This ‘Six’ is a Ten! I have read online and heard through the Sirius XM Broadway Channel that ‘Six’ is an immersive concert cum theatre production. My first initial thought – which is it? A concert or a theatre production? For this Toronto production, it doesn’t matter. ‘Six’ is just plain ol’ terrific fun. Yes, it's all superficial entertainment but that's okay. These Canadian beauties sashay with sassy, sultry and sexy Girl Power energy. Enjoy that. Plus, we get a twenty-first-century history lesson about the six wives of King Henry VIII that hopefully may encourage young audience members to want to study the Social Sciences. Toby Marlow and Lucy Moss’s sharp, witty, and clever book is a modern retelling of Henry’s six wives in a pop concert format with this Toronto stop of the ‘Divorced/Beheaded Tour’. I loved the tongue-in-cheek tour title. Some of the show’s merchandise includes the proverbial ball cap embroidered on the back with the tour’s title. The show’s premise is easy to follow. Each wife shares the story of her initial encounter with the king. In this process, they tell the audience the band’s lead singer will be the prize for whoever they determine had the worst experience at the hands of their shared husband. History tells us two things regarding these women – they were either divorced or beheaded, with one wife outliving the king. For those unfamiliar with the wives' history, a brief synopsis of each woman is given in the program. Here’s a quick rundown: Catherine of Aragon (divorced), Anne Boleyn (beheaded), Jane Seymour (died), Anna of Cleves (divorced), Katherine Howard (beheaded), Catherine Parr (outlived her husband). Two recognizable modern female singers are the ‘Queenspiration’ for each wife. Upon entering the Royal Alexandra Theatre auditorium, Emma Bailey’s Scenic and Paul Gatehouse’s Sound Designs create a regal look and sound. A closed curtain is adorned with the regal colour mauve and gold stripes. The musical sound of a spinet playing Elizabethan songs can be heard preshow. At the top of the production, each wife enters solo through a pulled-back curtain. Finally, the semi-circular stage of two risers with band members (The Ladies in Waiting) playing becomes visible, and off we go. Gabriella Slade’s colourful, sometimes glowing and stiff costume designs are reminders of a futuristic Jane and Judy Jetson wardrobe (I think my age is showing here). Tim Deiling’s Lighting Design is reminiscent of pop concert performances from The Spice Girls and Back Street Boys. Carrie-Anne Ingrouille’s strutting choreography delightfully ranges from swaying hips and pelvic thrusts to elegant arm movements and finger-pointing. Directors Lucy Moss and Jamie Armitage keep the show’s pacing tight. It appears many in the audience around me have either seen the show or, most likely, have listened to the live or taped album recordings. I’ve done neither and wonder if I should have done so. Tom Curran’s orchestrations strongly indicate why the production appeals to young people. It’s loud, but not deafening. Liz Baird’s enthusiastic Music Direction becomes roof-raising. There are moments when I can’t hear all the lyrics because it’s loud; however, this time, it’s no big deal. That’s why YouTube is there. If you know the songs, simply sit back, and enjoy. This ensemble Canadian cast remains the reason to see ‘Six’. They’re freakin’ good. Each of them is beautiful; their vocal range is astounding, and the harmonies gloriously soar to the rafter heights of the theatre. The opening song, ‘Ex-Wives,’ becomes a dazzling spectacle of light, sound, music, and dance. As the first and faithful wife Catherine of Aragon, the lanky Jaz Robinson uses her height to sometimes emphasize that her response will be ‘No Way’. Julia Pulo’s Anne Boleyn (Aragon’s lady in waiting and usurper of her husband) comically explains what happened to her in ‘Don’t Lose Ur Head’. Maggie Lacasse is Jane Seymour, whom Henry has supposedly and truly loved. She dies in childbirth, giving him the male heir he wants. Lacasse’s heartfully poignant ‘Heart of Stone’ slows the show’s pacing momentarily and allows the audience to listen to the song’s moving lyrics. She hits a high note in the song, sending the audience into rapturous applause. Krystal Hernández’s Anna of Cleves is a riot in ‘Get Down’. At the performance, she makes eye contact with an audience member who relishes the opportunity to stand up and do what she asks of him. Elysia Cruz’s Katherine Howard’s sharp commentary of ‘All You Wanna Do’ becomes a potent reminder of why she is the other wife who is beheaded. Lauren Mariassosay is Catherine Parr, the wife who outlives Henry. Her letter to Thomas Seymour, the man she loved before the King entered the picture, is also touching. Can’t forget the four Ladies in Waiting, the band members, either. They become integral parts of the show. I found my eyes going to them periodically and watching them play their instruments. These musicians are most certainly enjoying themselves as the wives are. The last few minutes of the show are a re-mix akin to what occurs in the conclusion of ‘Joseph and the Amazing Technicolour Dreamcoat’. This is the only time when tonight’s audience is allowed to pull out their phones. Final Comments: Why should you see ‘Six’? I enjoyed it, but something became apparent as I left the auditorium. This production is a celebration of womanhood. In our twenty-first century woke world right now, there’s a danger either of the erasure of women or a usurping of their individuality by ‘others’. 'Six' is a celebration of women getting and understanding each other and their uniqueness in a way we men cannot. How do I know this? On the way out, women were reaching out to other women, and I heard comments like: “I feel your tears, sister”. “I get it, sister. Let the tears flow.” “I’m crying too, sister.” Ah, the power of theatre, when it hits. Running time: approximately 80 minutes with no intermission at Toronto’s Royal Alexandra Theatre, 260 King Street West. The production runs until May 26, 2024. Tickets: www.mirvish.com or call 1-800-461-3333. SIX THE MUSICAL by Toby Marlow & Lucy Moss Scenic Design: Emma Bailey Costume Design: Gabriella Slade Lighting Design: Tim Deiling, Sound Design: Paul Gatehouse, Orchestrations: Tom Curran Music Director: Liz Baird Music Supervision: Joe Beighton Choreography: Carrie-Anne Ingrouille Directed by Lucy Moss and Jamie Armitage Performers: Jaz Robinson, Julia Pulo, Maggie Lacasse, Krystal Hernández, Elysia Cruz, Lauren Mariasoosay, Hailey Lewis, Julia McLellan, Abigail Sparrow, Darcy Stewart Previous Next

Back Chicago The Stratford Festival David Hou Joe Szekeres Simple Math Equation: “If Roxie Rocks Chicago, does ‘Chicago’ Rock The Stratford Festival?” You don’t have to look in the back of the textbook for that answer. ‘Chicago’ blows the roof off the Festival Theatre. It’s gonna sell out quickly so make sure you get your tickets while you can. Once I heard the rights were attained to produce the show for the Festival’s unique thrust stage theatre and what Donna Feore calls in her Director/Choreographer Note: “the rare opportunity to completely reimagine the production [since] ‘Chicago’ is a big show, and dance is not locked in time.”, I was curious how she would stage the production since for me the definitive versions in my experience were the New York cast with Bebe Neuwirth and Joel Grey plus the touring production at the Princess of Wales years ago. Both excellent. But a totally reimagined and re-staged ‘Chicago’? Yes. A thousand times, yes. Feore’s optimal staging of the plot with prizewinning, divine and to die for choreography work divinely and magnificently as every inch of the thrust Festival stage is utilized to maximum effect and capacity. There are musical moments where so much occurs, but it just reinforces Billy Flynn’s showstopper ‘Razzle Dazzle’ that life is a circus at times. This entire company is having one hell of a good time and their contagion infected the audience so quickly. It’s one time when I felt I didn’t care if I caught that boozy bug. It is the 1920s. Vaudevillian wannabe Roxie Hart (Chelsea Preston) has fatally shot her lover Fred Casely (Chad McFadden). Claiming he was a burglar, Roxie convinces her dull mechanic husband Amos (Steve Ross) to take the rap. When Amos finds out the truth, he turns Roxie in where she is remanded to the Cook County Jail to await her trial. It’s at the jail where Roxie meets Velma Kelly (Jennifer Rider-Shaw), a fading vaudevillian star who killed her husband and sister after discovering they committed adultery. Velma has slick defence lawyer Billy Flynn (Dan Chameroy) retained by prison matron Mama Morton (Sandra Caldwell) who offers to put Roxie in touch with him. Flynn agrees to take Roxie’s case as well after she persuades Amos to pay his substantial fee. Michael Gianfrancesco has re-created a jaw-droppingly realistic speakeasy set from the 1920s. Even amid the sense of disorder on stage after a night at the club, there is a sense of order present. A ghost lamp appears centre stage. Tables are placed throughout and some chairs are overturned. Some glass bottles in cartons are also found on stage. Gianfrancesco’s set is two level as there is a rounded railing out front from which actors can be placed. Dana Osborne’s Costume Designs are fantastic recreations of the 1920s from flapper dresses to flashy loud pin-striped suits and matching vests. Michael Walton’s Lighting Design and Peter McBoyle’s Sound Design all contribute gratifyingly to the flash and dazzle of the era. A huge shout of appreciation and gratitude to Mr. McBoyle as well for the fact I could hear every single lyric in each musical number. And the music! That gloriously sexy-sounding music under Franklin Brasz’s direction evokes that heightened and gritty acute sense of smell in picking up the stale stench of booze, billowing cigarette and wafting cigar smoke that jutted out from these seedy nightclubs. And those musical numbers! The first note of ‘All that Jazz’ and the roar of applause which was repeated for ‘Cell Block Tango’ (and what an inventive way to involve the male dancers in that number). Chameroy’s entrance in ‘All I Care About Is Love’ is executed in such perfect timing the audience once again roared with approval. So good. As Roxie Hart and Velma Kelly, Chelsea Preston and Jennifer Rider-Shaw initially may resemble kewpie-eyed bimbos out to make a fast buck in whatever way possible. No way! Preston and Rider-Shaw beautifully play Roxie and Velma not as vapid chorines but as intelligent and smart (and yes, sensitive, even though they both have committed murder) gals who work with Flynn to get what they want. And, as we all know with society’s fascination with celebrity behaviour, they get away with it and we love them even more for it. Plus, a bonus with Preston and Rider-Shaw. The pipes on these ladies. They can belt a tune, parallel harmoniously in song, and carry out a Feore dance with splash and aplomb. Underneath that “Sad Sack’ skin of Roxie’s dimwitted husband, Amos, Steve Ross radiates so much compassionate empathy (as R. Markus points out in a perfect diva Mary Sunshine reporter moment in their song ‘A Little Bit of Good’) that I wanted just to walk up there and give him a big bear hug right after his ‘Mister Cellophane’. Ross just inherently knew when to pause during the song both for comic and poignant effect. Such good work. Dan Chameroy is primo slick as defence lawyer Billy Flynn that he would make it appear as if being swindled would be just fine. His eleven o’clock ‘Razzle Dazzle’ number that life is sometimes just for the ornate show brought down the house once more. Beneath that smile of Sandra Caldwell’s Matron Mama Morton lies a deceptive individual who would sell her own mother to make a fast buck. I love the line “Ask any of the chickies in my pen/They’ll tell you I’m the biggest mother hen” from ‘When You’re Good to Mama’. Who really cares if Mama cares about these gals under her guard? She’s out to make a fast buck like all those individuals in Cook County to get themselves out of the prison, and they’re having a hell of a good time in the process. That’s all that counts to them. This five-star hot, torrid, athletic and kinetic ensemble tackles Feore’s choreography with great gusto and hearty aplomb. From what I could see from my seat, every dance move was also keenly connected with facial and eye contact that radiated passionate licentiousness. Feore’s choreography remains one of the highlights of the production, and it appeared to me this ensemble wanted to do justice to the work. Final Comments: If you have seen the New York/touring revival of ‘Chicago’ now playing in New York or on tour, you owe it as a treat to yourself to come to Stratford before the door of this speakeasy is closed. “Chicago is a winner. Dynamite from beginning to end. Flawless in performance.” Running Time: approximately two hours and 40 minutes with one intermission. As of the writing of this article, Covid protocols are in effect at the theatre. ‘Chicago’ runs to October 30 at the Festival Theatre, 55 Queen Street, Stratford. For tickets, www.stratfordfestival.ca or call 1-800-567-1600. Chicago, based on the play by Maurine Dallas Watkins with script adaptation by David Thompson Book by Fred Ebb and Bob Fosse Music by John Kander Lyrics by Fred Ebb Producer: Dave Auster Director and Choreographer: Donna Feore Music Director: Franklin Brasz Set Designer: Michael Gianfrancesco Costume Designer: Dana Osborne Lighting Designer: Michael Walton Sound Designer: Peter McBoyle The Company: Jennifer Rider-Shaw, Chelsea Preston, Chad McFadden, Steve Ross, Stephen Patterson, Bethany Kovarik, Amanda Lundgren, Heather Kosik, Bonnie Jordan, Celeste Catena, Sandra Caldwell, Dan Chameroy, R. Markus, Amanda De Freitas, Devon Michael Brown, Philip Seguin, Gabriel Antonacci, Robert Ball, Henry Firmston, Jordan Mah, Eric Abel, Jason Sermonia, Julius Sermonia Previous Next

Back Fiona Mongillo and Lucy Jane Atkinson Looking Ahead Into 2023 L: Fiona Mongillo (Ann Baggley) R: Lucy Jane Atkinson Joe Szekeres When you miss a live theatre production and begin kicking yourself because you heard it was good, you wonder if there will be that minute infinitesimal opportunity of a chance to see it again. Thank you to the theatre gods for aligning the stars, to Crow’s Theatre, to Fiona Mongillo and Lucy Jane Atkinson, for bringing Dennis Kelly’s ‘Girls & Boys’ to Toronto. I missed it at Stratford’s Here for Now Company last summer. Mongillo returns to the solo role in which she appeared last summer with the production directed once again by Atkinson. Artistic Director Mongillo founded Here for Now in 2012. According to its website, the independent professional theatre company based in Stratford, Ontario: “aims to challenge and inspire its audiences by producing a bold annual theatre season, comprised of new or underproduced plays. Here For Now focuses on the stories of women and also seeks to amplify all unheard voices.” Recently I had the chance to interview both Fiona and Lucy in a Zoom call and really enjoyed speaking with them. They have known each other for a decade. Fiona calls Lucy her favourite director on the whole planet. They had just completed a rehearsal for ‘Girls & Boys’ and were tired but invigorated. Atkinson is excited to return to the production after six months of being away from it, but she has also said the script is a very heavy and draining piece as there are more layers to uncover. I’m doing my best not to read any reviews of last summer’s production but the brief plot synopsis still intrigues me. Fiona assured her synopsis of ‘Girls & Boys’ would be “super brief because it is so difficult to talk about this play without spoiling it.” Essentially, it is a woman who shares her life story with the audience about her relationship with her husband, her children, her career and how the events that have occurred in recent years and the turn these events took. What drew the two ladies to ‘Girls & Boys’? For Lucy, she saw the production when she was working at London England’s Royal Court Theatre Box Office a few years ago. She has loved Dennis Kelly’s work for years and the production featured Carey Mulligan and was directed by Lyndsey Turner. Lucy remembers it was about mid-point in the show she saw at the Royal Court and describes the moment as “all of the air left my body. It just hit me in a way that I can’t remember another time that I’ve had that physical response to a piece of theatre.” Atkinson calls herself predominately a new writing director. A lot of the work she does is female-focused with small casts that specialize in monologues normally up to three-four people at a perch. Everything she does is very intense and close and ‘Girls & Boys’ is all these things as it fits everything she has wanted to do with the script. For the past five years, Lucy has been waiting for someone to allow her to direct ‘Girls & Boys’. She sent Fiona the script along with several other titles with the caveat being Kelly’s story. In Fiona’s own words, the initial reading of ‘Girls & Boys’ scared the shit out of her and she said no to it, absolutely not. She closed the script and thought she might not be up to it or perhaps Here for Now audiences might not be up for Kelly’s story either. But she couldn’t stop thinking about it for a couple of days. She read the script again and then read it aloud to her husband. She told him: “I should probably do this play.” And he said: “Yep. 100%” She added further: “It’s a really brilliant piece of writing. The only reason I was initially hesitant and balking at it was if audiences would be up to the intensity of the story or maybe I wouldn’t be up to it. That’s not a really good reason to say no to something because that’s really fear. So I said yes.” Since the show concluded its summer 2022 Stratford run six months ago, has Atkinson’s vision for Kelly’s script been transformed? Lucy found it a good question. She thought for a moment: “The interesting thing – when we rehearsed it last summer and I directed it then, so much of what we were doing was world-building for Fiona. It is just her on the stage talking to the audience and making eye contact with them as everything had to feel so truthful and so embodied.” For the two of them, the real mission of the show is honesty and being as truthful as you can possibly be. A great deal of time was spent building the house so Fiona could walk around it in the scene and know where everything was. There was the building of an intricate timeline and printing out of photos of everywhere where she lived. There was also printing out photos of her kids. This was all done so it would appear real in Fiona’s memory. This time in preparation for the Crow’s run, both ladies concur: “We don’t need to do that quite so much because it’s all there already. What we’re really looking at is just deepening from what we had before. Last summer if we found the top three layers, then we’re now looking for that fourth, fifth and sixth layer and trying to get into the guts of it. This is my mission this time around is to go to these next layers.” What do the ladies hope audiences will come away with after seeing ‘Girls & Boys’? For Lucy, it’s a very provocative play and she hopes to provoke people to think about power dynamics between the sexes and within relationships. ‘Girls & Boys’ is a piece that sets out to poke at sore spots, and she hopes audiences are receptive to that and don’t flinch when they are poked and instead stay engaged when they go home and really think about what has just transpired on the stage: “It’s a delicate balance. When I saw it at Royal Court just after the curtain call and the audience was filing out, there was a fistfight between two men. It was insane and crazy as it became obvious to me people were triggered by it. On the train ride back home, my partner and I had an argument about the play as well. This was one of the only arguments we ever had.” Lucy hopes audiences don’t shy away from these reactions and will take the time to look at them in the same way Fiona did when she read the script and took the time to consider, re-evaluate and explore why she was fearful. I hope the audiences trust us enough. This is not to say that ‘Girls & Boys’ is traumatizing. There are some moments that are quite hilarious. For Fiona, what theatre brilliantly does is hold up a mirror so we can take a look at ourselves. In that reflection of showing the entire spectrum of the light and the dark, ‘Girls & Boys’ is meant to impact us, teach us, shine a light on within us and create room for reflection and growth. ‘Girls & Boys’ achieved these goals in the summer run. Although she did have that initial fear an audience might not be ready for the play, Fiona thinks she underestimated the Here for Now audiences last summer. “We don’t always need to go to the theatre to be entertained or feel comfortable. Sometimes we go to the theatre to have catharsis, to be uncomfortable in order to sit in discomfort. That is an equally important experience ‘Girls & Boys’ provides, and that’s what I hope audiences will experience. What’s next for Fiona and Lucy once ‘Girls & Boys’ concludes its run at Crow's? As Artistic Director of Here for Now, Fiona says she will be on a very high workload since two months have been taken away. There will be grants to write and details to hammer down since the Here for Now 2023 season will be outdoors. The season will be launched March 1 at the Box Office. For Lucy, she has a show of hers that has been touring for the past year that has come to London, England so she will be doing a remount of it. She is also directing some shows for drama schools. There is a musical she has been working on for the past five years and a fifth draft has been finished so there will be some revisions and deletions on that. As a freelancer, Lucy says there are always little bits and pieces of things to continue examining. ‘Girls & Boys’ opens January 26 and runs to February 12 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets visit crowstheatre.com or call the Box Office at 1-647-341-7390 ex 1010. To learn more about Here for Now and its 2023 summer festival, visit www.herefornowtheatre.com . Previous Next

Back 'The Tragedy of King Lear' by William Shakespeare Presented by Shakespeare BASH'd at The Theatre Centre in the BMO Incubator for Live Arts Kyle Purcell. Scott Wentworth as King Lear Joe Szekeres The adage ‘Less is more’ perfectly applies to Shakespeare BASH’ds production of ‘The Tragedy of King Lear’. Good choices were made throughout by the director which allows for attention to be paid to absorbing storytelling. It’s a modern take on one of Shakespeare’s classic tales. The tragic hero of a king, Lear (sensational work by Scott Wentworth) foolishly divides his land between his three daughters Goneril (Melanie Leon), Regan (Madelaine Hodges) and Cordelia (Breanne Tice) in a game of ‘who doth love the king most’. Trouble immediately erupts when Cordelia refuses to participate in the childish game. The Duke of Burgundy (Steven Hao) will not marry her because he is interested only in what he can get from the dowry. An exasperated Lear, however, banishes his youngest daughter from England. She is dowerless, yet her husband, the King of France (Tristan Claxton) recognizes his new wife as someone more valuable than any material item. Meanwhile, now that the other two daughters have gained control of the kingdom, they join forces to bring their father to his knees. Another family’s troubles run parallel to that of Lear. Just like Lear, Gloucester (terrific work by David Mackett) foolishly entrusts his illegitimate son, Edmund (Deivan Steele) over his true loving son, Edgar (Ngabo Nabea). Edmund forges a letter from his brother which indicates a plan to murder their father. As the two stories intertwine, we are introduced to several others who play an important role in the plot’s development. As Lear’s loyal servant, Kent (Mairi Babb), she sets to keep an eye on the king after her banishment as she too remains faithful to her ruler given his errors in judgment. Goneril’s husband, the Duke of Albany (Ben Yoganathan) and Regan’s husband, the Duke of Cornwall (Daniel Briere) at first join forces with their wives to claim their portion of the kingdom but trouble soon erupts between the couples. There is also the King’s Fool (Julia Nish-Lapidus). She often plays word games, sings songs, and shares anecdotes about the ways of the world with Lear. Periodically, the Fool will shake a tin can of coins to be duly paid for her given advice. Quite humourous in the moment but whether it is heeded is another point. James Wallis directs the production with a clear vision of insight. He made many tremendously wise choices to make the story come alive starting with modern clothing. This immediately caught my attention. It’s a bare stage save for the concealed throne and two benches at the top of the show. The Incubator’s theatre in the round setting offers ample audience sightlines from everywhere in the room. There are eight hanging light bulbs which add mystery and intrigue to the rising tension of any given moment. The actors enter and exit from all four corners of the room which keeps the audience’s attention span continuously maintained throughout. The contemporary setting works well. Colour choices throughout reveal a great deal about individual characters. For example, at the top of the show during the game, the characters are dressed in dark clothing as such that would be worn to a solemn event. Cordelia is dressed in earth-tone colours which reveals she is unlike everyone present at that moment. It was a clever way to maintain focus on appearance alone and who represents the goodness of the human heart. The pacing is tight and that beautifully works for this three-hour running time. There is a continued fluidity throughout which made the transitions seamless from one scene to the next. As one scene concludes and actors leave the stage, there is an immediate entrance with no lag time in between. Bravo for this choice and sustaining it throughout. There are some riveting performances that must be seen and heard. The conversational dialogue just naturally and believably flows from one character to the next. The iambic pentameter verse sounds so good to the ear. Scott Wentworth regally commands the stage each time he appears as the foolish Lear. From his childlike petulance at the top of the show to the powerless king who rails he “is a man more sinned against than sinning”, and then to a man who issues others into the hovel and out of the storm first before himself, Wentworth delivers a masterclass acting performance of strength, endurance, and credibility of character. It’s one not to be missed. David Mackett’s Gloucester offers a poignant performance to balance Wentworth’s impending and spiralling doom. Mackett fascinatingly utilizes his eyes a great deal to convey his feelings and emotions which makes what happens to him most heartbreaking. Melanie Leon and Madelaine Hodges become dominatingly powerful and vicious as Goneril and Regan. It was a nice touch by Wentworth as the father touches both ladies in such a way that he did indeed want to convey sterility in his two eldest daughters to prevent childbirth. Breanne Tice’s Cordelia is gentle and sweet. Deivan Steele’s Edmund comes across as deliciously nasty right to his very soul. Ngabo Nabea’s portrayal of Poor Tom (Edgar disguised) is engrossing to watch when he first sees his father, Gloucester. Nabea moved around the stage in what appeared to be chess-like movements that intriguingly battered between closeness and distance. Mairi Babb is a strong and genteel Kent, most certainly in the final moments of the play. Steven Hao’s haughty Duke of Burgundy becomes a reminder of how money and wealth can cloud over what is truly beautiful, good, and honourable. As husbands Albany and Cornwall, Ben Yoganathan and Daniel Briere do appear initially shocked at the way in which Lear responds to Cordelia’s banishment from the kingdom. Yet we see two very different types of men: Yoganathan’s nobility regarding Goneril’s treachery and threatening to shove a damning letter in her mouth regarding her faithfulness as a wife emitted silent applause from me. Briere’s despicably brutal treatment of Gloucester later also elicited silent applause from me again as Cornwall deservedly receives recognition for the horrible atrocity he has committed. Several of the actors play dual and sometimes triple roles. Thankfully, Julia Lish-Napidus’s bubbleheaded Fool in the beginning never remains like that after witnessing what happens to her master. Lish-Napidus’s Fool delivers the sage advice of someone who has endured the harsh trials of life just like her father. Tristan Claxton’s Oswald surprisingly came across to me as someone who is more than just a servant to his mistress, Goneril. At one point, Breanne Tice plays Curan. What worked extremely well when this occurred? The scene involved both Goneril and Regan and there was the mention of Cordelia’s armed forces in France. It appears as if Cordelia is present in the scene watching over what her sisters are plotting. Again, a nice touch to have an actor play a dual role. Final Thought: Hindsight being 20-20, I really wish I had students now to encourage them to see this ‘King Lear’. Shakespeare BASH’d’s production is a winning and top-notch adaptation directed with a clear vision by James Wallis and performed by a winning cast. See it. Running time: approximately three hours with one intermission. ‘The Tragedy of King Lear’ runs to February 26 at The Theatre Centre, 1115 Queen Street West, Toronto. For tickets, call the Box Office at (416) 538-0988. To learn more about Shakespeare BASH’d, visit shakespearebashd.com. SHAKESPEARE BASH’d presents ‘The Tragedy of King Lear’ by William Shakespeare Directed by James Wallis Sound Designer: Matt Nish-Lapidus Stage Manager: Milena Fera Assistant Director: Kate Martin Performers: Mairi Babb, Daniel Briere, Tristan Claxton, Steven Hao, Madelaine Hodges, Melanie Leon, David Mackett, Ngabo Nabea, Julia Nish-Lapidus, Deivan Steele, Breanne Tice, Scott Wentworth, Ben Yoganathan Previous Next

Back Sadie Berlin Theatre Conversation in a Covid World HAUI Joe Szekeres I’ve been discovering the work of more and more worthy professional theatre companies where I would really like to attend their productions. I had heard of b current before but knew very little of the company until now. From its website: “b current is the hotbed for culturally-rooted theatre development in Toronto. Originally founded as a place for Black artists to create, nurture, and present their new works, our company has grown to support artists from all diasporas. We strived over two decades to create space for diverse voices to be heard, always with a focus on engaging the communities from which our stories emerge. As a result, these communities trust our company and respect the work that we do. Whether our audiences identify with our work through ethnic experience, social values, or political awareness, these groups are loyal to our programming because they recognize the high level of cultural authenticity and integrity we foster in our artists and their works.” With such an important focus, I also became aware that b current now has a new Artistic Director: Sadie Berlin. She is a writer, director, producer and now the Artistic Director of b current. She has a practice in performance art where she focuses on durational work. The alphabet soup at the bottom of her signature alludes post-graduate and professional degrees. We conducted our conversation via email. Thank you so much, Sadie, for taking the time to add your voice to this important discussion. I look forward to meeting you in person soon to say hello to you: We are now one year in with very few signs at this time that live theatre will return fully any time soon. How have you been faring during this time? Your immediate family? Although I am about as secular as one can get, I sometimes think the Fates have me in their crosshairs. I find it a whimsical way of thinking about the ups and downs of life; imagining biddies busying themselves at playing around with the next twist and turn of my life. After the first couple of weeks of lockdown, I started getting more work than ever. As an artist, you work, create, plant seeds, network, parlay yourself into better and better paying work. I thought the pandemic would stop my career in its tracks, the opposite happened. My partner who would self-define as a recluse has gained self-knowledge on the limits of his need for isolation. My elderly mother, who still lives in my hometown of Montreal, had her first shot weeks ago and has been able somehow to keep her spirits up through the pandemic. How have you been spending your time since the theatre industry has been locked up tight as a drum? I never stopped working. When lockdown came, I was curating a series of articles, a covid-proof endeavour. When I was called back to work at The Lab of the Stratford Festival in the Spring, we worked on finding ways to support as many artists as possible through different initiatives, digital projects, and commissions. I have left the Festival to take the helm at b current and that, of course, is occupying all my time. It’s strange to be so fortunate through such difficult times and, of course, because the grass is always greener, I have moments when I envy those who have a chance to rest and think. I am a firm believer in wallowing. When I get upset, I give myself a limited number of hours to feel sorry for myself. Capitalist democracy and its prescriptive optimism, happiness and creepy, exaggerated smiles has never aligned with me. It’s ok to be angry, frustrated and upset right now. And for theatre artists, I understand the feeling of dysphoria as people are at home watching Netflix without realising how much theatre and its artists contribute to the tv and film industries. On the first week of lockdown, I posted the seven volume, original French version of Remembrance of Things Past and thought I would finally be able to get past Book ne. And then for Winter, I purchased a MIDI keyboard and thought I would compose music. I got wool for knitting projects. I purchased a fe Domestika courses just for fun. But there really hasn’t been any time for hobbies. 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 near year long absence from the theatre as something else? I have keenly felt the absence of sharing space with other artists. In Pretend It’s a City, Lebowitz says that hanging out is the history of art. Forget social media or Zoom, nothing can substitute having a heated discussion about the nature of art at 2am in a dive joint. Until very recently, I was holding up better than most. I’m an only child and solitude never phased me. But I don’t feel liberated. I feel like I’ve been waiting outside my assigned gate at an airport for 13 months. 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’m not sure whether this story is true, but it should be: I once heard about an African ant that lives colonies of millions and is deadly to all organic matter. The ants follow the same path every year. And so, once a year, every village on the ants’ path, pack up their clothes and pets and livestock and move off the path of the ant for a couple of days. They villagers come back to pristine village. I think how a western mindset would address this issue. I imagine the invention of poisons and extensive and environmentally impactful barriers. I conjure up Texans shooting the ants with their guns, an ungenerous but hilarious thought that might pass through my mind. One thing Covid has taught me is humility. I am no fatalist, but I respect Covid, the same way I respect bears: by staying out of the way. I am watching and waiting and, to me, it feels insolent to make any prediction whatsoever. Like tempting the Fates. 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? I actually feel the assassinations of Breanna Taylor, Ahmaud Arbery, George Floyd, Regis Korchisky-Paquet, Chantel Moore and so many others, have had a greater transformative impact on how I view my work. Covid doesn’t have a conscience, but society should. I’ve always hesitated between pursuing a life in the arts and working in social justice. The arts won but I will no longer work on projects that reinforce the status quo. I will no longer apologize for harping on about race and politics. Whatever the future holds, I will be a different person in it. The Hindu goddess Kali, the goddess of destruction and creativity is a great guide for me. Covid has given us a chance at self-renewal – gosh, I feel terrible writing this as I think of frontline workers, indigent children with poor wifi who are barely getting an education right now. It’s fair to imagine that most don’t have the luxury to ponder lofty cogitations. 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? Before Covid, “safety” had been a buzz word in theatre for some years. I feel we are shying away from any kind of danger, be it physical, emotional, aesthetic… it will change the art that we make but I don’t see any other way. This is the culture right now. I was in Berlin just before the pandemic became known to the world and every play, I saw, would have resulted in a call to Equity on the first day of rehearsal over here. And the entire culture is concerned about safety and that will affect the arts as well. Would Robert Mapplethorpe be the artist that he became without clubs like The Mineshaft? The possible de-radicalisation of art keeps me up at night. Because safety is never radical. Because safety is not visceral. On the other hand, do I want to see artists in “danger” of any kind or any form? Of course not. My outlet is my performance art practice where safety is a dirty word, the important distinction being that with performance art, every artist gets to own and control their process. 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? God, I hope not. Actually, what I hope for is the pandemic and everything around it to course its way through my corpus callosum until it is forklifted to deeper recesses of my mind. From there it can work its way back into a related but perhaps unrecognisable idea. Again, the civil unrest of the last year has had a much greater impact on me than the pandemic. More sensitivity is the last thing I need, especially after hearing Tennessee Williams’s adage that the secret to happiness is insensitivity. Seriously though, I believe in the great French adage: “chassez le naturel, il revient au galop”. In other words, we never really change. 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’m not sure it is possible to be more curious than I am in normal times but, as Covid forced me to get out and go for walks instead of the gym, my relationship with nature has deepened. I am very privileged to have access to the natural world where I live and, without Covid, I’m not sure I would have spent as much time pondering life’s cycles and our place in the natural world. I think of everything in more holistic terms now and I am sure this will affect my art practice. To learn more about b current, visit www.bcurrent.ca . You can also follow b current on its Facebook Page: @bcurrentLIVE; Twitter: @bcurrentLIVE; Instagram: @bcurrentlive To follow Sadie Berlin at Twitter: @artysadie and IG: @sadiediamorphine Previous Next

Back 'In Dreams, A New Musical' Music by Roy Orbison and Book by David West Read Now onstage at Toronto's CAA Ed Mirvish Theatre Credit: Pamela Raith. Featured: Lena Hall as Kenna Joe Szekeres A touching jukebox musical which becomes more than just a ‘feel good’ show. This Broadway-bound inspirational ‘In Dreams’ goes one step further. The production confronts a mortality issue that I’m sure we’ve all personally encountered in some manner. Thankfully, the creative team does not allow that to damper the enjoyment of the songs. Instead, the show becomes an important reminder for audiences to be thankful and appreciate music and for those who provide their unique gift to all of us. How appropriate this ‘In Dreams’ is for the Canadian Thanksgiving season. Using the songs of musician Roy Orbison, the story follows Kenna (Lena Hall), the former lead singer of country rock band Heartbreak Rodeo. Upon receiving news that will change her life forever, she discovers a Mexican family restaurant run by Oscar (Manuel Pacific), his expectant wife, Nicole (Nasim Ramírez), effeminate cook, Tom (Leon Craig) and assisted by Oscar’s grandmother, Ana Sofia (Alma Cuervo). The restaurant caters to those individuals who wish to celebrate their memorial service in the way they would like to be honoured and respected. Kenna likes what’s happening at the restaurant, so she hosts her memorial party there. She wants to enjoy it while she is still alive and reconnect with old friends who were members of her band: drummer Ramsey (Oliver Tompsett), Jane (Sian Reese-Williams) and her husband, Donovan (Noël Sullivan). Set and Lighting designers Arnulfo Maldonado and Howard Hudson capture that traditional Spanish flair of the restaurant setting of neon lighting and what I’ll call blinking old-fashioned Christmas tree lights. This specific eatery ain’t no greasy spoon dive, that’s for sure. Fay Fullerton’s costume designs perfectly reflect the individual characters. Kenna’s jet-black tight concert outfit at the top of the show screams a country rock feel. Director (Luke Sheppard) and Book Writer (David West Read) were responsible for the Toronto, and now New York hit ‘& Juliet’, which premiered last year at Mirvish. They have teamed once again with several highly creative individuals to create ‘In Dreams,’ which appears to be another audience pleaser. No disagreement from me there. There are moments throughout the show where I could feel a big ol’ smile slide across my face (underneath my mask). I looked around and saw others sitting around me, moving their heads, keeping time to Orbison’s songs. Judging from my experience and what I saw, this production will undoubtedly do just that. Luke Sheppard’s subtly controlled direction allows for the maximum impact of character development, and Catherine Jayes’ terrific sounding orchestrations under Patrick Hurley’s solid musical direction. Fabian Aloise’s electric choreography remains sharp and clean. The show’s pacing and set changes remain remarkably fluid throughout. Several vocal numbers are outstanding. Mere words cannot describe the heavenly bliss of the pure clarity and audibility of the vocals. ‘You Got It’ is only one example where I put my pen down from writing notes and just sat back to watch and enjoy. Lena Hall delivers an electrifying performance as Kenna, and her poignant rendition of ‘Crying’ blows the roof off the Mirvish theatre. On a personal note, this show rendition of the song sent the proverbial shivers down my spine. As a cancer survivor and someone who lost a younger sibling to the disease, the lyrics just struck a nerve within my being and made my eyes well. Additionally, the song also becomes a showstopper. While Hall’s glorious sounding vocals soar past the rafters, this moment truthfully reveals how Kenna never got over the feelings she still has for her drummer and now Uber cab driver, Ramsey. Oliver Tompsett nails that proverbial bad-boy image as Ramsey in his performance. The sexual chemistry between him and Hall smoulders hotly. Their first encounter in the room where Kenna is asleep is rather funny. Ultimately, as the play continues, their attraction’s hidden intensity between them simmers and heightens in each passing moment. The moving sub-plots allow the audience to empathize with some supporting characters. As expectant parents, Oscar and Nicole, Manuel Pacific and Nasim Ramírez realistically show how having a child alters the relationship between husband and wife. Pacific believably reveals an emotional intensity as he has continually dealt with losing his parents, while Nicole feels Oscar has shut her out of his life. Their rendition of ‘Love Hurts’ remains powerful. The relationship between band members Jane and her husband, Donovan, becomes comic relief. Sian Reese-Williams and Noël Sullivan are a riot. When they enter the restaurant, the couple amusingly proclaims to be away from their children for two days and wants to enjoy every second, especially when they announce they will have sex. Another important theme of ‘In Dreams’ is friendship and how it might develop into something further. The subplot of Oscar’s grandmother, Ana Sofia and restaurant frequenter, George, is lovely to watch. Alma Cuervo and Richard Trinder are sweetly bashful around each other initially. However, their showstopping rendition of ‘Oh, Pretty Woman’ evidently reveals that one is never too young to experience the heights of burgeoning feelings for one another. It’s quite the musical number, and again, I just sat back and watched two artists having fun with each other on stage. I also wanted to acknowledge Cuervo’s astounding vocal work in ‘Blue Bayou’ and ‘Only the Lonely.’ In the leadup to this song, Kenna reveals the devastating news she has received about her health to Ana Sofia, who listens at first with tender compassion. What a perfect choice to conclude this ‘moment’ with these two songs. Again, I closed my eyes momentarily to hear Cuervo reach for the high notes in both pieces. She doesn’t disappoint. At all. Not forgetting that love can strike anywhere and anytime for anyone, restaurant cook Tom (Leon Craig) and Police Officer Lee (Mark Peachey) begin to develop feelings for each other during the last few minutes of the play, and the intensity of their relationship burns during the remix finale of ‘You Got It.’ Final Comments: ‘In Dreams’ is an absolute joy to experience. Give yourselves a treat. Go and see it. Running time: approximately 2 hours and 20 minutes with one intermission. ‘In Dreams’ runs until November 12 at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. DAVID MIRVISH AND JOHN SACHS for Eclipse Live and Sony Music present IN DREAMS, A NEW MUSICAL Music by Roy Orbison and Book by David West Read Directed by Luke Sheppard Musical Director: Patrick Hurley with Orchestrations by Catherine Jayes Choreographer: Fabian Aloise Set Design: Arnulfo Maldonado Costume Designer: Fay Fullerton Sound Designer: Tom Marshall Lighting Designer: Howard Hudson Video Designer: George Reeve Performers: Lena Hall, Oliver Tompsett, Sian Reese-Williams. Noël Sullivan, Manuel Pacific, Nasim Ramírez, Alma Cuervo, Richard Trinder, Leon Craig, Hannah Ducharme, Mark Peachey, Fabiola Occasion, Ache Hernandez Previous Next

Back 'Jim Watts: Girl Reporter' by Beverley Cooper Upcoming 4th Line Theatre show asks: “What does it mean to take a stand? How does that sit with different people? Can an individual make a difference in the world?” Credit: Wayne Eardley Joe Szekeres 4th Line Theatre continues its brand of outdoor theatre with Canadian stories and a mandate to preserve and promote our Canadian cultural heritage through the development and presentation of regionally based, environmentally staged historical dramas. Next on the slate is Beverley Cooper’s ‘Jim Watts: Girl Reporter.’ Directed by Kim Blackwell, the dramatic story (with moments of levity) is billed as a fascinating exploration of the experience of trailblazing youth who illegally flocked to Spain to fight fascism, attempting to stop its march across Europe in the mid-1930s. University student Jean ‘Jim’ Watts (Katie Ryerson) defies the rules of society at that time. She became a reporter and was the only woman to join Canada’s battalion in Spain, the MacKenzie-Papineaus. The play takes the audience from Toronto to Madrid, from political allies to the Spanish battlefields. Recently, I had the chance to attend a media call for the upcoming production on the theatre's grounds. I spoke with three articulate young people in the cast—Katie Ryerson, Mikayla Stoodley, and Thomas Fournier—excited about opening night and sharing the story of Jim ‘Jean’ Watts. Before we even began to speak about playwright Beverley Cooper’s story, I asked these young people what it is specifically about the theatre that draws them in. All three agreed that it is the communal and imaginative aspect of coming together and working on bringing a story to life, especially one that is Canadian. Being outdoors, there’s something ancient about it, as the words in the dialogue seem to taste better. Katie, Mikayla, and Thomas are singing respectfully Director Kim Blackwell’s praises and are loving their time in rehearsal on the farm. Blackwell has created an ‘amazing’ atmosphere who takes the work seriously and wants the story to remain of paramount importance. All agree theatre is ephemeral. It takes place and comes to life for a specific time, but the thoughts, questions and comments it can leave afterward are essential. Is the theatre on life support, as many have said over the years? Absolutely not, according to these three young and upcoming actors. The action is live in the theatre and built on community and collaboration between the cast and creative team. In film and television, sometimes artists can get lost in that realm where actors come in, meet the director quickly, do the scene and be ushered out the door immediately after. Ryerson, Stoodley, and Fournier fell in love with the theatre because of that collaboration. Once again, the three of them refer to their director, Blackwell. She knows her vision and remains confident in its completeness, but Kim was always open to discussion, feedback, and questioning. Ryerson plays the central character, Jim ‘Jean’ Watts, also known as Myrtle and Eugenia. Katie feels honoured to receive the gift of playing this character. It’s her first time performing at 4th Line, and she calls director Blackwell ‘the best.’ Even though the production is named after the reporter, Ryerson states the production is a large ensemble effort. Stoodley plays Canadian poet Dorothy Livesay, known as Dee. What fascinates Stoodley about the poet is her experience in exploring politics through her art and taking a stand in how she and Jim see things. Watts and Livesay are close friends. Stoodley also shared that through reading some of the letters of correspondence between the two women, their relationship appears to be more than just friends. Thomas Fournier plays Jim Higgins, a prominent anti-fascist and individualist Peterborough resident, union organizer, and hero. According to Fournier, who read Higgins’ memoirs, he defied his country’s orders of non-intervention and went overseas to brave the potential of being arrested and fight against great military powers. Higgins was a thumb in the face of authority. He was always fighting for the rights and freedom of people. What messages do Ryerson, Stoodley and Fournier hope audiences will take away upon seeing ‘Jim Watts: Girl Reporter’? While the play deals with heavy political and emotional themes at times, one thing remains certain for all three artists: Can one person, just one, make a huge difference in taking a stand? Can making a difference take on different forms and can all of this be impactful? Playwright Cooper’s script also reveals that taking a stand will manifest differently for different people. It’s also okay if audience members leave with more questions. Theatre does not always have to provide the answers. It is the ensuing discussion that takes place after which is equally as important. ‘Jim Watts: Girl Reporter’ previews begin July 30 and 31. Opening night is August 1 and runs until August 24 at 4th Line Theatre. For tickets: (705) 932-4445 or visit 4thlinetheatre.on.ca Previous Next

Back "Näss", choreographed by Fouad Boussouf Part of Torque International Contemporary Dance Series 2023-2024 Charlotte Audureau Joe Szekeres “Näss is undoubtedly more than the gyrating Australia’s ‘Thunder from Down Under’ boys. There’s an important story to be told in choreographer Fouad Boussouf’s electrifying choreography.” From the Programme Note: “Näss” is Arabic for ‘people’. Moroccan-born choreographer Fouad Boussouf was inspired by the famous 1970s group Maghreb Moroccan group Nass el Ghiwane, a band renowned in Africa for merging …traditional Moroccan music with lyrics steeped in political and social injustices.” This final production at the Fleck Dance Theatre at Toronto’s Harbourfront Centre reminded me of ‘Stomp,’ where performers use eclectic objects to produce varying tonal sounds of musicality. In ‘Näss,’ the seven artists transport the audience to the streets of Marrakech. The stomping of feet and intricately directed moves create splendid sounds and interesting visual staging elements. All in approximately sixty minutes sans intermission. It’s an electrifying and riveting performance that needs to be experienced in person. It’s unfortunate the show only ran for three performances. The Harbourfront website description describes the Näss artists as chiselled bodies. Yes, that is correct, but this production is more than Australia’s ‘Thunder from Down Under’ guys gyrating their pelvis and hips. From what I could see, an equal number of men and women were in the audience at this final performance. From what I could hear, the men stood at the curtain call to shout out the appreciative catcalls of admiration for these intensely focused physical movement artists who combine the choreography with “a fusion of urban hip hop, electronica, and contemporary North African dance.” I’m not a fan of hip hop as I don’t get what the fascination is with the rhythm and beat of the musical sounds; however, these artists allowed me to pay close attention to the music to see how they moved in unison with veritable masculine grace and coordination. The visual experience of the show experience is enhanced with Fabrice Soucy’s shadowy lighting designs. Camille Vallat’s selection of earth-tone colours for the costumes effectively represents the dirt and grime of the Marrakech streets upon which the dancers move. Roman Bestion, Fouad Boussouf and Marion Castor’s music selection becomes an aural delight to the ears. Final Comments: “Näss” is part of Torque International Contemporary Dance Series 23-2024. To learn more, visit https://harbourfrontcentre.com/series/torque/. Previous Next

Back Jimmy Blais, Artistic Director of Montreal's Geordie Theatre Looking Ahead ​ Joe Szekeres Jimmy is a member of the Muskeg Lake Cree Nation; he is of Plains Cree and French settler heritage. Born and raised in Tiohtià:ke/ Montreal, Jimmy graduated from Concordia’s Theatre Performance Program. He is a seasoned stage and film actor. He has worked professionally for over 10 years, for companies like The Stratford Festival, The Centaur, Geordie Productions, Porte Parole and La Licorne. Jimmy’s most notable tv role was playing Watio for five seasons in APTN’s hit series ‘Mohawk Girls’. Jimmy is also a writer, director, mentor, and coach. He was the Indigenous Artist in Residence for the 2016 Students On Ice Expedition to the Arctic. Jimmy successfully completed the Indigenous Artist In Residence at The National Theatre School of Canada in 2019. He is the current Artistic Director of Montréal’s Geordie Theatre. I had the opportunity to interview Jimmy the day after I had seen ‘Celestial Bodies’ which he directed at Toronto’s Young People’s Theatre. My review of this solid production can be found here: https://www.ourtheatrevoice.com/items-7/'celestial-bodies'-by-jacob-margaret-archer There were at least two school groups in attendance the afternoon I had seen the production. I was curious in wondering what has the reaction been from the school groups in attendance. ‘Celestial Bodies’ which has existed for two years was done as a part of Geordie’s live-stream tour. When the pandemic hit, ‘Celestial Bodies’ was one of the offerings to schools and it could be streamed live. At YPT, this is the first time the production could be staged for a live audience. Jimmy acknowledged he had received a couple of reports from the Stage Manager and from Molly, the Senior Education Manager at YPT who said she had heard from students whom she followed down the stairs: “I gotta be honest. That was pretty lit.” (Translation: ‘Lit’ means the students liked it.) Jimmy jokingly stated from a middle-aged man’s perspective (meaning him), he said it was great to hear. Blais acknowledges how tough it is to navigate as we are still in the throes of Covid. As an artist himself, Jimmy missed the theatre dearly. There were only so many Zoom readings of plays that could be done. As the Artistic Director of Geordie, he is ecstatically happy stories are being shared once again with audiences and people are back in live theatres watching shows. He further added: “I think we’re doing a really good job making sure everyone still feels comfortable. Depending on where audience members are within the country, shows will be offered either as ‘masked only’ performances or patrons will be strongly encouraged to continue wearing them while in the lobby and theatre. The most exciting thing for me as Artistic Director is to ensure we get that exchange of energy back between the actor and the audience.” Blais felt Geordie Theatre had done a good job in continuing to bring theatre to students during the pandemic. Based in Montréal for the last forty-two years, Geordie has been involved as the longest-running tour theatre in North America. During Covid, Geordie was still live-streaming shows to students in their classrooms. Blais received feedback that students and teachers appreciated the experience of streamed theatre in the classroom, but for him “there’s nothing like getting back into that room and sharing that energy between actor and audience.” The response from students and teachers has been phenomenal as they all wanted to come back to the live setting of the theatre, and teachers wanted Geordie to tour shows to schools. For Blais, it’s a good sign the demand and need are there to return to a live setting. ‘Celestial Bodies’ is a powerful monologue that deals with body imaging and how young people see themselves regarding it. Do youth experience more challenges regarding their understanding of their body image today compared to twenty-thirty years ago? Blais paused for a moment to think. He then said yes to the question on account of the pressures of social media. For those of us who are on social media regularly, we are constantly bombarded with images of people taking photos of themselves or posting photos others have taken of them. For Blais, there is this constant comparison that is innate within certain platforms. On top of that, we have crazy apps on our phones that beautify people, that alter the constructs of our faces or 'slimify' ourselves or add makeup all to fit what societal standards deem to be beautiful or handsome. On the flip side of this not holding this much weight, there is a bit of a better understanding of how society does pressure us to think in certain ways, specifically someone like the artist Lizzo. She is popular and has succeeded in carrying herself in a certain way to break down stereotypes of body image empowering youth to try to do the same. In ‘Celestial Bodies’, the character Stella has an athlete parent. Stella is not like her mother at all, and the pressure is on Stella to try and conform to what society dictates, and Stella will not do that. What is one message that Jimmy hopes all audiences will have gleaned from ‘Celestial Bodies’?: “It’s important to remember no matter how people or society sees you, our dreams are just as valid as anybody else’s dream.” What’s next for Jimmy Blais once ‘Celestial Bodies’ concludes its run at Young People’s Theatre? As Artistic Director of Geordie, there are some things in the works. There is Geordie Theatre Fest, an annual mini-theatre festival running in Montréal that will kick off the week of January 23. Blais also sees co-productions between YPT and Geordie in the future. The two companies are always in conversation about what’s going on in their season since both companies have the same audience base. ‘Celestial Bodies’ continues until December 9 at Toronto’s Young People Theatre. Previous Next

Back 'AIN'T TOO PROUD': The Life and Times of The Temptations THE NATIONAL TOURING COMPANY Now onstage until December 17 at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto Credit: Emilio Madrid. Pictured l-r: Michael Andreaus, Jalen Harris, Harrell Holmes Jr., Elijah Ahmad Lewis, E. Clayton Cornelious Joe Szekeres VOICE CHOICE 'Triple-threat ensemble performances earn a VOICE CHOICE for this uber-chic-looking touring production.' Occasionally, when you come across a show that features triple threat performances, you want to share your thoughts with others and encourage them to go to the theatre. This is one of those times. Principal narrator Otis Williams (Michael Andreaus) tells how The Temptations came to be on its journey from the Detroit streets to Motown Records and the Rock and Roll Hall of Fame. We’re introduced to how each member initially met and how they skyrocketed to fame and coped with the incredible heights they hit in their recordings. However, personal conflicts, drug/alcohol dependency and egos threaten the group's progress, heightened by civil unrest in the US in the 60s and 70s. Along this road to show business fame, key recording individuals also appear who leave a tremendous impact on the group – from Smokey Robinson (an excellent sounding Derek Adams) and Berry Gordy (a striking Jeremy Kelsey) to Diana Ross (Amber Mariah Talley), Florence Ballard (Shayla Brielle G.) and Mary Wilson (Brittny Smith) whose vocals on ‘Baby Love’ is joyful sounding. ‘Ain’t Too Proud’ remains similar to ‘The Jersey Boys’ that played in Toronto many years ago. Both stories focus on the rise to fame of two groups, from the streets to number one on the charts. Both incorporate a short concert moment – in this touring production, some highlights include ‘Papa Was a Rolling Stone,’ ‘I’m Gonna Make You Love Me’ and ‘What Becomes of the Brokenhearted.’ Similar personal and familial conflicts and troubles also wreaked havoc in both groups. What remains most telling about this touring production is the predominant and gritty social awareness of the Civil Rights movement that anchors the story. For example, the death of Martin Luther King Jr. holds a particular prominence, as it rightly should. Peter Nigrini’s sometimes striking black-and-white projection designs decisively set the era's tone of the late 60s. Directed with style and class by Des McAnuff, this touring production of Dominique Mousseau’s book holds a sleek and refined visual look courtesy of Robert Brill’s set design and Paul Tazewell’s mighty fine-looking ‘60s fashion. The structural and mechanical workings keep the show’s pacing moving at top speed without appearing rushed. Howell Binkley’s refined lighting design suitably focuses attention where needed. Spotlit moments where some actors break the fourth wall and talk to the audience remain visually pleasing. Sound Designer Steve Canyon Kennedy has paid meticulous attention to ensure the lyrics of the songs can be heard. He has succeeded, and I wish to acknowledge how important that is, especially for the musical moments in a jukebox musical like this one. Sergio Trujillo’s zip-tight synchronous choreographed movement captures that same sense of style and class as McAnuff’s direction. Every finger point or leg movement is precise and tight and soundly brings to life the Temptations’ signature moves. Kenny Seymour’s Music Supervision and Arrangements with Harold Wheeler’s orchestrations credibly replicate the unique musical sound of the group – two prominent examples were ‘In the Still of the Night’ and ‘Just My Imagination (Running Away with Me).’ The accomplished onstage performance ensemble work earns this ‘Ain’t Too Proud’ a VOICE CHOICE. Michael Andreaus remains a compelling storyteller as Otis Williams. He has that ‘it’ of connecting with the audience at the top of the show. Andreaus remains grounded and entirely in control of his emotional peaks and valleys in his conversations with the group members or his wife Josephine (Quiana Onrae’l Holmes), who remains the dutiful wife at home, raising the children while Otis tours with the group. The moment Otis speaks with his grown elder son Lamont (Felander), who has other things on his mind, is quite poignant. Otis realizes how much time has passed and how he has missed his son becoming a man. E. Clayton Cornelious (Paul Williams), Harrell Holmes, Jr. (Melvin Franklin), Jalen Harris (Eddie Kendricks), Devin Price (Al Bryant), later replaced by Elijah Ahmad Lewis (David Ruffin) and Derek Adams (Richard Street) deliver nuanced and sensitive performances of character depth and genuine emotion about their places within the group and how each sees the future ahead. Intense conversations never become histrionic as tempers flare. They’re all marvellous dancers who can spin, pirouette, and do the splits while seamlessly moving into place to finish the song. Once again, thanks to McAnuff’s controlled direction, I could keep clear who each singer was along with their backstory. I had forgotten about the story that the Supremes were formed as the sister group of The Temptations. At one point during a televised NBC broadcast in Act Two, McAnuff has the actors placed on stage in an intriguing juxtaposition to showcase the power and reach of these two Motown iconic sounds. Watching this intriguing picture and hearing them vocalize became an inspirational moment of the show. Although I was too young to recall that broadcast, this production finely replicated what I’m assuming to be a televised moment that will never be forgotten. One Final Thought: This ‘Ain’t Too Proud’ is a cornucopia of outstanding harmony work from the entire company coupled with real-life, sensitive individual performances of those who, through their weaknesses and troubles, truly wanted what they thought was the best for the group and everyone involved. Please try and catch this show before it leaves. It is one that must be experienced live. Running time: approximately two hours and 30 minutes with one intermission. ‘Ain’t Too Proud’- The Life and Times of the Temptations runs until December 17 at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. ‘AIN’T TOO PROUD’ – The Life and Times of The Temptations. The National Touring Company Book by Dominique Mousseau Based on the Book ‘The Temptations by Otis Williams with Patricia Romanowski’ Music and Lyrics by the Legendary Motown Catalog Directed by Des McAnuff Music Supervision and Arrangements by Kenny Seymour with Orchestrations by Harold Wheeler Music Coordinator: John Miller Choreographer: Sergio Trujillo Scenic Design: Robert Brill Costume Design: Paul Tazewell Lighting Design: Howell Binkley Sound Design: Steve Canyon Kennedy Projection Design: Peter Nigrini The Company: Michael Andreaus, E. Clayton Cornelious, Jalen Harris, Harnell Holmes Jr., Elijah Ahmad Lewis, Derek Adams, Brian C. Binion, Reggie Bromell, Felander, Shayla Brielle G., Treston J. Henderson, Dein Holloway, Quiana Onrae’l Holmes, Ryan Hunt, Jeremy Kelsey, AJ Lockhart, Dwayne P. Mitchell, Devin Price, Brittny Smith, Amber Mariah Talley, Andrew Volzer, Nazarria Workman. Previous Next

Back 'Pressure' by David Haig Royal Alexandra Theatre Cylla Von Tiedemann Kevin Doyle as Dr. James Stagg The rising, palpable tension of ‘Pressure’ becomes increasingly intensified thanks to the strong ensemble work. David Haig’s script centres around Dr. James Stagg and the weather forecasts that will determine the date of the D-Day landings as part of Operation Overlord. The play is set in 1944 in Southwick House, the headquarters of the Allied Expeditionary Force, during seventy-two intensively fraught hours with moments of humour to help ease the tension. General Dwight D. ‘Ike’ Eisenhower (Malcolm Sinclair) leads the Allied Forces that are looking to invade the European continent from Britain. Eisenhower recognizes the weather conditions over the English Channel could pose problems, so he hires two individuals to monitor the weather conditions: Stagg (Kevin Doyle of ‘Downton Abbey’), the Scottish chief meteorologist who has studied the weather patterns of the North Atlantic. Colonel Irving P. Krick’s (Philip Cairns) basic meteorological skills are at odds with Stagg’s as they analyze weather patterns to make future predictions about the date of the D-Day invasion. Stagg believes the weather conditions will deteriorate fast on June 5, the current date for the D-Day landing, and that the invasion should be postponed. Since there has been a heatwave for quite some time, Krick believes the forecast will be sunny and pleasant and therefore the invasion should continue as planned. Obviously, the tension rises as Eisenhower tries to decide which is the correct path to follow. At this opening Sunday matinee performance, I couldn’t hear the actors at the top of the show for several minutes. Whether the actors could sense it or not, this momentary glitch appeared to get fixed. The rising, palpable tension of ‘Pressure’ becomes increasingly intensified thanks to the strong ensemble work. Don’t let the conversation surrounding the weather data input confuse you. Stay focused and pay close attention because directors John Dove and Josh Roche have uniquely woven the principal storyline and personal backstories seamlessly to produce a modern suspense tale of the theatre. Kevin Doyle delivers a natural and believable nuanced performance of a torn man underneath a tough exterior. He questions whether the forecast he predicts will be the correct one. His wife is about to give birth to their second child in hospital and Stagg can’t be there because he would be deserting his post during wartime. Philip Cairns’ Krick is cocky and sometimes smarmy which makes his comeuppance at the end satisfying. One of the highlights of ‘Pressure’ is Malcolm Sinclair’s terrific portrayal of General ‘Ike’ Eisenhower from his gruff, surly voice right down to his aviator sunglasses. Sinclair regally commands the stage each time he enters. The silent standoff between him and Stagg is rife with complete uneasiness. The power of silence at that moment said so much about what the two were feeling at that moment. Laura Rogers’ Kay Summersby bravely stands her ground as the conversation grows heated moment by moment concerning the invasion. She is proud to be working with Eisenhower but the final conversation between the two of them in the second act again says so much in the silence when Kay realizes Ike cannot deliver what he has promised to her. What made Rogers’ performance as Kay so memorable for me was seeing that it wasn’t only just the men who kept things going during this time. Women also held a valued place. Supporting actors Matthew Darcy, Robert Heard, David Killick, James Sheldon, Stuart Milligan, Molly Roberts, and David Sibley solidly contribute to the development of the possibility that the landings could go horribly wrong. History tells us that many lives were lost here and that is one of the tragic sad realities of this story. The physical look and sound of the production have been greatly enhanced thanks to Tim Mitchell’s lighting design, Philip Pinsky’s sound and Andrzej Goulding’s video designs. Mitchell’s lighting design is striking to view as we watch the colours change from day to dusk to twilight. Pinsky’s sound nicely enveloped the theatre, especially with the sound of the plane flying overhead. I felt completely transported back to that time. Goulding’s video designs soundly reflect the date and time of the action within the play. Josie Thomas’s costume perfectly evoked the World War 2 era. Colin Richmond’s set design showcases how messy this room was in wartime. A much-needed laugh was at the top of the show when Kevin Doyle uses his arm to sweep all the unnecessary clutter from the desk to the floor. Perfect timing in execution which again says so much in its delivery. Final Comments: Listening to conversations from audience members around me upon exiting the theatre was enlightening, to say the least. One individual commented on how refreshing it was that it’s not the rah, rah story of Americans coming in to save the day. Yes, the Americans were part of the liberation but there were other countries also involved in the operation. ‘Pressure’ seems the most appropriate title. It refers to the barometric pressure of the weather as Stagg makes reference to the barometer on the wall a few times. Not only does it refer to the principal storyline of the D-Day Landings, but barometric pressure can also influence and affect those life moments of ordinary individuals where we are also put to the test to see how much mettle we are made from. ‘Pressure’ becomes a modern suspense tale of intrigue in the theatre. Go see it. Running time: approximately two hours and 30 minutes with one intermission. ‘Pressure’ runs until March 5 at Toronto’s Royal Alexandra Theatre, 260 King Street West. For tickets, visit mirvish.com or call 1-800-461-3333. JONATHAN CHURCH THEATRE PRODUCTIONS, JENNY KING, OLIVER MACKWOOD PRODUCTIONS and CAMBRIDGE ARTS THEATRE present THE ROYAL LYCEUM THEATRE EDINBURGH and CHICHESTER FESTIVAL THEATRE PRODUCTION OF: ‘Pressure’ by David Haig Directed by John Dove and Josh Roche Consultant Producer Canada: Paul Elliott Designer: Colin Richmond Lighting Designer: Tim Mitchell Composer & Sound Designer: Philip Pinsky Video Designer: Andrzej Goulding Costume Supervisor: Josie Thomas Production Manager: Mark Carey Performers: Philip Cairns, Matthew Darcy, Kevin Doyle, Robert Heard, David Killick, James Sheldon, Stuart Milligan, Molly Roberts, Laura Rogers, David Sibley, Malcolm Sinclair Previous Next

Back 'Snow White' adapted by Greg Banks Now playing on the Ada Slaight Stage at Toronto's Young People's Theatre Dahlia Katz. Ken Hall and Amanda Cordner Joe Szekeres This adaptation of ‘Snow White’ is a charming holiday gift to young people in your life and introduces them to the wonder of the theatre. This adaptation of ‘Snow White’ is so charming in its unique adaptation. It’s being presented as the true story of what really happened to the central character. The online programme and advertising recommend the production for everyone from the ages of 6 – 106. And what makes it uniquely charming and different? For one, this ‘Snow White’ is performed by two actors who will play all the characters including the wicked Queen and the dwarfs. Four actors will rotate performances. At this performance, Amanda Cordner played Snow White while Ken Hall played (Four) including all the dwarfs. Young People’s Theatre Artistic Director Herbie Barnes who welcomed us on opening night will play Four in the other cast along with JD Leslie as Snow White. Barnes’s suggestion – we should return to see the other cast. The other difference that is first noticeable? The production does not adhere to the traditional playing of Snow White. Cordner and Lesley are BIPOC performers. More about Cordner’s work shortly. What is fascinating about this adaptation first is the pop-up storybook motif director Aurora Browne incorporated into her vision for the piece. Brandon Kleiman’s pretty set design of healthy-looking trees, a suggestion of a leafy meadow and a tree stump almost appear three-dimensional from my seat in the house. There looked to be fruit attached to some of the branches of the trees. Siobhán Sleath’s tepid lighting design at the pre-show setting faintly suggests the coolness of the forest. Raha Javanar’s ear-pleasing musical interlude at the pre-show setting kept repeating as the audience entered. This helped to focus my attention on what was about to transpire within this forest. Interestingly and mercifully, Greg Banks’ adaptation is not going to be another Disneyfied version of the story. Not at all. With Disney’s virginal damsel in distress, his ‘Snow White’ is delicate as fine bone china. One wrong move and the object shatters into pieces with no hope of being put back together. There appears to be this sense of continued dread and fear in the film version which reflects the suspense and intensity that Snow White could be destroyed or shattered at any given moment. I didn’t find that sense of dread and fear in Banks’s adaptation. None whatsoever. Instead, his ‘Snow White’ utilizes physical comedy bits of shtick to tell the story and confront the issues surrounding it in a modern vernacular manner that meets them head-on. Snow This directness appeals to the twenty-first-century young person. Amanda Cordner is not the submissive and passively meek-sounding damsel from the Disney film. There are some suggestions of violent moments that occur in the forest, but they are neatly countered with bits of comic physical shtick. Here, Cordner sometimes speaks in what I call the street-smart sense. For example, throughout my 33-year career as an educator, I can recall many students of diverse backgrounds telling “‘You know what I’m sayin’” if they were explaining something to me. Cordner soundly incorporates this street-smart vernacular quite a bit throughout her performance which soundly adds to this new understanding of ‘Snow White’ that she is a survivor, especially after she is forced out of her home by her stepmother the wicked queen. Ken Hall appropriately and soundly plays off Cordner’s realistic street-smart sense in his roles of the seven dwarfs. I’ll admit I was puzzled as to why he is called Four since we all know the dwarves have their own names. Well, I’m surmising, at least for me, numbers as names remove any form of connection we can make to that person. Instead, numbers indicate specificity, and we can then be objective regarding numbers instead of feeling subjective. For Hall, then, his task is to show us the emotions and thoughts of his six comrades which he successfully accomplishes in spades. What I found quite interesting is Snow White’s decision not to go off with her Prince Charming who awakens her with a kiss. The physical bit of shtick between Cordner and Hall is well worth the wait. Instead, Cordner’s Snow White realizes the importance of staying with the dwarfs as she recognizes how much they have cared for her. I’ve been having conversations recently with others regarding ‘relationship-building’. Greg Banks’ adaptation recognizes the importance of relationship building in the twenty-first century. Final Comments: Some grand changes at Young People’s Theatre in the physical space of the lobby and the main theatre itself. Nothing has changed though regarding the power and influence of the theatre on young people. ‘Snow White’ attests the story can be adapted to reflect current and updated issues. Introduce the young person in your life this Christmas and holiday season with ‘Snow White’. Running Time: approximately 85 minutes with no intermission. ‘Snow White’ runs until January 7, 2023, on the Ada Slaight Stage at Young People’s Theatre, 165 Front Street East, Toronto. For tickets call the Box Office (416)-866-2222 or visit youngpeoplestheatre.org for more information. SNOW WHITE Originally commissioned and produced by Children’s Theatre Company Adapted by Greg Banks Directed by Aurora Browne Music Composed by Victor Zupanc Set Designer: Brandon Kleiman Costume Designer: Laura Gardner Lighting Designer: Siobhán Sleath Sound Designer: Emily Porter Music Director: Raha Javanfar Stage Manager: Katerina Sokyrko The Cast: Herbie Barnes, Amanda Cordner, Ken Hall, JD Leslie (Cast members rotate daily) 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 'Appropriate' by Branden Jacobs-Jenkins Now onstage at Toronto's Coal Mine Theatre Dahlia Katz Dave Rabjohn The informal ‘family dysfunction’ genre has long been a dramatic vehicle from Tennessee Williams to the Bard himself. American playwright Branden Jacobs-Jenkins burnishes the topic to incendiary heights with his 2013 play ‘Appropriate.’ Opening this month at Toronto’s Coal Mine Theatre, this fierce production begins Coal Mine’s first full season in its new location after a devastating fire. A gifted cast, illuminating direction from Ted Dykstra and a seething set design from Steve Lucas and Rebecca Morris electrify the audience despite the almost three-hour marathon. This play cannot afford subtlety. Along with the ‘dysfunction’ theme, Jacobs-Jenkins blends southern racism, historical and horrifying violence, drug culture misery, antisemitism and multiple forms of sexual abuse. Seemingly a formula for a depressing experience, somehow, the production awakens the soul and revives the human need to reach into the past despite its darkness. The Lafayettes, a white family, return to their mouldering plantation mansion in southern Arkansas that has been in decay for years. The father’s recent death brings them together along with a host of long-time grievances and the expected avarice. The prodigal son, Frank, played by Andy Trithardt, sneaks into the darkened house with his newly minted fiancé (Alison Beckwith), and collisions ensue. The family is shocked by his appearance, none more so than the fiery older sister Toni played by Raquel Duffy, with brilliant aggression. Joining the toxic reunion is Bo and his family, including wife Rachael, teenager Cassie and youngster Ainsley. Played forcefully by Gray Powell, Bo tries to be pragmatic and centered, but he falls into the horrors of the past as they all do. The discovery of a repugnant item illuminating the horrors of historical racism and violence triggers even more tension in the family. Ms. Duffy’s hyperactive portrayal of Toni rails against the world as she is collapsing through a divorce and the criminal travails of her teenage son Rhys (Mackenzie Wojcik), played with an ugly cool demeanor, sultry and angry. Toni’s anger is bent towards Rachael, who she sees as an unwanted outsider, along with the whimsical girlfriend River, whose infectious Goldie Hawn eyes belie more crafty substance. The sale of house and goods turns into a disaster, and conflicts are even more heightened. More horrors of southern history are revealed, and raw sexual crimes pile on the steamy mess. Not even the young child is spared the horrid past. With eight characters and centuries of grim history, producing this vast experience on such a small stage seems impossible. But Dykstra’s careful direction smoothly moves characters interacting in various configurations. The set design of a crumbling mansion seemingly opens up the space, especially with drooping curtains framing a large window that reveals the frightening forest of horrors and the two cemeteries – one for Lafayette family and one for slaves. The three acts suggest a rhythm of sorts. Act one blasts us with glaring lights, combative dialogue and accusatory gestures. Act two is darkened and entitled “Walpurgisnacht” suggesting a witches’ sabbath – characters are quieter and become more introspective. Act three rolls back to the garish nightmare, and, starkly, virtually nothing is resolved. The soundscape haunts us, especially with a full concert of cicadas expressing a terrifying loneliness. Again, the set design becomes almost another character – a confederate flag is seen hidden in a corner until it is dragged fully on stage – no subtlety here. The character is then fully awakened at the conclusion as the audience exits with the lashes of cruel history still echoing. ‘Appropriate’ by Branden Jacobs-Jenkins Performers: Raquel Duffy, Mackenzie Wojcik, Gray Powell, Amy Lee, Hannah Levinson, Ruari Hamman, Andy Trithardt, Alison Beckwith Director: Ted Dykstra Set Design: Steve Lucas, Rebecca Morris Lighting Design: Steve Lucas Sound Design: Deanna H. Choy, Michael Wanless Costume Design: Des’ree Gray Production runs through October 21, 2023. Tickets at coalminetheatre.com Previous Next

Back Jani Lauzon Self Isolated Artist --- Joe Szekeres It has been an honour for Our Theatre Voice/OnStage Blog to have reviewed incredibly poignant productions either written or directed by Indigenous artist Jani Lauzon. I had the opportunity to review what I thought was a taut but bloody production of Shakespeare’s ‘Julius Caesar’ in which she performed. Along with the black lives voices that are strongly being heard and listened, the Indigenous artist voices must also be given equitable and due respect both in hearing and listening with regard to changes in national theatre. It was in June at the Stratford Festival where Jani had taken the lead in organizing and moderating the “Ndo-Mshkogaabwimi” panel entitled “Ndo-Mshkogaabwimi — We Are Standing Strong: Stories of endurance, resilience and resistance from members of the Indigenous circle at Stratford.” I did get to hear some of the panel discussion as I did the week earlier at the Festival with some black artists. June was a month for Canadian national theatre where I recalled a line from Arthur Miller’s ‘Death of a Salesman’ where Linda Loman tells her sons: “Attention must be paid.” The time is right and long overdue not only to pay attention but also to listen and to hear. Jani, how have you been faring during this seemingly never-ending pandemic for the isolated artist? How has your immediate family been doing during this time? I am blessed in that my daughter and her girlfriend have moved into my home in Toronto. We are pooling resources, cooking for one another, and supporting each other emotionally and spiritually. I am used to being on my own and have a strong spiritual practice and my sage and tobacco, so I am also surrounded by medicine, but I suspect that I would not be as strong and grounded as I am now without the companionship I have at the moment. That being said, there are days when I feel a negotiation with despondency. As a performer, what has been the most difficult and challenging for you professionally and personally? When I was little my mother told me that when you hug someone, it creates electromagnetic energy that helps the world rotate on its axis. I think what she meant by that was the power that relationship brings. Navigating relationship is an action. It can be very powerful. Double that with actors navigating with actors (and directors etc) and characters navigating with characters. That’s a whole lot of magic that permeates the room. I miss that magic, that feeling that we are doing something together. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? My play, ‘I Call myself Princess’, was running at the Globe Theatre in Regina. We were heading into an almost sold out final week. And boom. I loved working at the Globe and having the opportunity to direct my own work, which can be a good or bad idea. In my case, it worked out well. I still plan to connect Artistic Directors to the archival but am fully aware that theatre will not resume any time soon and, when it does, there will be a long list of projects that are waiting in a well-deserved queue. I was also heading to Stratford to act in ‘The Rez Sisters’. This would have been the 2nd Indigenous written and directed production at Stratford in its entire history. ENTIRE HISTORY. Just need to capitalize on that. I have been told that Stratford is committed to the production. Whether I will be available for it or not when they do decide to produce is a bigger question. What have you been doing to keep yourself busy during this time? I digitized all my old VHS tapes. I am doing the same for my HI8, DVC, and cassette tapes. I have also been doing a lot of beading which keeps my hands busy. And writing of course. I have 2 plays on the go. One is a co-write with the fabulous Kaitlyn Riordan called ‘1939’. The other is in the research phase. I suppose the biggest thing I am involved in right now is advocacy work. Funny that. After almost 30 years of advocating for inclusion and getting tired of the tiny baby steps that we were able to accomplish I decided that I wanted to concentrate on my work. And then my work was taken away and I am back, fully engaged in advocacy work. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? My daughter, Tara Sky, is one of those recent grads having graduated from NTS in May 2019. She was also going to be at Stratford this season. She was loving the work and so honoured to be cast as Tiger Lily in ‘Wendy and Peter’. The great thing about my daughter is that although she goes through days when she shares in the collective despondency, she is finding ways to keep herself afloat. My naturopath, a brilliant healer, gave me advice that I passed on to Tara and would say the same to anyone, get your tool kit ready. I know that feels redundant having just come out of school but now is the time to focus your mind, body, and spirit as well as your marketing tools. Create your own demo reel, read as many plays as you can, watch what you can on-line, research actors who have come before you, read biographies. Be ready. When this opens up again, in whatever shape that takes, you don’t want to be scrambling. There is great power in silence and stillness. Much can be accomplished with visualization and clarity of thought. Do you see anything positive stemming from COVID 19? My hope is that we crave returning to the power of relationship. And of course, the ability to listen, learn and hear. Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? Absolutely. There has been a big shift towards artists finding creative expression using a variety of mediums. We are now accessing work in a different way and more content to experience different forms of expression. For the majority of us, faced with desperate financial circumstances, we are doing whatever we can to remain connected to our artistic selves and to find ways of expressing that energy. My biggest hope is that society will cherish the return to the communal experience of live theatre in a way that was forgotten. And that the artist in society will again be valued. After all, it is the artists that the world have turned to. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I am one of many, I suspect, that have not felt compelled to add to the saturation of the medium. But I have enjoyed watching the work of others. My daughter and I were involved in a project with Urban Vessel called ‘The Homing Project’ which allowed us to collaborate together, combining our film, poetry, music, and editing skills together. That was an amazing experience. My only word of advice would be that quantity does not trump quality. One small project that has a profound impact can be of greater value than a series created not for the art itself but for the purpose of marketing a career. I can see, experience, and taste the difference. And of course, I am laughing because I say this in the era of YouTube celebrities that have a different agenda which has served them well. Perhaps the key to it is to be clear about two things: are you having fun doing in and does it bring you joy? Secondly, what is your hopeful outcome? Despite all this fraught tension and confusion, what is it about performing that COVID will never destroy for you? I will always think like an artist. I will always live my life creatively. No one can take that away from me. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton here are the ten questions he used to ask his guests: 1. What is your favourite word? It’s a tie: In Anishinaabemowin the word “Ahneen” or “Aaniin” is a greeting, like hello. But in English it is an empty greeting. A deeper translation of Aaniin would be, “I see the light in you”. It’s a different way to greet someone. To acknowledge them, truly, in spirit and body. And my second favorite work is “sonder” which means, The realization that each passerby has a life as vivid and complex as your own. 2. What is your least favourite word? Unworthy 3. What turns you on? Nature. 4. What turns you off? Assumption of superiority 5. What sound or noise do you love? Bass. It’s my favorite instrument. That and the oboe. That having been said, I am awake every morning with the birds. 6. What sound or noise bothers you? Construction. A necessary thing but really? 7 am? 7. What is your favourite curse word? What is your least favourite curse word? Fuck and Fuck 8. Other than your own, what other career profession could you see yourself doing? I already have several. Actor, Director, Musician, Puppeteer, Artist Educator, Writer, Arts Administrator. What I regret was not having time to learn the medicines. Herbology I guess you would call it and wilderness survival. 9. What career choice could you not see yourself doing? Police Officer. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? I have my own kind of spirituality. I know it exists. And my focus has always been to bring that feeling of “heaven” to this earth. I figure…why wait? Previous Next

Back Maria Vacratsis Moving Forward Trish Lindstrom Joe Szekeres From the Class of 1977, University of Windsor, where she received her Bachelor of Fine Arts (BFA) in Theatre and English, Maria’s forty-seven-year career as a professional performing artist has taken her on many paths, some of which I’m truly envious she has travelled. She appeared in the Hollywood blockbuster hit ‘Mamma Mia! Here We Go Again’ as Sofia. She has also appeared in ‘My Big Fat Greek Wedding 2’ and has made appearances on television in ‘Schitt’s Creek’, ‘Rookie Blue’, ‘Murdoch Mysteries’, ‘The Rick Mercer Report’ and ‘Riverdale’ only to name a few. I’ve also seen her performances both at Soulpepper and The Stratford Festival where she appeared in such classics as ‘A Streetcar Named Desire’, ‘Electra’ and ‘Pericles’. Maris is also a member of the ENSEMBLE of Toronto’s Company Theatre where she is indeed in very good company with some of Canada’s finest talents. We conducted our interview via email. Thank you so much for the conversation, Maria: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? I'm loath to make any predictions as to how long this will last in its current incarnation but I have every reason to believe that between vaccines, treatments and the virus just wearing itself out, we will be returning to public gatherings in another year or so. In the meantime, the inventive minds of our theatre practitioners will be finding interesting and novel ways to bring stories to audiences. I do hope that we take a lesson from some Asian and African countries who, at the first sign of a transmittable disease, don their masks and take precautions. We need to make this kind of respect for our fellow man an intrinsic part of our society. How have you been faring? How has your immediate family been doing during these last eight months? In truth, by fall of 2019 I knew I had to take a big break. I had two more projects for early winter of 2020 that would be done by the end of February and after that I was going to stop, spend time in my new home and town (we had moved to Stratford in late 2017 and I'd barely been able to settle and enjoy it) but lo and behold, a strangely timed, worldwide pandemic forced me into it anyway. My husband had been retired for a bit, so we just settled in to see what being "retired" together was going to look like. Not without some guilt, we've really been enjoying ourselves. We don't get bored, we have a lot of home projects on the go and we've been reveling in our time together, really getting to know our town and surrounding areas. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? The worst part for a time, was trying desperately to envision the future, how was I going to enjoy going back to an art form that, for me, was all about engaging closely and without fear, with other artists. I had to let that go and allow others with greater imaginations than my own, start to develop these new ideas. I also knew that, with time, my comfort levels would evolve. I had to just pull back from that and just live in the present. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? As I said earlier, my personal timing was rather fortuitous - I flew home on February 26th and went into isolation on the 29th. In late January, I had been contacted by producers about a film project that was in the works for summer but that has been put on hold. They believe they may go in 2021. I try to make no plans these days beyond what I'm going to make for dinner that evening. Mitigates stress. What have you been doing to keep yourself busy during this time? I was able to throw myself into doing work on our new home, building new gardens, having time for my passion for growing food, cooking and baking and improving on those things. We love walking and hiking and with a lot of countryside around us, we were able to indulge. The warmer weather was also great for meeting up with a couple of friends at a time on our patios and porches. I also got to read books that had nothing to do with a project - just pure pleasure and interest. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? That's a hard one as I think everyone needs to do whatever it is that gets them through. We're all different, at different stages of our careers, our lives. I am in awe of many of the younger artists I know who seem to have thrown themselves into creating art other than theatre - they're writing, making music, putting out content on line or in other interesting ways. Maybe it would be to take this time to "meet yourself" outside of your art. Do you see anything positive stemming from Covid 19? Generally, I believe that as a society we might start thinking that the ecology of the way we live our lives, the way we do our work, the way we engage with our environment is more important or, at least, as important as how economically successful our endeavours turn out. On a personal note, it was great to discover that after 47 years of working, pursuing work, thinking about work, I still had an identity without work, that I'm not completely defined by being an actor. This time is also forcing me to be present in my life - not having to think about doing work, getting work, learning lines, I realize that I have, at times, given my personal life short shrift. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? Perhaps we will become "preppers" in some way. We'll always think of ways to keep ourselves prepared for these types of disasters. I personally doubt these will be long lasting. We say we learn from history but in so many ways we don't. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I haven't had much to do with the online theatre world. Coming into this with major burnout, I just wanted to get away from theatre for a while and viewing work online was not satisfying to me - it felt like a bus man's holiday. I understand people's need to do it and I applaud it, but artists and audiences alike crave the real thing. We'll be back in the theatres soon enough - there are already signs of it around the world. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? I've been fortunate to have had a 43 year career so Covid certainly can't take away from me and it can't take away the friendships formed with some incredible artists nor can it erase the memories of all the great theatre I got to see. 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 The Herd by Kenneth T. Williams Tarragon Theatre Citadel Theatre Dave Rabjohn Dubbed as a “homecoming,” a brilliantly meditative and cerebral play from Kenneth T. Williams arrives at Tarragon Theatre after a number of years of development and delay. ‘The Herd’ is a unique junction among themes of indigenous rights, scientific ambition, capitalism, spirituality and cultural claims. Each character in this cohesive cast evokes part of this list. A special salute goes to costume designer Samantha McCue whose work individualizes each character and helps to promote the various themes while also avoiding stereotyping. Set in a First Nation town in Saskatchewan, miraculous white twin bisons are born into the herd. A genetic scientist and veterinarian, Vanessa Brokenhorn, is studying the unique phenomenon and is protective of her “laboratory.” The town mayor sees an opportunity for improvement monies, while an overzealous blogger sees exploitation for fame. A local artist wants to preserve cultural interests and refers all questions to elders. Thrown into this unlikely mix is a beautiful Irish businessperson/politician who lobbies for an investment from the European Union. Anger and crises mount as mobs of fanatics descend on the town asking questions about scientific ethics, cultural forces, political motivation and true aboriginal identity. The scientist, played by Tai Amy Grauman, is feisty and business-like as she secures her interests. She wears the dungarees and rubber boots of a farmer with a white labcoat overtop, reflecting both her bonds to the land and to the scientific community. She is at odds with almost everyone including her brother, the mayor, played by Dylan Thomas-Bouchier. He wears local garb along with professional football team logos suggesting his interest in Canadian sports culture. A colourful vest subtlety reflects his leadership position. The Irish entrepreneur, energetically played by Cheyenne Scott, is dressed in all business, with a touch of unreserved sensuality. Her Katy Perry-like rapid costume changes are part of her brassy political and business-power façade. A particular dialogue with the artist Sheila, played by Shyanne Duquette, was deeply moving as they discuss family and relationships even when they are from different worlds. Sheila wears loose, informal gear representative of an artist working in various materials. The character of Coyote Jackson, Todd Houseman, is perhaps the most acute of the cast. Shrewd and hyperactive, he plays the character with excited force. He represents the highly sensitive issue of “pretendian” or false identity claims. In this context, even his costume is mocked as a decades old reference to the “Oka” crisis – a suggestion of stereotyped history. His red bandannas, sometimes on head and sometimes on ankles, contrast with multilayered denim. Bringing technology into his lust for fame, he looks more foolish with a camera bouncing on an angular selfie stick. Pace was problematically slow in parts of the first half. Some comic opportunities were solidly embraced, such as the hilarious “leader voice” mockery by Sheila but some others lost momentum. Visual images on creative “screens” gave an eerie, but important background – especially the slow movement of the bison herd. Coyote’s whipping up of the unseen crowd was a major political factor in the play – sound effects suggested their influence, but more visual suggestions around the periphery would lend stronger drama. The use of the screens in this sense would add tension. The playwright notes that a suggestion from former artistic director Richard Rose about writing an “indigenous” ‘Enemy of the People’, was a happy challenge. Ibsen’s play also features the issues of balancing public good with economics and cultural responsibility. This solid cast, brilliantly costumed, managed to balance these many difficult themes that resonate in our world today. ‘The Herd’ by Kenneth T. Williams Players: Shayanne Duquette, Tai Amy Grauman, Todd Houseman, Cheyenne Scott, Dylan Thomas-Bouchier Director: Tara Beagan Set Design: Andy Moro Costume Design: Samantha McCue Lighting Design: Spike Lyne Sound Design: Mishelle Cuttler Runs through June 12, 2022. Tickets at tarragontheatre.com Previous Next

Back Nina Lee Aquino Self Isolated Artist --- Joe Szekeres What a delightful conversation this afternoon with Factory Theatre’s Artistic Director, Nina Lee Aquino. An absolute pleasure in hearing her speak, rather candidly, at times, about how she has been coping as a self-isolated artist. Nina Lee is choosing to remain optimistic in the face of this pandemic. Just from listening to her today, I felt reassured that she is another strong individual to lead Factory out of this darkness right now of uncertainty and confusion into whatever the future may hold. She put me at ease very quickly with her witty sense of humour combined with her dynamic spirit of counsel and fortitude especially in how she is looking where she will take Factory over the next few years. Nina Lee and I conducted our conversation via Zoom: It has been nearly three months since we’ve all been in lockdown. How have you and your family been keeping during this period of isolation from other immediate family members and friends? Well, it doesn’t feel like isolation other than the fact than I’m just really at home for almost 24/7. In terms of workload for myself if anything it’s been a lot more. We’re a family of 3, my husband, Richard, and 13-year-old daughter, Eponine. Surprisingly or maybe not so surprisingly everyone has been busy. I mean everyone in the family. My 13-year-old daughter is juggling her school which has fully transitioned online. She’s had a couple of theatre gigs – online workshops or online presentations- with different theatre companies (YPT). Her movie also premiered online with the virtual edition of the Canadian Film Festival. She’s done some PR work. Apart from school, she’s had her own theatre work and the responsibilities that come with it – reading the script, making sure she’s being a good actor, and doing her homework. That’s occupied her time. Richard is a theatre artist. His teaching online during the lockdown time with Humber is done. He’s involved in advocacy work with various boards of directors that have transitioned online. He’s had some theatre gigs and some online workshops where he gets hired as an actor. And there’s me balancing Factory Theatre and PACT. I also have to help ensure the bigger picture nationally of what theatre companies are going through that I am there with them to help contribute, to help solve, to comfort or agitate (at times). I have to be at the very top helping the theatre companies go through this crisis together and be a unifying force in many ways. So, that’s the work I do with PACT. And then there’s Nina Lee Aquino, the artist. Lots of little Zoom meetings, fielding phone calls where I’m comforting the distressed and the confused. I’m also helping to comfort the anxieties with the emerging artists. I have fresh theatre graduates from York University who are really scared and confused and just want to know what they’re stepping into in this theatre community right now. So there are a lot of meetings of this kind going on and they add up in the day with virtual coffee chats, ‘talk it through’ with a lot of listening. My June calendar has filled up but July’s calendar is looking good. I think I’m due for a vacation in whatever form that takes for awhile because at some point I really need to stop and recharge. It is unrelenting but that is the job and the role of Artistic Director. And then we have to be a family of mother, father, daughter, husband, and wife, and just be together as a family only. We can be together in a space but are we really together and present for each other? I’ve scheduled no Zoom meetings on Saturday or for a certain day. Because of this COVID situation, because I try not to do anything on Saturday or Sunday, then I’m restless. It’s not like I can go out. It’s just so weird where I’ve been working at home for 40 plus hours and now, I’m not expected to leave the house except for essentials. What has been most challenging and difficult for you during this time both personally and professionally? What have you all been doing to keep yourselves busy? Personally, I think it is connected to the profession. Before COVID we as a family have accepted that our personal and professional lives will always be closely intertwined. I’ve stopped fighting as these are two beasts that need to live together. I’ve stopped attempting to place things in innate little columns as it just doesn’t work for our family. There’s an acceptance in the three of us that personal is professional, and professional is personal. Who we are as human beings is who we are as artists. The challenge right now really is about space. That is the one as a family we are trying to manage in this tiny Toronto shoebox of a condo. We have a dog too. The navigating of the physical spacing doesn’t really work with the professional space that is required which in turn is also emotional space. With the advocacy work I’ve done the last couple of days, how do you shed that for awhile? The final piece because personal and professional are merged – for the first time, my daughter is getting a clear idea of what I do. I have to allow her to witness me at work going through everything from the hardest bits to the glorious bits. At 13 (a crucial age), when she’s trying to figure her own shit out, what a way to learn things that I can be there and have those candid conversations with her. My kid has turned out really cool so I know we’ve done something right with her and we’re just going to go with the flow. My lovely husband has gifted me with a bike so that I can, in those small moments, hop on it, go ride around and come back. As a family, we rode our bikes together last weekend and then had dinner in a park together. I wouldn’t have thought that a bicycle would be a gift. Just give me a diamond necklace or get me shoes. The bike has come in handy. My husband gets to go out more as he is freelance. He does the grocery shopping, the errands because he’s the driver. For me, besides bike riding, I should think of something else to be able to unload for a bit. I should try to find a hobby outside all of this is a challenge. That hasn’t changed. Maybe I’ll try to grow some plants in my balcony but wish me luck because I’m horrible. My cactus died. Who kills a cactus? I know it’s awful, but I should also have some outside interests and I’m going to try. I’m a work in progress. I can’t even begin to imagine the varied emotions and feelings you’ve been going through personally and professionally with other key players and individuals with regard to Factory Theatre’s future. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts and theatre scene and on Factory Theatre? Yah. Here’s the difficult part of these COVID conversations. There’s just no answers as information keeps evolving every 48 hours. The only certain things are that it’s here and what are the safety measures to combat the spreading of COVID. We’re still talking as if it’s going to go away. Right now, we are transitioning to new conversations of “What if COVID is going to stick around like the common cold?” “What if it never goes away?” “How do we deal with this shit?” Part of me is still not accepting and that we will come back as normal as normal can be. Part of me thinks there’s going to be a season next season. Part of me says there will be people who will come through our doors and sit side by side. And it’s just not going to happen. That uncertainty is killing the vibe. No clear answers with very conflicting events that are very confusing. It’s also scary because what do we follow? What do we do? Not all provinces are ready to open while some are. For me, who also freelances on the side, what are the possibilities of doing my gigs in Winnipeg when Ontario is on semi-lockdown? It’s tricky. I worry in thinking about it. If it’s here to stay for a while, it affects what I had planned for next season. Now I have to look long term. It’s a delicate juggling balance as AD. In postponing productions, what other artists are you screwing over that season or next season? With Factory, I’ve roughly 3 seasons roughly sketched out with commitments whether it’s commission or a verbal promise. One way or another, it’s hard emotionally to balance but that’s what Covid is doing. The easy thing is to sanitize and clean theatres all you want. The programming and long-term commitments to artist and custom tailoring programming to the safety measures of this illness and virus are the impacts of COVID on Factory Theatre and on future seasons. I’m really worried about the artistic side, and the audience side is another concern. These are things that sometimes keep me up at nights. It’s not going to affect next season, but I can see it affecting at least all three seasons following. Do you have any words of wisdom to console or to build hope and faith in those performing artists and employees at Factory who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? In terms of within Factory between me and Managing Director Jonathan Heppner, we’ve come to the fact that no matter what happens we will figure it out. If there’s anything that I am confident about is this uncertainty of COVID is that like true theatre artists we will work with it, around it, through it because we’re theatre artists because we make the impossible, possible. Full stop. For the grads, I was asked to speak to York University’s grad Zoomation. I was newly appointed as Professor Adjunct. Given the circumstances that we have gone through in the past couple of days, the pandemic is one thing but to be on the brink of a real awakening. That is really the lasting impact that I’m hoping. This pandemic requires us to sit still for a while that we use it to our advantage. To the theatre grads – you only need to look at your social media feeds to get what you need to get and to learn, and you are afforded the time to do so. There is no excuse anymore to not know anything. In choosing your own artistic path, coming out of this, we can be better human beings. The knowledge is out there. Stories were given out freely and put front and centre for us to now use and to learn from. For our theatre community given the racial injustice protests these last few days, this is a real awakening. We need to do better. It’s ok to say, “I fucked up.” This is action. There is also an expectation of re-thinking your programming to what we’ve just learned to have a really inclusive season. There is time now so break down your default theatre artist list and create a new one. Read new plays, make new connections to artists who don’t look like you. Read new voices. What can I do to show my solidarity to be a better human being? The resources are there. What can I do now to be a better ally and show my solidarity? It may mean starting all over again, but now is the time to start doing it. It’s good, it’s needed. We needed this pause. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? We need to make sure spaces are safe in theatre for mental health and the racial injustice protests from this last week are showing this. COVID 19 has proven regarding our work schedules, at least from the theatre administration side that with some jobs, we don’t need to follow the strict ‘labour-esque’ work schedules. Sometimes, some of our work can be done from home. Right now, my staff at Factory is fucking kicking ass since they’ve been working from home. I love it. Even though we miss each other, my staff looks healthier, no one looks burned out, there’s no lack of rigour since they’ve been working from home. We can be a bit more flexible. It’s not just about counting hours, but it’s also about quality. YouTube presentations, online streaming seems to be part of a ‘new normal’ at this time for artists to showcase their work. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? I have come to accept the fact that as long as we’re creating, we’re good. Factory has done several virtual presentations, very successful. I am done labeling what we’re doing. I think that’s part of the problem. We’re just going to do what we do best. There’s space, there’s actors. The three virtual presentations in May and June was a way for me to pay artists and to keep the creativity going while we can. It’s also pure audience engagement and it’s our duty to check in with everyone’s souls and that Factory audiences are ok. First and foremost, I am a theatre artist. Like the virtual presentation of ‘House’, we need to be aware of new medium. Let’s play with it. That’s what theatre artists do. We push with certain things, but we have to be open to learning how to play with the new technology. There are digital artists out there who are good out there and it’s important to reach out to them. I don’t want to say no to discovering new things and new forms as they may go hand in hand. As theatre artists, discovery is one of our tenants, and we need to open to new tools and to whatever form and structure theatre may be through artistic sensibilities and telling great stories in whatever medium possible. As AD, there is a need (of funds, resources, tools) to invest in playwrights writing in a different stage. I’m not abandoning the traditional theatre format, but I have to look at investing in new processes for delivering work. Maybe Factory Season can be traditional and a couple of virtual plays online. I will never say no to creation. What is about your role as Artistic Director of Factory Theatre that COVID will never destroy? I think it’s very clear from our nice conversation so far is the thing that COVID did not affect at all is the advocacy work. The COVID can cancel my artistic programming, the COVID can re-arrange how I work administratively. That’s good it didn’t destroy advocacy to look after my community, local, Toronto, and the larger community. It’s both a burden and an honour. It’s just exhausting as you can’t stop taking care of a community. The community is playing catchup in this re-awakening. With a respectful acknowledgement to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: 1. What is your favourite word? Metamorphosis 2. What is your least favourite word? Universal 3. What turns you on? Hmmm…a really good design jam session with my creative team. Yah, Yah. 4. What turns you off? Indifference. 5. What sound or noise do you love? The first sound cue in a cue to cue session. That first official sound cue when we’re running a tech rehearsal. 6. What sound or noise bothers you? Car honk. 7. What is your favourite curse word? Holy Fuck. What is your least favourite curse word? (Thank you, Nigel Shawn Williams, for this addition to the question) Cunt. When I hear it, it makes me go…(and Nina Lee shrugs her shoulders). (At this point, Nina Lee and I laugh together a tad awkwardly but also a tad conspiratorially at this second part of the question.) 8. Other than your current profession now, what other profession would you have liked to attempt? If I had the intelligence and the ability, I’d love to be one of those pure mathematicians. The ones that create proofs. That world to me is magic to understand numbers in such a meta magical way. If not, maybe a conductor of an orchestra. The waving and knowing you can control music coming at you from all angles. When I watch conductors of an orchestra, man, I wanna be there. 9. What profession could you not see yourself doing? Oh my God, 98% I think first and foremost my friends (including Nigel Shawn Williams) would vouch for this – anything to do with nature ‘cause I hate it. Mountain ranging, gardening, even mowing the lawn, I will mess it up, fuck it up, or I will not care for it ‘cause I hate it. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “How the fuck did you get you get here? Seriously? Who gave you a pass?” I feel like I’m destined to go to hell. I think God does cuss, I really think he does, but it’s okay ‘cause he’s God. To learn more about Factory Theatre, visit their website: www.factorytheatre.ca . You can also visit their Facebook page and Twitter accounts. Previous Next

Back Shakespeare's Will by Vern Thiessen Staged by Winnipeg, Manitoba's Shakespeare in the Ruins Leif Norman Joe Szekeres Teaching the world of Shakespeare’s plays to high school students for thirty some years certainly came in handy in watching a filmed recording on location at The Prairie Theatre Exchange Mainstage of Vern Thiessen’s ‘Shakespeare’s Will’. But that wasn’t enough for me. A basic introduction of William Shakespeare is made clear in playwright Thiessen’s script. Anne Hathaway (Debbie Patterson) is six years older than her husband. There are three children from this marriage: Susannah and twins Hamnet (called Harry in the script) and Judith. Will leaves his family to go work in the theatre while his wife remains at home with the children. There was reference in Shakespeare’s will that upon his death Anne would receive his second-best bed. Beyond this rudimentary knowledge, I have no idea if playwright Thiessen completed any research into Anne’s life and how she coped in raising three children while her husband was away earning a living in the sinful theatre and sending money back home to his family. I didn’t care about that at all. Instead, I cared more about wondering if I was going to see a production that would grab my attention. I’ve always been intrigued with the Elizabethan era in which Shakespeare wrote plays and the myriad of individuals from that time and their connections. Since I had seen photos and brief commentary on Winnipeg’s Shakespeare in the Ruins Facebook page that this would be a solo performance featuring artist Debbie Patterson, I had some questions in whether a solo artist and script could possibly do justice to this complex and intriguing world of the Bard. I needn’t have had to worry about that. To quote Lucie Arnaz Luckinbill about the recent upcoming film version of her parents in Aaron Sorkin’s ‘Being the Ricardos’: “It’s frickin’ amazing.” The same holds true here for Thiessen’s engaging script and this SIR consuming production filmed by Sam Vint. The play opens where artist Debbie Patterson wheels herself out in front of what at first resembles a rectangular sandbox with various small objects of small twigs and what I thought looked like a small piece of birchbark. And that’s it. Hugh Conacher’s Lighting Design sharply focuses those moments of dramatic intensity where needed. I’m sure Director Eric Blais worked closely with Patterson to ingrain a sometimes gritty, sometimes raw based naturalistic performance. If Anne sensed that her husband had a male lover in London, she too was also going to enjoy that same ‘pleasure’ as he may have done. I simply forgot that she is in a wheelchair and just focused on her splendid command of telling the story fearlessly and unashamedly especially in learning about honoring the vows Anne and Will (supposedly? possibly?) made to each other regarding living their own lives. A definite fascination for me was watching Patterson ‘play’ with the sand in the sandbox. At the top of the show, we learn that Anne just buried her husband that morning in the Church and she is at home right now talking to him. Periodically she is reminded of events from her past when she was alone with the children and when she had to leave her home in the country and travel to the sea for the fear of the plague which crippled city life. All the while she tells the story, Patterson’s hand movements in the sand are not just mere play. They are carefully choreographed as objects are sometimes pulled from the sand while others are placed at the side. Small twigs, tiny objects and carefully built wooden frames (that sometimes reminded me of Jenga) were placed around the box for certain effects. But why the use of sand? And then it dawned on me about halfway through why sand was used as an effective dramatic tool. A possible spoiler alert to follow (or this is what I saw). As Anne, Patterson delivers a virtuoso solo performance in sharing a life that was not perfect, but whose life is perfect? Nevertheless, one hopes that all lives can be built on solid foundation (of trust, of love, of acceptance) within a marriage and raising a family. Here, in this production, nothing is concrete and can remain solid and standing within sand. It can be wiped away quickly, and Patterson was constantly moving the sand around to remind there is no solid foundation here within this family and these loves. Clever, unique, different, and sad. Running Time: approximately 90 minutes. ‘Shakespeare’s Will’ will be streamed online until December 5. Tickets are Pay What You Choose: $1, $5 $10. For more information and how to stream the production, visit www.shakespeareintheruins.com . Artistic and Production Team: Written by / Vern Thiessen Directed by / Eric Blais Costume Design / Debbie Paterson & Eric Blais Props Design / Eric Blais & Heather Lee Brereton Scenic Design / Adam Parboosingh Scenic Design Assistant / Joyce Licup Sound Design / Ridge Romanishen & Chris Coyne Light Design / Hugh Conacher Production Manager / Hugh Conacher Stage Manager / Ridge Romanishen Props & Wardrobe Coordinator / Heather Lee Brereton Scenic Carpenter / Khaeler Bautista Film Director / Sam Vint Camera Operators / Tyler Funk, Rudy Gauer Audio Mixer / Chris Coyne Editor / Jonathan Lê Audio Description provided by Vocal Image Ensemble Winnipeg. Translation and subtitling provided by PARENTY REITMEIER, INC. Previous Next BACK TO TOP

Back 'The Thanksgiving Play' by Larissa Fasthorse Presented by David Mirvish and Pop-up Theatre Canada and now on stage at the CAA Theatre Presented by David Mirvish and Pop-up Theatre Canada and now on stage at the CAA Theatre Dave Rabjohn “Although the pace is brisk in ‘The Thanksgiving Play,’ there are more questions than laughs.” Opening this week at the CAA Mirvish Theatre is Larissa Fasthorse’s satirical play ‘The Thanksgiving Play.’ As part of the ‘Off-Mirvish’ series, this play explores issues of stereotyping, racial bias, native American misrepresentation, and political correctness – a handful to be sure, but a noble voyage. Satire is often defined as vice or folly held up to ridicule. The folly here is the misrepresentation mentioned above and political correctness, and a great deal of ridicule is exposed, but the satire is muted, and no answers are forthcoming. Although the pace is brisk, there are more questions than laughs. While mocking political correctness, the opposite – extreme political incorrectness or insensitivity buffets the audience. Is this meant as a balancing act, or do we find humour by exposing the extremes? Neither seems to work. An energetic cast of four is highlighted by a superb performance by Rachel Cairns, who admirably holds the manic group together while questioning her own responsibility for seamless political correctness. Logan is an elementary drama teacher whose goal is to create a Thanksgiving play with historical accuracy and unbiased sensitivity. Jaxton, played by Colin A. Doyle, tries to help with his overly ridiculous political correctness. They seem to have some romantic relationship, but it needs a kind of dance/movement routine to move them in and out of social appropriateness. Caden (Craig Lauzon) is a well-meaning history teacher who appears foolish as he is overly excited about seeing his writing performed. What baffles the audience are his moments of moving toward some aggressive leadership but ultimately caving again. Jada Rifkin plays Alicia, a perky, B-level actor with little depth. Logan has mistakenly hired her because she thinks she is Native American, and that will give the play cultural authenticity. She is not Native American. Instead, she becomes a Glinda to Logan’s Elphaba with hair twirling and makeovers—it further complicates Logan’s own self-questioning. The play then swirls into philosophic inanity as the group tries desperately to reclaim their goal of creating an accurate and sensitive picture of the first Thanksgiving. The goal seems to be lost, and we end with a Godot-like emptiness where nothing has been accomplished. The dialogue registers with some good wit. As Logan introduces each character, it is hilariously awkward as she goes through her perception of each person’s pronoun comfort. Other jokes fall flat – we groan at the plump breast or moist leg scenario more than once. It needed more subtlety if it was meant to shock the audience into awareness. Recorded videos slam the audience with more extreme political incorrectness. Again, the idea was maybe meant to shock and educate, but the audience was left more deflated. Some outstanding physical humour helped raise a number of comedic highlights. The set design by Anahita Dehbonehie creates a realistic school classroom with the usual mayhem that reflects the chaos of the play. Desks mismatched with sports equipment asunder remind us of the children who are the focus of the place. Silly props and costumes seem to derail the angst of trying to accomplish the impossible political balance. Logan’s goal is, of course, impossible. To work towards it is admirable. Larissa Fasthorse’s efforts are also admirable, but if the humour was more subtle, maybe it would be more effective. ‘The Thanksgiving Play’ by Larissa Fasthorse Presented by David Mirvish and Pop-up Theatre Canada Director – Vinetta Strombergs Performers – Rachel Cairns, Colin A. Doyle, Craig Lauzon, Jada Rifkin Set Design – Anahita Dehbonehie Costumes and props – Niloufar Aiaee Runs through – October 20, 2024. Tickets – mirvish.com Previous Next

Back 'Goblin: Macbeth' Created by Rebecca Northan and Bruce Horak Now onstage in the Studio Theatre at the Stratford Festival Tim Nguyen Joe Szekeres An often deliciously wacky and sometimes unpredictable look at a Shakespearean tragedy that, at times, is just plain ol’ fun. There's an endearing quirkiness to 'Goblin: Macbeth'. Is it possible to have fun watching a Shakespearean tragedy? That’s quite an oxymoron. Anyway, I sure did. In this Ontario premiere, three goblins, Wug, Cragva and Moog, will perform ‘Macbeth’ to see if they can learn more about this Shakespeare fellow from their ‘Good Book’ - ‘The Complete Works of William Shakespeare.’ They have read it from cover to cover and discover he knows a lot about goblins, fairies, monsters, wood nymphs and all creatures. Wug, Cragva and Moog also hope that in the performance of ‘Macbeth,’ they will learn more about human nature. Wug plays the central character and several other roles. Cragva plays Lady Macbeth and several different parts. Moog plays supporting characters and provides musical and sound accompaniment. Why have the Goblins selected ‘Macbeth’? It’s the shortest one in running time. That’s it for the plot. Don’t worry if you can’t recall anything about the play because the Goblins will give you three essential pieces of plot information to remember. Rebecca Northan directs with a signature panache and flair for misbehaviour with the text. She has the actors constantly on the move throughout the intimate Studio Theatre. Using improvisation, the macabre, the fantastic and the tragic moments of the Bard’s play, Northan and Bruce Horak adhere to the original text we all know. Nevertheless, their text sharply nails and pierces several contemporary references that made me laugh out loud. One of them was the current state of the Ontario education system. Another had to do with trying to understand all 100+ genders in our woke world today. A third deals with which pronoun people prefer to use. ‘Goblin: Macbeth’ thankfully never veers from its course to tell the story. The actors have given internal permission to each other to stop the plot action for a few minutes. If they halt the action, it better be for a good reason. There are good reasons for the halts. The actors make these stops work. Skillfully. First, they are having fun with the words and context of the scene. They know something about improvisation and when to permit themselves to use it. However, the three of them are not mere clowns. They remain acutely aware of what’s coming next and how that momentary improv can heighten interest in the next scene. Wug, Cragva and Moog never allow their playfulness to derail from telling the story. There are moments when all three poignantly heighten the tragedy of the moment. Thus, ‘Goblin: Macbeth’ remains just plain ol’ good fun. Combine all this above and mix it in a cauldron of cool, nippy, and frosty night air. You have the makings of a terrific fall theatre evening outdoors and indoors. Part of the fun occurs a half hour before show time when the three pull up in a car and park with one wheel lodged over the curb outside the Studio Theatre. Their grand ghostlike entrance is initially mysterious, as it looks as if they might be coming to take the world over. They comically interact with the audience outside. The ensuing hilarity continues inside the Studio as the three begin to set up for tonight’s performance while mingling and interacting with the audience. Some ask politely for selfies, and these creatures are happy to oblige. Take a few minutes; sit back and watch the three do during the pre-show. It’s most entertaining. In her Director's Note, Northan makes an interesting comment about not knowing who any of the actors are in a production. She discourages the audience from seeking out their identity. Instead, allow the actors to work their magic on the audience and let their performance hit us in new ways about ‘Macbeth.’ What a novel idea! It works for me! Magnificently! I will respect what Northan asks and not seek out the identity of the players. (Side note: I know who they are, and if you are interested in cheating, go here: (https://www.ourtheatrevoice.com/items/rebecca-northan. ) The facial coverings by Composite Effects remain stunning. I couldn’t take my eyes off them. You can see the veins running through. True, the masks do appear ghastly at first, but that soon ebbs away, and they become a natural part of what we are witnessing in front. There is some give and take in the face when the actors speak. Philip Edwards’ costume designs are stark, subtle, futuristic reminders of the jet-black clothing worn by Keanu Reeves in ‘The Matrix.’ Anton deGroot’s specifically focused lighting effectively reveals an impending sense of doom throughout. These ‘unknown’ actors become masterful storytellers. They listen intently and never upstage each other. Their comic moments are beautifully timed, especially at one point when they ask Stage Manager Lili to turn on the spotlight. But, as Northan states in her Director’s Note: “The pairing of tragedy with humour, as Shakespeare intended, is a profoundly human impulse that highlights the horror, while allowing us to bear it.” This line speaks volumes when the audience learns Lady Macbeth dies. Someone gasped as if he/she/they weren’t expecting it. There was complete silence in the house. My eyes were fixed on Wug when he delivered Macbeth’s ‘Tomorrow and tomorrow and tomorrow’ speech with tremendous dignity in remembering his wife - such tenderness and compassion. Final Comments: As a retired English Language and Literature teacher, ‘Goblin: Macbeth’ challenged me to revisit why I chose to pursue an undergraduate degree long ago in the Arts and Humanities. I can now recall why - to appreciate the sound and meaning of words, either in print or hearing them spoken. The production is a terrific way to get young people to appreciate and enjoy the works and words of William Shakespeare. Be aware that some adult humour with language may be unsuitable for anyone under 16. Teachers, you should call the Box Office to see if there are matinees and if some wording might be re-phrased. For weekend matinee and evening performances, rush now to get tickets because I hear they're selling quickly. Running time: approximately one hour and 40 minutes with no intermission. (Make sure you go to the bathroom before) The production runs until October 28 in the Studio Theatre at the Stratford Festival, 34 George Street, Stratford. For tickets, stratfordfestival.com or call 1-800-567-1600. A Spontaneous Theatre creation and part of the Meighen Forum GOBLIN: MACBETH Created by Rebecca Northan with Bruce Horak Directed by Rebecca Northan Musician: Ellis Lalonde Costume Designer: Philip Edwards Masks: Composite Effects Props Designer: Hanne Loosen Original Lighting Designer: Anton DeGroot Stage Manager: Lili Beaudoin Performers: Wug, Cragva, Moog Previous Next

Back 'Murder For Two' Book and Music by Joe Kinosian and Book and Lyrics by Kellen Blair Now on stage at the Firehall Theatre, 185 South Street, Gananoque. Presented by Thousand Islands Playhouse. Now on stage at the Firehall Theatre, 185 South Street, Gananoque. Presented by Thousand Islands Playhouse. Joe Szekeres PLEASE NOTE: I REVIEWED THE PREVIEW PERFORMANCE SO CHANGES MAY HAVE BEEN MADE GOING FORWARD AFTER OPENING NIGHT Credit: Stoo Metz. On piano: Jackson Seib. On floor: Scott Pietrangelo “Delightfully silly and campy. Dynamically charged with witty lyrics and two very fine performances.” Get to Gananoque and spend an afternoon or evening in a murder whodunit with Scott Pietrangelo and Jackson Seib, two engaging song-and-dance guys who know how to pull out all the stops. Under the accomplished guidance of Director Jeremy Webb, ‘Murder for Two’ becomes delightfully silly and campy. That’s okay by me. Sometimes, we need that brand of absurdity in our lives for a couple of hours. I left the theatre with a big ol’ smile once again. The plot is easy enough to understand. Officer Marcus Moscowicz (Pietrangelo) is a small-town police officer who dreams of becoming a detective. One fateful night, shots ring out at the surprise birthday party of novelist Arthur Whitney, and the writer is killed. With the nearest detective an hour away, Moscowicz jumps at the chance to prove his sleuthing skills—with the help of his silent partner, Lou. But who committed the crime? Jackson Seib plays all the suspects. We do find out at the end who the killer is. Honestly, I didn’t care if I knew or not. My guest and I had one hell of a good time watching Pietrangelo and Seib do their thing with tremendous musical flair, thanks to Joe Kinosian and Kellen Blair’s witty lyrics. The definitive timing of the songs and their lyrical context produced raucous audience laughter that bounced off the walls of the Firehall Theatre. There were a few moments in this preview where possible mishaps brought more laughter yet again. This adds to the fun and does not detract from the storyline. At one point, Seib announces Director Webb was sitting up in the last row and taking notes. Another moment – yours truly got into a coughing spell (damned allergies) during the show. I couldn’t stop for a few seconds. Seib stopped what he was saying, turned, looked at me, and said Gesundheit. Visually, Vickie Marston’s dark mahogany musty look of the set and Ingrid Risk’s hued lighting certainly caught my eye when I sat down and scoped the span of the Firehall stage. But it’s not an immaculate-looking Agatha Christie/Sir Arthur Conan Doyle drawing rooms from murder mysteries of long ago. This drawing room is chock full of prop items and set pieces in topsy-turvy crammed bookshelves of various bric-a-brac. There’s a grand piano on centre stage, slightly angled for maximum view in the ¾ round setting of the Firehall Theatre. Equally scattered across the apron of the stage are mystery novels flayed open. Diego Cavedon Dias’ upscale men’s suits aptly fit Pietrangelo and Seib, allowing them to move around the stage and off, sometimes at breakneck speed. Thank you to Paul Morgan Donald’s sound design that remains crystal clear throughout the show. I could hear all the lyrics, and that’s tremendously important since Music Director Avery-Jean Brennan has conscientiously worked at ensuring the humour and wit are never lost in the musical accompaniment. Pietrangelo and Seib are the reasons to see the show. They have natural chemistry and remain entirely in sync throughout. Watching them at the piano and tickling the ivories is theatre gold. There’s also audience interaction which is part of the fun. A heads up about that participation – the guys don’t necessarily point to people sitting in the front row. As Moscowitz, Pietrangelo appears to be the grounded of the two. His snappy portrayal of poking fun at the Sam Spade film noir detective kept me smiling. In juxtaposition and contrast, Jackson Seib delivers tip-top work in playing each murder suspect. He’s lean and limber. He frolics and cavorts, sometimes leaves the stage through the house, and appears from the other side with nary sounding out of breath. Oh, to be that young again, to move quickly and not get winded in the process. Another Thought: When I taught high school drama for one year many years ago, I dreaded teaching improvisation—it’s one of the hardest things to do with high school students. They only wanted to sound and be like the latest comedian. Pietrangelo and Seib have demonstrated that there’s more to improvisation as an art form. Doing it well requires stamina, concentration, and the innate ability to know when improvisation will work. These two guys deliver standing-ovation performances that are well-earned and deserved. They never upstage each other. By listening and responding appropriately, comic effect naturally ensues. I admire that, as I could never ad-lib in improv when I was involved in community theatre years ago. It was always a ‘stick to the script’ format for me. Don't be concerned if Seib and Pietrangelo don’t follow the script when you see the show. It’s so much fun watching how they get back on it. In his Director’s Programme Note, Jeremy Webb writes that “Murder’ proved to be a most challenging play to put together when it was created last year as part of Halifax’s Neptune Theatre/Festival Antigonish’s Summer Theatre partnership. Webb was ecstatic when Thousand Islands Playhouse Artistic Director Brett Christopher said, ‘Let’s do this in Gananoque. My guest and I were also pleased the show travelled westward. Go and see it. Running time: approximately one hour and 45 minutes with one interval (intermission). ‘Murder for Two’ runs until August 25 at The Firehall Theatre, 185 South Street, Gananoque. For tickets: call the Box Office at (613) 382-7020 or visit 1000islandsplayhouse.com. THOUSAND ISLANDS PLAYHOUSE presents ‘MURDER FOR TWO’ Book and Music by Joe Kinosian; Book and Lyrics by Kellen Blair Director: Jeremy Webb Musical Director: Avery-Jean Brennan Choreographer: Liliona Quarmyne Set Designer: Vickie Marston Costume Designer: Diego Cavedon Dias Lighting Designer: Ingrid Risk Sound Designer: Paul Morgan Donald Stage Manager: Jenn Hewitt Assistant Director: Matt Lacas Performers: Scott Pietrangelo, Jackson Seib Previous Next

Back 'Lobby Hero' by Kenneth Lonergan Produced by Icarus Theatre now onstage at Alumnae Theatre Alexandra Bolton Joe Szekeres I’m keeping my eye out for Icarus Theatre in the future if this performance of ‘Lobby Hero’ is any indication of where the company is headed. Icarus Theatre challenged itself in tackling Kenneth Lonergan’s gripping ‘Lobby Hero’ at Toronto’s Alumnae Theatre. The script reflects modern twenty-first-century daily life in Manhattan. It was an apt choice made by Icarus to stage it, but not an easy one, as the play addresses issues that have been heightened throughout the pandemic. Lonergan’s story is set in the lobby of a Manhattan apartment building where we meet the on-duty night security guard Jeff (Anthony Goncharov) and three others who strongly influence his life at this moment. There is Jeff’s strict and perhaps a tad overbearing boss, William (Matthew G. Brown) and two cops on the beat who end up in the lobby – senior officer Bill (Connor Briggs) and new police officer Dawn (Emily Anne Corcoran). A tad insecure about his life, Jeff has big plans for himself. He’s not that interested in this job but it’s security for him to stay there to put the first month’s rent down on a nice apartment and move out from his brother and sister-in-law’s home. Jeff is on the computer, reads a book and will sometimes place his feet on the desk and close his eyes for a nap. His supervisor William has a lot on his plate right now and is rightfully testy with Jeff. William has learned his wayward brother might be involved in a murder investigation. Jeff and William’s professional relationship is on tenterhooks now as well. On-duty and unpredictably mannered police officer Bill and his intensely focused on-the-job rookie partner Dawn end up in the lobby a few times. For some questionable reason, Bill periodically ends up here with Dawn and tells her to stay down in the lobby while he goes up to a specific apartment. Dawn doesn’t question Bill’s authority but later we learn something is going down in that apartment which puts their professional relationship in jeopardy regarding police ethics, honour, and duty. Additionally, Jeff’s building personal interest in officer Dawn also places her in an awkward personal situation when we learn about her past. Racial issues also influence the story deeply and strongly. There are some challenges with Naomi Daryn Boyd’s set design on the Alumnae stage. I liked how the angled corners of the sides of the building give the sense we are peering in on the story’s action. The back wall housing the mailboxes is in dire need of a paint job which shows this apartment is not an upscale Manhattan building. The security desk is located centre stage with a computer. There is a sitting area downstage far left that looked comfortable enough for those who are waiting for something or someone. I was puzzled by the door entrance to the lobby stage right. It does not convey the sense this is an apartment building. Most apartment buildings in Manhattan would have larger entranceways. Additionally, when the said door was opened and closed, sometimes quickly, the braces shook and at one point looked as if the door would crash down. Doesn’t convey we’ve entered a building. The other design choice made that puzzled me was the elevator upstage left on the wall. Most apartment elevators would be a tad larger to accommodate furniture. Instead, this one appeared rather tightly compact. As well, when officer Bill pushed the button, and got into and out of the elevator, he had to pull the door open and closed instead of it opening and closing automatically. That brought me out of the moment when this occurs. Carley Melvin’s lighting design subtly and effectively underscores the intensity of the scene when needed. However, there were a couple of times when some actors were in shadows, and I had difficulty deciding how I was to pay attention to this scene. Bjorn Kriel’s sound design of the outside noise of midtown Manhattan evoked a real sense of being in New York City. Where this production does shine is the character performance and their various emotional levels. Directed with a solidly believable understanding of each moment by Liam Eric Dawson, I saw some very real characters on the Alumnae stage. Anthony Goncharov intently listens and responds naturally as the insecure Jeff. At one point he tells rookie officer Dawn something about her partner, Bill, who is upstairs with one of the building’s residents. When Bill returns to confront Jeff, Connor Briggs smartly plays with Goncharov at first to set him at ease before the imposing threat of intimidation not to talk about whatever Jeff sees ever again with Dawn. This moment is terrific to watch the cat and mouse game between the two, and the look on Goncharov’s face indicated to me he was going to follow through with Briggs’ suggestion. Connor Briggs brings just that right amount of cocky smarm both in his police-swaggering gait and on his face that just made me bristle inside. Emily Anne Corcoran builds a credible emotionally conflicting intensity as rookie cop, Dawn. She wants to be the best officer she can be. However, Corcoran offers quite an interesting take on how she deals with her possibly developing interest in Jeff juxtaposed with how she deals with her smugly and ingratiating cop partner, Bill. I remained completely and fully engaged with Matthew G. Brown’s performance as building security supervisor, William. There remains a bubbling intenseness in Brown’s work that I kept wondering if, and or when there would be a complete explosive gush of anger as William has many responsibilities to which he must tend. There is a fixation on ensuring Jeff writes down when police enter the building to visit residents. William is also faced with an ethical dilemma regarding his brother and the possible murder investigation. Final Comments: On the theatre scene, it’s exciting to see how change and growth can strongly influence a new professional theatre company on the ground floor and where it is headed if the right decisions have been made in the process. As Icarus is a new theatre company, I’m sure there was a limited budget. I want to keep an eye on Icarus in the future. I spoke with Artistic Director Anthony Goncharov after the show for a few minutes and I could sense he is set to move forward in meeting growth and change and confronting artistic challenges on all levels. I look forward to Icarus’s next production. But go and see ‘Lobby Hero’ by all means to support a new professional theatre company. Running time: approximately two hours and fifteen minutes with one intermission. ‘Lobby Hero’ runs until December 17 at Alumnae Theatre, 70 Berkeley Street, Toronto. For tickets: onstagedirect.com/lobbyhero or at the door on performance night. Evening performances begin at 7 pm while matinees begin at 2 pm. ‘Lobby Hero’ by Kenneth Lonergan An Icarus Theatre Production Co-Producers: Anthony Goncharov and Liam Eric Dawson Executive Producer: Anthony Sweeney Directed by Liam Eric Dawson Stage Manager: Lauren Fahey Set Designer: Naomi Daryn Boyd Lighting Designer: Carley Melvin Sound Designer: Bjorn Kriel Performers: Connor Briggs, Matthew G. Brown, Emily Anne Corcoran, Anthony Goncharov Previous Next

Back Sabryn Rock Moving Forward Kristina Ruddick Joe Szekeres The first time I saw Sabryn perform was with Jeremy Smith’s wonderful summer Bard’s Bus tour of Driftwood Theatre. During those summers, Sabryn performed in ‘Romeo and Juliet’, ‘King Lear’ and ‘The Comedy of Errors’. I remember watching these three performances and thinking Sabryn is destined for even more phenomenal roles on future professional stages in Toronto and across Canada. And she has given exceptional performances over these last few years including ‘The Royale’ at Soulpepper for which she received the Toronto Theatre Critics Award for Best Supporting Performance in a Play. Selected Film and Television: Two Sentence Horror Stories, Departure, The Expanse, Holly Hobbie, Carter, Taken, People of Earth, Black Mirror, The Girlfriend Experience. Selected theatre: Rose, Caught (Theatre Passe Muraille), Once on this Island (Acting Upstage/ Obsidian) as well as Caroline, or Change Romeo and Juliet, Three Musketeers, The Merchant of Venice (Stratford), Ruined (Obsidian/Nightwood). Sabryn has been nominated for several Dora Awards. As a director she’s directed shows and workshops for Summerworks, Shakespeare in Action, Obsidian and the Musical Stage Company. She recently directed Contractions, an experimental play/film hybrid over zoom for the Studio180 At Home series. Sabryn also loves to read (especially out loud) and has now narrated seven audiobooks. She is a graduate of the National Theatre School of Canada, the Birmingham Conservatory for Classical Theatre at the Stratford Festival and the Actors' Conservatory at the Canadian Film Centre. We conducted our interview via email as she is one busy lady. Thank you so much, Sabryn, for taking the time: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? I’m feeling very disappointed and yet not at all surprised that the numbers are surging. I have a lot of anxiety and insecurity about what the future will hold. But I have to say, being a freelance artist who often lives paycheque to paycheque prepared me well for the whole ‘not knowing’ aspect of all this. I just wish the circumstances weren’t so dire and serious for so many. We will absolutely emerge to some new way of living- it’ll be what it is for that time and place and life will continue on…how that will look I have no idea. I think (and hope) people will be a lot more cautious about illness, handwashing and mask-wearing in the vulnerable seasons forevermore and generally more conscious about the safety and wellbeing of folks. Also for me, personal space and physical boundaries shifting in a big way! I, myself, have enjoyed the distance and the lack of expectation that I have to hug everyone or shake everyone’s hands all the time (especially strangers or acquaintances I don’t know well); that’s a surprising perk to all this for me because I find often in our industry, people assume everyone is comfortable letting them into their personal, intimate space for touch. I will say though that I am fortunate to have a husband and cats who I can hug all I want when I feel like it. Some people aren’t that lucky right now and I totally understand that- the deprivation of physical touch can be harmful for so many. How have you been faring? How has your immediate family been doing during these last eight months? I count myself very, very blessed-I can’t say that enough. I am faring just fine all things considered. I know that speaks to my privilege as I have been able to keep working, have a comfortable home and a partner who hasn’t lost work at all this year. Another odd perk was getting to spend so much time with my husband during the first lockdown- getting to take the time to eat lunch together everyday was a simple yet profound joy we wouldn’t have been afforded otherwise. It’s really made us value one another in a new way. It has been difficult not being able to see my folks consistently who are in Saskatchewan, especially now that the holidays are around the corner and choosing to stay put to keep us all safe. They’re lucky that they’re in a very spacious place that isn’t as dense but numbers are crawling up there too, so…I just keep begging my parents to stay home and pray they’ll keep safe and healthy so we can be reunited soon. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Honestly, seeing all my peers struggling and not knowing how to help besides reaching out and checking in on people. The theatre companies, the freelancers, the people who rely on contract work not being able to have a consistent livelihood or have any concrete plan for the future has been really tough to witness. Also, not knowing when we’ll be able to gather in a theatre again to watch or put on a play for an eager audience of patrons is unnerving. And yet, and I’m unsure if it’s ignorance or naivete, but I seem to have adopted the “everything will be okay” mentality and am trusting that professionally my career will be where it needs to be when it can be there. I just hope that the many theatre companies and creative people who are taking huge financial hits right now are able to pull through and pivot in ways that can sustain them. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I was one of the few who didn’t have any concrete plans for 2020. I had made a conscious effort to lay off theatre for the year and focus on screen and voice and I was very lucky in that regard because all my friends and colleagues were losing work. It just felt like I was in the same position as I would’ve been anyways: having no idea what jobs would be coming or when I’d work again; with the huge caveat that lockdown definitely hindered any or all opportunities for actually being on set or a studio for a large portion of this year...but I was fortunate to have been working almost right up until March so was able to coast for a few months without worrying much about my financial situation. And thank goodness for CERB! I did have a workshop of a new play in development I’m directing that we had to postpone for a few months and settled on doing a three day zoom workshop instead. It was useful for many reasons as far as hearing the play with actors and dramaturgy etc. but we were also hoping to do some physical exploration at this stage and that just wasn’t possible over zoom. The production is tentatively slated for fall 2021 but only time will tell if that’ll happen so all we can do is wait and see and come up with a contingency plan in case we have to postpone which at this point, is looking very likely. What have you been doing to keep yourself busy during this time? Lots of reading, cooking, cleaning for those first three months and then I got really tired of being cooped up and feeling like I couldn’t find a satisfying creative outlet. I actually completed The Artist’s Way for the first time ever in the summer which was such a huge help. Even just writing everyday shifted my mental health in a big way. The artist dates I went on and the creative tasks reinvigorated me and my creative spirit which I so desperately needed. Once things started opening up later in the summer, I was very lucky to have booked some work again on set and in the studio as well as a few directing gigs for virtual theatre including a zoom production of Contractions with Studio 180 which was another elixir I needed. Getting to collaborate with other artists and using my director brain after months of creative atrophy was the burst of a new energy I needed. It was such a joy and privilege to have those opportunities and although zoom can be challenging at the best of times, the constraints forced some really creative problem solving which I also didn’t realize how much I missed. I also started doing some virtual teaching at Randolph College in the fall as well as some outreach work with Studio 180 and both been a nice side gigs that are safe to do from home. Teaching is something I’ve regularly done to supplement my income prior to Covid and I truly love it. The shift to zoom has been surprisingly easy if not a bit exhausting on the eyes, although I really can’t imagine doing theatre school training-most of which is so physical- over a computer. These students are so dedicated! Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? For my fellow performers and colleagues, be sure to keep engaging in creative outlets and lean on your supports. Reach out to mentors, past collaborators or friends if you need connection or want to create something. I think a lot of people are eager to collaborate right now- I have friends sending scripts for feedback or brainstorming virtual projects just because they need the outlet and I think that’s a great way to cope. For some, they’re not in a position to do that right now so I would say making sure to do something that’s good for your mental and physical health and wellbeing everyday. Meditating, long walks with a great podcast, calling an old friend, baking something for a pal just because..anything that makes you feel happy, calm and engaged. Also, therapy has been a huge help for me. As far as helpful resources and options since it’s difficult to find a therapist in these times, I know Equity launched LifeWorks earlier this year to support members https://www.caea.com/News#LifeWorks-June-29. For ACTRA members there’s a new Expanded Access- Mental Wellness Support Benefit I was just reading about that sounds promising. Info available here: https://www.afbs.ca/fraternal-benefits#additional-benefitsI For recent theatre school grads I would say: stay positive and optimistic, stay ready, keep reading plays and pushing yourself to learn and engage as much as possible. Take a virtual class. Write those emails to casting directors, artistic directors, people in the community you admire…propose virtual coffees. The hustle to get your name out there has always been hard but now it’s even more of a challenge so it’s time to think outside the box and stay on top of it. Stream those online readings and productions which there are no shortage of internationally but also here at home there’s lots on offer with shows streaming online with Acts of Faith at Factory Theatre, Contractions with Studio 180 (shameless plug J), Musical Stage Company’s Uncovered just to name a few. Look for inspiration everywhere as you might be surprised where you might find it. Write everyday if you can- it helps so much. Do you see anything positive stemming from Covid 19? As far as theatre goes, I think this time off has forced many organizations and companies to recalibrate; to look at how things are run and re-examine structure and operations that have oppressed so many for decades. The BLM movement and the protests in the summer shone a light on so many systemic issues within the world but in our community, it really inspired many to voice their experiences with the #inthedressingroom campaign. Reading the many tweets and posts, I didn’t find any of these stories particularly surprising unfortunately as I’ve both experienced firsthand or heard of all the micro and macroaggressions towards artists of colour over my career. I think a lot of people are taking this time to stop and reflect on how they can better advocate for and foster, support, and protect BIPOC artists so that when we meet again in a physical space, there are some tangible practices put in place to change the trajectory forever. I also think that having all this extra time at home, many are realizing that the six day work week isn’t necessary and that we can likely accomplish just as much in five days- arguably maybe more with TWO days off: one to do groceries/laundry/spend time with family and one to actually accomplish the work. I know I definitely do not miss only having one day off a week. I myself, have found that this lockdown time has really changed my perspective on what really matters in life. Yes, I love my career and performing but getting to have quality time with family, connecting with friends whom I haven’t spoken to in ages, those are the things you won’t ever get back. Jobs will come and go but loved ones are what matters most to me. Balance and boundaries are key. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? I think it already has on so many artists and companies. Many people leaving the business or finding a new livelihood out of necessity, companies having to shut their doors, losing their space and folding because they can’t financially sustain themselves…I think the fabric of our performing arts scene will forever be changed. However, I think this is such a fascinating time and will absolutely inspire and birth some incredible new work and from the ashes, new companies will rise. It’ll just take time. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I think it’s amazing the way people have pivoted so quickly. Even just having the ability to lean on streaming is going to be a huge asset to many as things may remain up in the air for the foreseeable future. It would be foolish not to utilize this; I think it is the only option for many actors and companies if they want to keep getting their work or name out there or maintaining audience engagement and some type of revenue. Unfortunately, these things can be very pricy endeavours if quality is a priority and not everyone has it in the budget to outfit a full home studio right now or create and develop a streaming platform like Stratford. There is so much more content on offer online right now specifically because of Covid, so the challenging part is getting viewers. I find it overwhelming sometimes to decide what to watch and who to support with all the choices. Streaming can also be pretty frustrating depending on if there are any technical difficulties or if you have crappy internet and I find it really hard to fully sit down and engage at home when I can be multitasking and doing a million other things at the same time which I can’t do in a theatre. Personally, I have also been trying to stare at screens less in my life since I’ve been forced to engage with work in this way now more than ever so I may not be a great target audience member lol. But I think people have got to do what they got to do and if it’s helpful to utilize YouTube or streaming for the benefit of their spirit, creativity or livelihood, all the power to them. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? I really miss the live feedback from an audience, that energy; the shared experience of people coming together in a space and breathing, gasping, laughing together (you know, all the risky and dangerous stuff right now). Heck, I even miss the oblivious patron unwrapping candy at the most inopportune moment which then in itself turns into another shared funny/baffling moment between audience and performers! Covid will never destroy my desire to get together for several weeks and create something out of nothing with a talented group of people and sharing it with live humans in a physical space. I think when I first step into a theatre again when it’s safe to do so, I won’t take it for granted ever again. Previous Next

Back 'Mno Bimaadiziwin' (The Good Life) with Barrie, Ontario's Theatre By the Bay Theatre By the Bay Studio House Photography Joe Szekeres Normally I’m not one immediately to stand for an ovation after a live performance unless I have been truly moved by what I’ve just seen. Even though we were on our feet for the remarkable final scene of ‘Mno Bimmaadiziwn’ now onstage at the Orillia Opera House (I won’t disclose why), I made sure this select ensemble company of artists was immediately acknowledged for the highly moving production I had just witnessed by remaining standing and offering the applause they most certainly deserved and earned. According to the Programme Notes, Theatre by the Bay Artistic Director Iain Moggach asked playwright Ziigwen Mixemong what kind of show would it be if she were offered something by the company? She replied that she had a desire to write a show about healing, one that opened the rest of our community’s eyes to the world and experiences that she knows. These last eighteen months have ashamedly kicked me to become consciously aware of the struggles of our Indigenous people especially considering what has occurred historically at Canada’s residential school system. At the talkback following the show, Mixemong kindly spoke of the fact that if all of us can begin our journey to understand our Indigenous family members just by listening to and hearing the story we were about to see, then that is an important first step for all of us to take. Her request was personally met from me with many emotions and feelings of shame, acceptance, nobility, pride, and honour. Ziigwen wanted to tell the story of people whom she knows and “to give audiences a chance to interact with real Indigenous people, all while trying to demonstrate the collective trauma and the resiliency that helps us rise above it.” And we do see real people here as this strong ensemble cast naturally and convincingly reveal so many destructive social issues of suicide, drug abuse, illegitimate pregnancy, and unfair treatment of LGBTQAI members within our Indigenous peoples. I certainly hope this striking production set in Orillia might tour the province sometime soon because it is one which I believe must be seen by many of us (and our young people) as we continue to move forward with Truth and Reconciliation of our Canadian Indigenous brothers and sisters. We must use the QR scanner to access the online programme. I understand why this is done for Covid protocols of health and safety, and for the fact it also cuts down on paper consumption. My only thought is for those who do not have a phone with a QR code scanner. Might it be possible to have some print programmes available for these patrons? In any case, the programme contains important information about the production which I strongly advise audiences to read before hand. ‘Mno Bimaadiziwin’ explores briefly the lives of characters as they prepare for a sweat lodge ceremony. I’m going to be honest and say I had no idea what it was and I’m pleased to have learned it here. A Sweat is a spiritual undertaking that allows participants to speak directly with the Spirit Realm, giving thanks and petitioning for help and support. As a practicing Catholic, I made a connection of the Indigenous sweat ceremony to the sacrifice of the mass in which we too give thanks and also petition for help and support. There is so much to admire in this production. For example, the soundscape at the top of the show most certainly piqued my curiosity and interest. At one point there is the sound of a beating heart and I thought I also heard breath exhaling and inhaling which was highly effective as I felt my own breath exhaling and inhaling simultaneously. Mathew Magneson’s choice and selection of musical accompaniment effectively heightened many of the emotional moments throughout the play. Samantha McCue’s Set Design attractively utilized the playing space on the stage. Along the back wall is a silhouetted outline of various shapes of buildings which I’m assuming represent Orillia. There is a blue tent centre stage with an open entrance. Various props and set pieces stage left and right offer ample opportunities for vantage sight lines from where I sat in the auditorium. Echo Zhou’s sharply focused lighting design on the moments where the characters broke the fourth wall and talked to the audience nicely captured my attention to where it was needed. Herbie Barnes’ compassionate direction of Mixemong’s realistic script kept the story’s pace flowing smoothly. Once again, this decent ensemble cast narrated their individual stories with resonant precision and control of their monologues which, in turn, maintained my consistent interest in preparation for the sweat which took place inside the blue tent (which we never saw). Instead, the script focuses on events prior to and emerging from the ceremony. Final Comments: ‘Mno Bimaadiziwin’ remains a must see for all of us to begin our process in reconciling and healing with our Indigenous family members. Inspirational and stirring. Running time approximately one hour Production runs to October 3, 2021, at the Orillia Opera House, 20 Mississauga Street West, Orillia. For tickets, please call (705) 326-8011 or visit www.orilliaoperahouse.ca . Cast: Jordan M. Burns, Trina Paula Moyan, Pesch Nepoose, John Roldan, Brianne Tucker MNO BIMAADIZIWIN by Ziigwen Mixemong Presented by Theatre by the Bay, Barrie, Ontario Artistic Director and Producer: Iain Moggach Director: Herbie Barnes Production Manager: Karen Elizabeth Technical Director: Claude Labrecque Stage Manager: Barry Cook and Assistant Stage Manager: Ashley Frederick Set and Costume Designer: Samantha McCue Lighting Designer: Echo Zhou Props Master: Brenda Thompson Sound Designer and Composer: Mathew Magneson Set Builder: Diane Frederick Cultural Consultant: Kelly Brownbill 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 Phillip Nero DREAMCO Theatre (Durham Region Entertainment and Music) David Walker Joe Szekeres A new professional theatre company has moved into Durham Region. Although Artistic Director Jeremy Smith (a former student of mine) no longer lives in the Durham Region, I always salute his company, Driftwood Theatre, which has produced some extraordinary Shakespeare in the Park productions across the province every summer. In my heart, Driftwood was and will always remain a professional theatre company stemming from sturdy roots here in the Durham Region. Port Perry’s Theatre on the Ridge (TOTR), under Artistic Director Carey Nicholson’s vision, has staged classic and modern plays over the last ten years both indoors and outdoors. Passionate and articulate about the theatre, Phil Nero, an Equity-based artist, now living in Brooklin (with his wife and six-year-old daughter) is excited beyond measure to open DREAMCO (Durham Region Entertainment and Music) even in these uncertain fiscal times for the Arts on account of Covid. He knows it is going to be challenging over the next couple of years since many have lost income, but Nero is confident the enjoyment and love of live theatre will outweigh in the long run especially if local residents do not have to spend gas money to drive downtown to Toronto. Starting out small and inexpensive, Nero wants DREAMCO to show just how valuable they are in what they plan to offer to Durham Region and beyond. Phil is not out to be in competition with other local professional theatres in Durham such as Driftwood and TOTR. On the contrary, he says there is no reason for that. Instead, he made a comparison to car dealerships that are on the same street and next door to each other. People who are going out to look for a car will venture and look all around for what they want. For Phil, the more these theatre companies thrive and work together in the same manner, the more theatre is generated, and the more people and audiences will attend. During our conversation at the Brooklin Coffee Culture over a cold drink on a very warm afternoon, the conversation turned to Nero telling me how he stumbled into dance and when the proverbial ‘theatre bug bit him’, specifically by accident in Grade 6, when he was involved in the school play ‘Charlie and the Chocolate Factory. Phil fondly recalled watching ‘Dead Poet’s Society’ in high school and how its message of CARPE DIEM/SEIZE THE DAY spoke volumes to him. That film’s message brought him to this point in his life where he is right now in making his dreams come true and pursuing them. Nero grew up in Markham where he next appeared in a production of ‘West Side Story’ with the Unionville Theatre Company. Two dance teachers from the area grounded Phil going forward where he participated in and won several competitions and discovered what he calls this extraordinary gift of dance. Undecided whether he wanted a career in show business or as a chef (another of his passionate interests), Phil took a year off to decide while he performed in Grand Bend’s Huron Country Playhouse of ‘West Side Story’ where he was offered the Equity Apprentice role. When he returned home, he knew of Sheridan College’s Musical Theatre Programme and wanted to attend. He failed his first year because he was ill-prepared and thought it would be a waste of time to return. However, a couple of teachers took Phil under their wings and in his words was told: “it would be a game-changer for you to repeat your first year again.” He stayed and turned the three-year theatre programme into a four-year one. Phil didn’t graduate Sheridan because he went to do ‘West Side Story’ at the Stratford Festival where he worked with famed choreographer Sergio Trujillo* in 1999, but he did assure that he completed his diploma (now a degree from Sheridan) So, to all theatre lovers who want to school themselves in the art, Nero strongly advises to make sure you get that degree or diploma first and foremost. The theatre life then became ‘serendipitous’ for Nero as he quoted this word several times during our conversation. He auditioned and was cast in the Toronto production of ‘The Lion King’ for a year and then moved down the street to The Royal Alexandra where he appeared in ‘Mamma Mia’ as Dance Captain and understudy for Pepper. Nero then went on the road for a year and a half with the US National Tour of ‘Mamma Mia’ where he played Pepper. When he returned, he directed and choreographed a production of ‘A Chorus Line’ at Stage West in Mississauga and ‘Chicago’ at Halifax’s Neptune Theatre. Nero was supposed to return to Halifax to perform in ‘Evita’ when he was offered a role in the Toronto run ‘The Lord of The Rings’ where he was the Dance Captain/Fight Captain/Swing and then went to work on the production in London. Upon his return, Nero went to direct and choreograph six seasons at The Citadel Theatre. Nero recognizes how Covid has put a kink in the plans of the trajectory going forward in the Canadian theatre industry. Many of the major and independent/regional theatres are focusing on smaller casts at this time as everyone weathers this continued Covid rain for now to reduce overhead costs and capital investments which means less work for actors and less parts to be had. But as DREAMCO evolves over the next several years. Nero assured me Durham theatre actors and lovers can look for opportunities to grow as artists. Starting off, Nero called the company’s focus now ‘a Math game’ and will produce non-Equity presentations to begin with the idea going forward that Equity credits could be earned in the distant future. Phil also reiterated this is not a comment on the artists’ abilities whether they are union or non-union. All Equity artists were once non-Equity. It is Nero’s goal that DREAMCO will produce entertainment across many genres and not focus merely on musical theatre. He believes and wants so very much to be able to create the magic of gathering together as a community for theatre here in Durham Region. He wants his shows to enable audiences to question, think, act, react and talk. These are the points of why theatre is shared in the community. Going forward, Nero says a long-term wish is to build a theatre for DREAMCO within the Region. He specifically said: “Mayors of Durham Region, are you paying attention?” __________________________________________________________________________ (*Trujillo learned the choreography from the famed Jerome Robbins who originated the dancing from the original ‘West Side Story’) __________________________________________________________________________________________ Although this is far off in the future, Nero’s goal and desire are to fashion DREAMCO in the same manner as Drayton Entertainment and London, Ontario’s Grand Theatre where there are six-seven shows a season, possible Fringe festival, workshops for students and a bridge for community theatre to professional theatre. Although musical theatre is Nero’s passion, it is his hope that the company will also tackle the great stories from classic to contemporary and modern. Phil’s wish list for the inaugural DREAMCO season would include ‘Death of a Salesman’, ’12 Angry Men’ and ‘Inherit the Wind’ (readers: remember this is a wish list and not a given). To bring audiences back to the theatre, DREAMCO is planning a Concert in the Village Series to be held at Brooklin Community Centre. No money or profit will be made from this series, according to Nero as that is not the intent at all. DREAMCO is planning to bring in entertainers well known around the province. There are also plans for Sunday afternoons around 2 pm ($10/$20) where tea and scones will be served and listen to performers with special engagements planned to celebrate Autumn, gather for Remembrance Day, Thanksgiving, Christmas, Valentine’s Day, Mother’s Day, and Father’s Day. Part of DREAMCO’s mission statement is to improve the quality of life through art, and these Sunday afternoons will reflect that statement. DREAMCO’s Board of Directors include Nero, Katherine Docherty (who works at Active Natural Health in Brooklin), Brooklin Rotarian Rod Hunter, and Rex Harrington (National Ballet of Canada) My jaw dropped when I heard Harrington’s name mentioned. DREAMCO will present its first concert ‘Songs of Hope’ at Port Perry’s Town Hall 1873 on June 17 at 6 pm and 8 pm with proceeds going to help Ukraine. Phil has selected from the musical theatre scene and one from the pop world. He smiled and said he called in a lot of favours, and there are some terrific artists who will participate: Mark Cassius (who has played in Toronto and Broadway and was a member of the acapella group ‘The Nylons’); Cory O’Brien (who recently appeared in the Toronto production of ‘Come from Away’); Cory’s wife, Christy Adamson (who appeared in ‘Cats’ and ‘War Horse’) and Cynthia Smithers (who appeared in Stratford production of ‘A Chorus Line’) and local talent Jessica Docherty who attends Oshawa’s O’Neill Collegiate. Thank you so much, Phil Nero, for your time. I look forward to seeing the inaugural season for DREAMCO. To learn more about DREAMCO, Nero encourages interested people and audiences to sign up on the website: www.dreamcotheatre.com to be placed on the mailing list so information can be sent to you regarding the inaugural season. To purchase tickets for ‘Songs of Hope’ A Benefit Concert for Ukraine on June 17 at 6 pm and 8 pm, go to www.townhalltheatre.ca . Tickets are $50.00. Previous Next

Back 'Topdog/Underdog' by Suzan Lori-Parks Now onstage at Toronto's Berkeley Street Theatre Dahlia Katz Joe Szekeres This ‘Topdog/Underdog’ tells the story of a broken family relationship with sincerity and ‘in-your-face’ veracity. It’s brash, it’s harsh, and it’s truthful. Title’s meaning – Topdog is the most powerful individual in the relationship who can sometimes become frustrated because he must always remain on top. The underdog is the one who continues to resist the top dog at all costs. American playwright Suzan-Lori Parks sets this ‘Topdog/Underdog’ in the winter. Lincoln (Sébastien Heins) and his younger brother, Booth (Mazin Elsadig), live together in the latter’s ramshackle apartment. Lincoln has been thrown out of his own apartment by his wife, Cookie. This living arrangement with Booth is temporary. Lincoln works at the local arcade as a white-faced Abraham Lincoln. Humiliating work: however, it’s the only source of income the two have at the present time. Further problems abound at Lincoln’s work when he finds out he will be laid off and replaced by a wax model. When we first meet Booth at the top of the show, he is practicing Three Card Monte and hoping to become a card shark on the street, hustling as many people as possible. He’s not very good at it but excels at shoplifting. Lincoln was a card hustler many years ago but swore it off after one of his crew was shot dead over it. Lincoln thought he would be next. Booth admired how his brother could bring in the money playing cards. The brothers have experienced troubled lives since they were teenagers, but there is always the sense that Lincoln and Booth care deeply about each other. Their parents abandoned them then, giving them each $500 for their inheritance. Each parent then went off with a new lover. Lincoln and Booth have had to learn to cope with racism, poverty, work, and women. They’ve also had to deal with the understanding of their names to each other. (John Wilkes Booth shot President Abraham Lincoln in a theatre box). Booth is infatuated with a woman named Grace and does his best to impress her by showering her with gifts that have been shoplifted. Lincoln’s relationship with Cookie has been tenuous. He suffers from depression, but Grace mistakes it as he is losing interest in her, which is why she kicks him out. The story's events spiral downward as these two grown men continue to play ‘Topdog and Underdog’ with each other. Suzan-Lori Parks’ comment on family identity and relationships is brash, bold, and harsh. It’s also blisteringly truthful in her play. I sat in the immersive audience seating area (stage right) designed for this production. According to Canadian Stage’s website, this extended Orchestra seating allows the audience to experience the play as it was meant to be seen. It's harsh and gritty sitting this close to the action. And it works. Rachel Forbes’ set design resembles a wrestling ring with ropes all around. Periodically, the sound of the bell signifies the end of a wrestling round and an issue between the brothers. Booth’s squalid apartment appears unfit for anyone to live in, but it’s the best Lincoln and Booth can do for now. (An interesting note I learned when I got home and did quick online research is that President Abraham Lincoln excelled at wrestling.) Jareth Li’s solid lighting design eerily captures the dark shadows that light a wrestling ring before the participants enter. Additionally, Li’s shadowy lighting design finely underscores the growing intensity of anger between the brothers. Tawiah M’Carthy directs with a scalding intensity and truthful boldness. At times, it’s uncomfortable to watch the sometimes-fractured relationship between the brothers boil far out of control. Their language is salty, colourful, and vivid. That’s the truthfulness of the moment. Brothers can sometimes be viciously nasty towards each other, and their vernacular will reflect in the heat of the moment. The electrifying synchronicity between Mazin Elsadig and Sébastien Heins makes the two-and-a-half-hour production fascinating and thrilling to watch and hear. Both are fine performers who are well-trained in their craft. M’Carthy has blocked the two men to create exciting stage pictures of who controls the power at any moment. Elsadig and Heins listen intently and respond naturally to each other. They are like wrestlers who wait and watch to see what their opponent will do before responding. One minute, there is the joking, good-natured cussing between each other. Often within seconds, that playful ribbing and cussing turn upside down and the brothers at times appear to come to fisticuffs since their lives have always been “dominated by competition, dominance and violence,” as Production Dramaturge Jordan Laffrenier and CanStage Associate Artistic Director had written in the programme. Younger brother Booth sometimes idolizes his older brother, especially when he wants Lincoln to show how to manipulate the cards during Three Card Monte. Elsadig seamlessly taps into that admiration with the most remarkable ease within seconds. Just as quickly, Elsadig can shut off that emotional intensity of pride to one where his anger may get the better. Booth waits long for Grace to show up at his apartment to have dinner with him at one moment in the second act. When she doesn’t show up, the fury in Elsadig’s eyes and his physical stance shows he is ready to pop. Sébastien Heins’ lanky stature adds an air of confidence. His Lincoln is self-assured and somewhat cocky since he knows those trigger issues that will set off his younger brother. When Heins first appeared as the white-faced President Lincoln, I felt an uneasiness that didn’t dissipate throughout the production. The ultimate showdown between Elsadig and Heins at the end of the play becomes engrossing. I observed the two men's every move and listened carefully to every word uttered to see where this confrontation would lead. It becomes a fascinating and exciting look at two grown men who have often been down this road before. Where does it go this time? That’s the reason to see the show. Final Comments: Good theatre abounds in the city. This ‘Topdog/Underdog’ is that good theatre we all need. Running time: approximately two hours and 30 minutes with one intermission. ‘Topdog/Underdog’ runs until October 15 at Canadian Stage’s Berkeley Street Theatre, 26 Berkeley Street. For tickets, call the Box Office at (416) 368-3110 or visit canadianstage.com. CANADIAN STAGE presents ‘Topdog/Underdog’ by Suzan-Lori Parks Directed by Tawiah M’Carthy Set Designer: Rachel Forbes Costume Designer: Joyce Padua Lighting Designer: Jareth Li Sound Designer: Stephen Surlin Stage Manager: Laura Baxter Performers: Mazin Elsadig and Sébastien Heins Previous Next