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

Dramas encompass the human response to a created life situation on the stage. Back 'Who's Afraid of Virginia Woolf?' by Edward Albee Produced by Zippysaid productions. The show has now closed Courtesy of Zippysaid productions Dave Rabjohn A revival of the classic 1962 play ‘Who’s Afraid of Virginia Woolf?’ by Edward Albee opened at the Red Sandcastle Theatre in Toronto on April 24. Fiercely directed by David Agro, the play is a smash up of booze, infidelity, caustic relationships and unrelenting denial of reality and truth. No wonder it won a Tony award! A brilliant cast of four delivers bout after bout of flaming language and emotion. Agro also stars as George, a college history professor who moves around the stage like a wounded cat and thinks he is conducting the games of the evening. George and his wife Martha (Deborah Shaw) stagger home from a party given by the college president – Martha’s father. The air seethes with choler as Martha announces that she has invited a young couple for after party drinks. Nick, a new professor, played by Josh Palmer and his silly wife Honey (Chloe Matamoros) arrive while sobriety leaves. Martha and George strike out at each other, embarrassing the guests. There is a mention of a “son” and Honey admits that Martha alluded to him which infuriates George. During a series of taunting arguments – one being about George’s lack of ambition and ability – Honey (clearly an alcoholic) gets very drunk and leaves to vomit. While George and Nick are alone, George tells a story about a strange friend who killed both his parents apparently by accident. When the girls return, music is played and Martha openly cavorts with Nick and George pretends not to care. George continues to” play games” such as something called “get the guests” where he wickedly describes the young couple and taps into personal difficulties. Martha taunts George to the point where she defiantly takes Nick upstairs - clearly to seduce him. Martha returns, unsatisfied, and the discussion about their son spirals even more furiously. Nick finally realizes that the son is imaginary – a game they play as solace for their infertility. George’s final vile act is to “kill off” the son and Martha swoons to the floor as Nick and Honey stagger away. Shaw and Agro are brilliant together as his eyes keep popping at her vulgar braying. Their drunkenness accelerates with subtlety. Moments of false tenderness explode into vitriol. Shaw’s brash toughness is belied by Agro’s power to kill the game of the “son.” Shaw’s skill is being drunk, angry, and self-despairing all at once. A highlight of George’s work is a splendid speech about chromosomes. As director, Agro blocks George often with his back to the audience. Cleverly, this suggests George as a conductor, trying to control his “games.” Josh Palmer, as Nick, demonstrates versatility with a range of emotions. He somehow balances his drunken lust for Martha and concern for his infirm wife. Lack of confidence is displayed by moments of staring at nothing and nervous knees chattering back and forth as he sits nervously. Chloe Matamoros, as Honey, hides her fears in austere clothing and wrapped up hair. But she clearly exposes her alcoholism while she stares at a bottle (not the pourer) as it gurgles. Honey is an enigma – a seeming witless minor character, she breaks out into moments of clarity underscoring George and Martha’s evil. She is almost a Greek chorus, hovering above the fray with pitiful commentary. Agro’s direction (and I guess Albee’s writing) allows for wild modulations in voice and volume. In most works the “braying” would be a concern, but here it fits. The tiny Red Sandcastle space could have been a concern for such a wild ride, but it ironically helped to focus the free-wheeling action. Albee’s work blurs the distinction between illusion and reality – this talented cast delivered the theme. ‘Who’s Afraid of Virginia Woolf’ by Edward Albee Cast – David Agro, Deborah Shaw, Josh Palmer, Chloe Matamoros Director – David Agro Producer – Deborah Shaw Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage 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

Where theatre is not only presented on the stage. Back 'Wishful Seeing' by Maja Ardal based on the novel of the same name by Janet Kellough World Premiere by 4th Line Theatre presented at the Winslow Farm, 779 Zion Line, Millbrook, Ontario Wayne Eardley, Brookside Studio Joe Szekeres There’s a lot going on in this stage adaptation of ‘Wishful Seeing’ so pay close attention. (Note: I have not read Janet Kellough’s novel of the same name so I’m unable to make any comparisons to the book. Kellough attended the opening night audience. Writer Maja Ardal was absent as she appears in Canadian Stage’s production of William Shakespeare’s ‘As You Like It’ in Toronto’s High Park.) On this very warm summer opening night evening world premiere, 4th Line Theatre took me back me back to pre-Confederation Canada. The time is 1853. Robert Winslow ably portrays saddlebag and troubled Methodist preacher Thaddeus Lewis who struggles in his relationship with God and his faith because of the death of his wife, Betsy, and their daughter. We also learn Lewis is an amateur detective who has helped to solve criminal cases in Toronto prior to his arrival to living and preaching in Cobourg. 4th Line’s website describes Wishful Seeing as: “a historical thriller with a colourful cast of characters.” That it is, but there’s more in this production which deserves attention and another look. For one, although some of these small-town folk may be colourful in their disposition, several are nosy and close-minded in their treatment of outsiders. Both Thaddeus and his granddaughter experience this behaviour, unfortunately. When the preacher stumbles upon a murder mystery on the shores of Rice Lake, the rumours start flying quickly around town. When resident Ellen Howell (solid work by Kait Dueck) is imprisoned for this murder, Lewis sets out to discover the truth of what happened so she can be freed. Lewis hires charming lawyer Townsend Ashby (Conor Ling) to help defend Ellen. Martha Renwell (Kate Bemrose), who has come to tend the house for Lewis, her grandfather, becomes smitten with Ashby and the feeling is reciprocated. On top of that, Lewis’s assistant James Small (Tavaree Daniel-Simms) is smitten with Martha. Lewis has also uncovered fraudulent activity and scheme regarding the construction of a railway line from Cobourg to Peterborough which included the construction of a trestle bridge south to north over Rice Lake. A very cool special effect occurs in the second act regarding this trestle bridge. Visually ‘Wishful Seeing’ did not disappoint in the slightest. Michael Nott’s primo set design and Emma Gray’s realistic-looking props never appear cramped. Korin Cormier’s costume designs splendidly reflect the mid-nineteenth-century style with their various shapes, textures, and colours. Justin Hiscox’s musical direction and original compositions finely underscore scene changes without overpowering. From my seat, there were moments far stage left where I couldn’t hear the lyrics to a couple of the songs. Hopefully, both Sound Designer Esther Vincent and Hiscox can rectify this sound issue quibble for future performances. Several characters effectively support Winslow’s work onstage. JD Nicholsen is a surly, gruff, and untrustworthy George Howell. Daughter Caroline, played by Rylee Dixon, remains sweetly demure amid the trouble that befalls her family. Kate Bemrose remains steadfast in her performance as Lewis’s granddaughter, Martha Renwell. She is a young woman who has no fear to leave the home her father has provided for her after her mother died to be of assistance to her grandfather. As Townsend Ashby, Conor Ling believably maintains that sense of something just does not seem right about this young, cocky lawyer. Supporting characters provided elements of humour throughout the production. I thoroughly enjoyed watching Madison Sheward’s delightfully stylized choreography in having the townspeople move set pieces in the scene changes. Mark Hiscox provided a great deal of laughter as Baptist minister Phineas Brown in his conversation with Thaddeus over the benefits of the baptism sprinkling versus full immersion in water. As Thaddeus’s yes-man pastoral assistant James Small, Tavaree Daniel-Simms’s initial boyishly young attraction to Martha Renwell is amusing while a tad sad because he realizes his awkwardness will not win her hand. The gossipy town ‘hens’ in Pott’s General Store made me smile because they remained firmly in the moment both in their dialogue delivery and in their listening to what others were saying. But I’m also puzzled with ‘Wishful Seeing’. Yes, this cast has worked extremely hard to present an interesting story which reflects the local history with applause to Artistic Director (and director of ‘Wishful Seeing’) Kim Blackwell for continuing to showcase the richness of this area and its historical significance. But is ‘Wishful Seeing’ a murder mystery or a send-up of life in small-town Ontario Pre-Confederation? I don’t know what to call Ardal’s play at this point as this delineation has not been made clear to me in this adaptation. The courtroom scenes are strong reminders this production is a murder mystery while the humourous moments of small-town, slice-of-life rural pre-Confederation Ontario are solid indicators we are to remember this about the production. Perhaps it’s time to read the book for further information. Final Comments: Is ‘Wishful Seeing’ just that? Worth seeing? Yes, it is, as Kim Blackwell has staged an enjoyable story of panoramic scope of visual treats and good performances. The opening night standing ovation remains proof enough that live theatre is back safely in the hands of 4th Line Theatre. Running time is approximately 2 hours and 15 minutes with one 15-minute intermission. The production began sharply at 6 pm. so thank you for starting on time. ‘Wishful Seeing’ runs to August 27 at 4th Line Theatre at the Winslow Farm, 779 Zion Line, Millbrook Ontario. For tickets call 705-932-4445, 1-800-814-0055 or visit 4thlinetheatre.on.ca for further information. ‘Wishful Seeing’ by Maja Ardal. Based on the novel of the same name by Janet Kellough. Directed by Kim Blackwell Musical Direction & Original Composition by Justin Hiscox Costume Designer by Korin Cormier Choreography by Madison Sheward Sound Design by Esther Vincent Stage Management by Jess Gordon The Cast: Mohamed Abdullah, Nathan Avila, Kate Bemrose, Kaleigh E. Castell, Tavaree Daniel-Simms, Rylee Dixon, Kait Dueck, Naomi Duvall, Huseyin Halil, Justin Hiscox, Mark Hiscox, Conor Ling, Ian McGarrett, Megan Murphy, JD (Jack) Nicholsen, Julian Pawchuk, Ryan Tobin, Hilary Wear, Robert Winslow Previous Next

Where theatre is not only presented on the stage. Back 'White Muscle Daddy' by Raf Antonio Now onstage at Buddies in Bad Times Theatre, Toronto. Credit: Jeremy Mimnagh. Pictured in profile: Frankie Bailey and Jaime Lujan Joe Szekeres ‘There are moments when the script is clever in its deceptive title. Although it might initially mean what you think it does, there’s an entirely new understanding at the end.’ Raf Antonio’s ‘White Muscle Daddy’ is a horror/thriller ‘film within a film within a play’. My guest and I discussed it intently on the way home. Antonio is bang-on about using the screen format within a play setting. Live and pre-recorded film and video footage are used throughout. Antonio is both clever and perceptive about developing this hybrid use further. Why? Our lives today are intently focused on the screen, whether we are watching a film, sitting in front of our computers for work and careers, or sometimes simply passing the time away on YouTube (I’m guilty of that) or TikTok (Don’t have an account. Don’t want one). Because I don’t want to spoil the surprises behind ‘White Muscle Daddy,’ I will do my best not to give away too much. The press release states that ‘White Muscle Daddy’ uses projection art, live camera feed, and shadow play…to subvert cinema/film and theatre expectations. Was that achieved? More about that shortly. ‘White Muscle Daddy’ is set in Los Angeles, primarily in an exclusive gym. There are moments when we are shown gorgeous photographs of the LA sunset night sky and extraordinary photos of what I assume to be at least $ 3 million US dollar homes. Appreciation to Nicole Eun-Ju Bell, Connie Oreamuno and Khanh Tudo for the specific hours of work that had to be done to search for these photos and then do magic in any editing for specific effects. Alia Stephen’s sometimes perfect lighting design effect underscores the strong visual impact of looking at the photos from where my guest and I sat far stage left. The appearance of camera operators Khanh Tudo and Katerina Zoumboulakis (I hope I haven’t forgotten anyone) was also effective because the LA paparazzi are everywhere with their paraphernalia. It appears that in LA life, to be somebody, one must always be on camera. The notion of privacy is thrown out the window. Cat Calica’s costume selection perfectly reflect the style and finesse of each of the characters. There were moments in the pre-recorded or actual backstage footage where the sound was not aligned precisely when the characters spoke on screen. It was just a split second out of alignment, but it did bring me momentarily out of the scene. Can that also be looked at? In her set design, Echo Zhou places three separate riser platforms on far stage right, middle and far stage left to denote various LA locales. For sight line purposes, Zhou made a good choice to allow for maximum sight line view; however, there were moments when the action took place far stage right, and I could not hear the dialogue as I sat far stage left. The speaker on my right did not appear to amplify the sound, and I could not hear the dialogue. Hopefully, sound designer Stella Conway will be able to fix this going forward with future show performances. At the top of the show, we are watching the filming of one of the Grade B slasher horror flicks. Performer Augusto Bitter plays Stuart in the film. Stuart is reading a book and waiting for the arrival of their boyfriend to come home. In true horror film ‘Scream’ fashion, there are some nifty surprises for the audience that I don’t want to give away. It appears Bitter was having a hell of a good time in the pre-recorded filming. The film's director, Lucy (Chel Carmichael), enters the stage. Chel Carmichael’s Lucy is direct and confident in scenes with the filming. Carmichael’s Lucy is also connected to the rest of the characters in the play’s script. The central story involves Jeremy (Jaime Lujan), an impressionable individual newly hired to work the graveyard shift at the gym. Jeremy’s co-worker Thomas (Shaquille Pottinger) shows Jeremy the ropes of the gym. Thomas was moving out of the gym as he had found another job. One night, Jeremy sees and becomes smitten with Eugene (Ray Jacildo), a fitness instructor who appears to have the kind of LA life Jeremy has always wanted: muscles, good looks, and enviable LA parties. Jeremy’s ‘crush’ on Eugene begins to play havoc. Jeremy begins this insatiable hunger for Eugene and wants to know everything about the dude. Jeremy’s choice to follow the secret desire to know more about Eugene wreaks chaos in his relationship with his partner, Gustavo (Frankie Bayley). In turn, Gustavo looks to Lucy for moral support whenever their relationship with Jeremy appears on the rocks. In a heated moment of passion between Jeremy and Gustavo, the former says something to the latter that is downright nasty and cruel, which begins to alter the course of events not only in their lives but also in those in the story. The question remains right to the end—who is Eugene? Something about this character spells trouble for everyone involved. Directors Raf Antonio and Tricia Hagoriles have selected a diverse cast in their appearance and voice sound. That was another wise choice. For some reason, whenever I hear the name ‘Los Angeles,’ I immediately begin to think of plastic-looking people who are ‘practically perfect in every way’ (as Mary Poppins sang), from their looks to their sexuality and gender. Antonio and Hagoriles have selected real, natural, and ordinary-looking actors who commit themselves to showcase the two-hour and fifteen-minute running time (sans interval/intermission) with intent and focus. Once again, in the press release, Antonio (as one of the directors) spoke of "taking the tropes of the horror film genre and mashing them together to create an experience that will leave audiences chuckling, a little spooked, a little provoked...” Did that vision of mashing create an experience that left me chuckling, spooked, and a little provoked? Well… Yes and No. Directors Antonio and Hagoriles ensured the performers captured the Grade B horror film (over) acting from the sixties and seventies. In watching the pre-recorded film on stage during the performance, I recognized some similar recoiling in horror moments akin to the Vincent Prince scream films and Alfred Hitchcock's 'Psycho.' That left me chuckling. A couple of captured moments left me a tad spooked, but I hesitate to explain what it is because that would give away the surprise I didn’t see coming at all. All I will say - when it does appear, I had to avert my eyes quickly. It’s the word ‘provoked’ that I want to explore just a bit further. The script and the actors did provoke a bit of squeamishness within me so they succeeded on that account. There is one moment on film when I felt myself just scrunching my face up and putting my head down because it is a tad sickening. But I do have some quibbles. Is it possible for Antonio’s script to be re-examined again? I found it too long to sit for two hours and 15 minutes. There are moments where moments need to be tightened especially in moving from film to the stage. With no breaks at all, the production makes for uncomfortable sitting. A few got up around me to go and then return. Getting up and down is distracting both in the film and the theatre, but I get it – rarely are there intermissions in films. The directors have captured that vision. But if I go to the cinema and have to use the washroom during a long film, I quickly leave the hall, run to do my business and then get back to my seat. That’s not always possible in the theatre. This leads me to explain further the hybrid approach of combining cinema/film and theatre. It’s an exciting concept that deserves to be explored further on the stage. The press release calls ‘White Muscle Daddy’ a cinematic theatre thriller. Antonio says in the release that horror can be a malleable genre, and it is rarely performed on the stage. It’s not malleable here for me at this performance. Not quite yet. I hope a re-examination of the script and another staging might just do the trick. Running time: approximately two hours and 15 minutes with no intermission. Masks are required to be worn for the performance. ‘White Muscle Daddy’ runs until March 31 at the Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. For tickets: buddiesinbadtimes.com or call (416) 975-8555. A PENCIL KIT PRODUCTIONS AND BUDDIES IN BAD TIMES THEATRE PRODUCTION Presents ‘White Muscle Daddy’ by Raf Antonio Produced by Claren Grosz Directors: Raf Antonio and Tricia Hagoriles Previous Next

Where theatre is not only presented on the stage. Back ORACULUM: a Buddies in Bad Times and Denim & Pythia co-production. Now on stage at Toronto's Buddies in Bad Times Theatre, 12 Alexander Street. Jeremy Mimnagh Geoffrey Coulter, actor, director, adjudicator, arts educator “A journey of self discovery and divine mystery” For 45 years, Buddies in Bad Times Theatre has been Toronto’s leading destination for artistically rigorous alternative theatre and a world leader in developing queer voices and stories for the stage. They have year-round offerings of queer theatre, new works festivals, artist residencies, and training and education initiatives. Their mandate has always been to develop, promote, and preserve stories and perspectives that are challenging and alternative. Buddies is proud to premiere its newest production, “Oraculum” a provocative two-hander play born from the enigmatic imaginations of two of Canada’s premier drag artists, Denim (Emerson Sanderson) and Pythia (Christos Darlasis). This opening night sold-out performance was sassy, colourful and completely over-the-top with glitz, glamour and plenty of silicone. These two dames of drag take us on a journey of self-discovery and divine mystery, as filtered through the virtual crystal ball of an online psychic reading website. These two divas of divine dress-up act, dance, lip sync, and flirt in costumes that run the gamut from garish and glittery to sexy and scandalous. Gender and spirituality are at the centre of this otherworldly spectacle. The plot is muddy and ambiguous; something about two best friends, each being interviewed throughout by a disembodied voice for some fictitious reality show. Short scenes thereafter reveal that one is trying to manipulate the life of the other by pretending to be an online psychic, purposely doling out bad advice and silly promises. It turns out these two are not really friends at all but back-stabbing, jealous and villainous vixens. Random acts of dancing and lip-syncing to pop music ensue. These two (with the onstage help of stage manager Sandy Plunkett) are clearly having fun being their most audacious, authentic, if somewhat scattered, selves. Set, projections and lighting are courtesy of Cosette “Ettie” Pin. The set is simple but functional. Two left and right arches flank the raised stage, and a more prominent arch centre stage. Giant, fluffy cotton ball clouds are suspended above. Upstage curtains on both sides make easy entrance and egress for our two players. The arches look a little flimsy. I had visions of the centre one toppling forward as it was being wheeled forward and back. The smaller side arches are strung with sheer netting, allowing the excellent projections to be cast on an invisible screen. Pin’s clever lighting design nicely accentuates the bright pastels of the costumes. However, the spots on Pythia and Denim at either side of the stage are harsh and shadowy, obscuring some of their exotic facial expressions. Director ted witzel stages the players effectively, utilizing the entire space judiciously. A notable issue is speaking voice. While I appreciate their scant costumes preclude the use of body mics, Denim and Pythia need to increase their volume significantly and slow their rapid-fire delivery. Much of their dialogue was lost to my ears and several jokes escaped me. As the Buddies mantra proclaims, “Queerness is a divine mystery”. Certainly, “Oraculum” is its empyreal embodiment – A pair of glamourous shapeshifters in a bewildering tale that is unabashedly in-your-face outlandish, surreal and sensually preposterous. The opening night audience was quick to reward our buxom beauties with a standing ovation for all the glitz, glitter and brazen bawdiness. Buddies has always pushed boundaries, challenged norms, and invited artists and audiences to explore expansive, provocative, and oppositional forms of expression. “Oraculum” checks all the boxes. Theatre doesn’t get much queerer than this. Buddies in Bad Times Theatre presents a Buddies in Bad Times and Denim & Pythia co-production. “Oraculum” Running time: Approx. 75 minutes with no intermission. The production runs until December 14 at Buddies in Bad Times Theatre, 12 Alexander Street, Toronto M4Y 1B4. For tickets call the box office at 416-975-8555 or www.buddiesinbadtimes.com/tickets/ Performers: Denim, Pythia, Sandy Plunkett Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back Thousand Islands Playhouse presents 'THE SOUND OF MUSIC' Now onstage at The Springer Theatre Randy deKleine-Stimpson Joe Szekeres A Rote and Paint-by-Numbers staging of the classic. This 'Sound of Music's' rushed pacing and dialogue challenge the production The setting is Salzburg pre-World War 2, the historical backdrop of the Nazi rise to power in Austria. We are almost all familiar with The Sound of Music’s story. Maria Rainer (Ellen Denny), a postulant nun stands out from the other sisters at Nonnberg Abbey due to her daydreaming, tree-climbing, and torn dress. She even waltzes on her way to mass and whistles on the stairs. Mother Abbess (June Crowley) sends Maria to work as a governess for widower Georg von Trapp (Eric Craig) and his seven children. Maria wants to reunite Captain von Trapp with his children who yearn for their father's attention but struggle to connect with him emotionally. She captures the children’s hearts while connecting with them through the power of music. Captain von Trapp is pursuing a relationship with Baroness Elsa Schraeder (Alison J Palmer) whose close friend, the children’s uncle, entertainment impresario Max Detweiler, (Rob Torr) is captivated by the children's singing talent under Maria’s tutelage and is intent on featuring the Von Trapp Family Singers in a prestigious music festival. Meanwhile, Captain von Trapp may be developing feelings for Maria. The visual presentation of the tale is lovely. Brandon Kleiman’s striking set design features eight columns with two accompanying staircases on stages left and right, leading to a central playing area with three descending steps. The proscenium center stage is especially noteworthy, serving as both a window in the von Trapp house and a stained-glass window at Nonnberg Abbey in various scenes throughout the show. A program note states the inspiration for the set design came from the Springer Theatre, which served as the Canoe Club during 1938 and both world wars. This is a clever and thoughtful touch. Andre du Toit’s lighting nicely complements Kleiman's set, particularly during the scenes at the Abbey in the beginning and towards the end when the von Trapps are in hiding following their concert. Joshua Quinlan, the Costume Designer, is responsible for replicating the clothing style of pre-World War 2 as accurately as possible. He has done an excellent job, especially in creating the children's play clothes (famously crafted from Maria's bedroom drapes) and concert attire. Maria's wedding dress is also appropriately simple and elegant. Mike Doherty’s sound design provided good clarity in the first act. I could hear the dialogue and lyrics perfectly, which has been challenging with some musicals I’ve reviewed over the years. Unfortunately, there were some technical issues with actors’ mics near the end of Act 2 but, overall, the sound in the Springer for this production seems significantly improved. Performance-wise onstage, I was less enthusiastic. At this opening-weekend matinee, I was taken aback by how the show galloped headlong at a frantically rushed pace which compromised the emotional core of the piece. For instance, when the children sing for Elsa Schraeder, I watched Captain von Trapp's reaction to hearing music in his home for the first time since his wife's passing. Eric Craig didn't fully let that moment sink in or resonate. The actors in the scene spoke their text with quick precision, but as an audience member, I expected some emotional depth that wasn’t there. I wanted to feel the widower’s grief and regret. Unfortunately, no emotion came through for me. This was essentially true for a good part of the show; dialogue and song lyrics whizzed by, perfectly memorized but delivering little heart. It's true that ‘The Sound of Music’ is a long show (this performance lasts two and a half hours with one interval), so keeping track of time is a reasonable concern. Nevertheless, Director, Naomi Costain, is responsible for ensuring that the storytelling resonates with the audience regardless of timing. With largely presentational staging, mostly blocked downstage-centre, and all very hurried, Costain steers this production emotionally far from the sweet sentimentality of the beloved story we know from the film. The challenge for the actors telling this story should be to convey credible, sometimes poignant emotions that resonate with the audience. Unfortunately, it looked like Costain hadn’t given clear, connected human motive for movement or songs, from one point to another, other than serving to move people around on a stage. As a result, there’s a “we go here now because we’re told” feel to the proceedings that makes it somewhat like watching a paint-by-number being completed… sure, it’s kind of pretty, but is that all? As an audience member, like most familiar with the classic story, I hoped to witness the characters we know come to life. They’re not there yet. Only when Rob Torr’s terrific Uncle Max brings his flourish of bravado and depth of pathos to the stage is this production somewhat elevated. Six of the seven children have been double-cast. However, no program notation informs us who we see for any given performance. Neither are young actors given bios, which is odd since the kids are (let’s be honest) one of the reasons we want to see the show. The children acquit themselves well is all I can offer without knowing more about whom I saw onstage. I would like to suggest that a program insert or an announcement listing the names of the children performing at any given show would be well deserved. Running time: approximately two and a half hours with one intermission. ‘The Sound of Music’ runs until August 67 at The Springer Theatre, 185 South Street, Gananoque. For tickets call 613-382-7020 or visit www.1000islandsplayhouse.com . THOUSAND ISLANDS PLAYHOUSE presents THE SOUND OF MUSIC Book by Howard Lindsay & Russel Crouse; Music by Richard Rodgers and Lyrics by Oscar Hammerstein Director and Choreographer: Naomi Costain Music Director: Anthony Bastianon Set Designer: Brandon Kleiman Costume Designer: Joshua Quinlan Lighting Designer: Andre du Toit Sound Designer: Mike Doherty Performers: Ellen Denny, Eric Craig, June Crowley, Rob Torr, Alison J. Palmer, Mary Kelly, Sarah Strange, Annie Ramos, David Talbot, Marcia Tratt, Hadley Mustakas, Robbie Fenton, Curtis Sullivan, Douglas Hughes, Gareth Davies, Brittany Miranda, Jamie Murray, The Children: Micah Garvin/Matthew Fournier; Amara Nanji/Charlotte Stroud; Scarlett Belanger/Isla Oatway; Reid Nicholson/Malcolm Jager; Emilie Lord/Bria Dubey; Yvette Lord/ Brea Oatway Previous Next

Where theatre is not only presented on the stage. Back Charles Dickens' 'A Christmas Carol' adapted and written by Justin Haigh Presented by Three Ships Collective and Soup Can Theatre, now onstage at Toronto's historic Campbell House Laura Dittman Dave Rabjohn “An engaging story which helps to define Christmas.” From the Three Ships Collective and Soup Can Theatre, and now in its fifth year, ‘A Christmas Carol’ continues to charm sold out Toronto audiences. This Dickens classic is an immersive promenade through the historic Campbell Museum. The venue is both a delight and a disadvantage. The intimacy of the small rooms and low ceilings seems to plant us in Victorian England. The audience moves from room to room through the various scenes in the very company of the actors. We sit with them in their kitchens and bedrooms and lean on their furniture. The disadvantage is simply that audience size has to be quite restricted leaving many theatre goers without this unique experience. Watch early for 2024 tickets! Justin Haigh’s adaptation maintains Dickens striking tale of greed and redemption through a Christmas prism. Some distinct additions are made to further personalize the well known story. A fine example is the meek Bob Cratchit boldly trying to hide a foreclosure note to avoid a Christmas tragedy. Alecia Pagnotta’s musical direction also adds colour to the story with both sombre violin pieces (Manon Ens-Lapointe) and some rousing choral pieces. The multi-talented cast is a combination of veterans from previous productions and newcomers. In Dickens’ novel, Jacob Marley’s ghost is a short-lived character in the early part of the story, however, his influence controls the narrative and Scrooge’s awakening. It is an ingenious twist to use Marley as the host and the guide as we move from room to room. Played by Nicholas Eddie, Marley is a statuesque force – Eddie is both a powerful presence, but also a strangely calm and comfortable guide. With eerie chains and regal height, his eyes can’t help but look down upon us – again with a touch of both menace and warmth. An extraordinary performance. Thomas Gough, as Scrooge, delivers a performance that must range through seething anger, distrust, and final humility. His meanness is often controlled and sometimes brash and wild. As he moves from desperate avarice to his final self-effacement, his voice softens – sometimes to the disadvantage of the audience when we strain to hear his mournful pleas for forgiveness. Justine Christensen is remarkable as Scrooge’s young love interest. Her quiet scene with young Ebeneezer is heartbreaking especially when juxtaposed with Ebeneezer’s descent into lonely avarice. Younger performers brighten the cast with both zeal and talent. Chloe Bradt plays both Martha Cratchit and the ever- popular Gus – the Goose-Fetching Lad. Alyzia Ines Fabregui is equally appealing as Tiny Tim Cratchit – she is paired with Ava Marquis alternating performances. As with Dickens original novel, all three ghosts are varied and distinct. This is accomplished by Manon Ens-Lapointe as Christmas past and Jonnie Lombard as the excitable Christmas present and the ominous Christmas future. Sare Thorpe’s fine direction is further remarkable as they navigate the production in a non-traditional venue. However, special credit is deserved as we were notified post-performance of an actor’s mid-performance illness where Thorpe quickly threw on a wig, stepped in and finished the job. Dickens engaging novel helps to define Christmas. This production both reminds us of his genius and finds new ways for us to enjoy the remarkable story. Even though the production is sold out for the rest of the run, you can sign up on a standby list for a given performance: soupcantheatre@gmail.com . Even if no additional tickets become available this year, people who sign up for the wait list will also be notified about next year's production. ‘A Christmas Carol’ Charles Dickens, Adaptation – Justin Haigh List of cast members see: christmascarolto.com Director: Sare Thorpe Stage manager: Scotia Cox Music director: Alecia Pagnotta Previous Next

Where theatre is not only presented on the stage. Back 'Trace' by Tristan R. Whiston and Moynan King A ReDefine Arts and Theatre Passe Muraille Co-Production Credit: Henry Chan. Pictured: Tristan R. Whiston Joe Szekeres ‘Trace’ Draws a Shadow of Incompleteness Is it possible to be both intrigued and puzzled by choices made in a theatrical production? Whether or not this is true, ‘Trace’ (now in the middle of its run at Theatre Passe Muraille) did just that. I’m all for really hearing and listening to learn of themes and messages, but I am also puzzled by choices here made that didn’t draw completeness for me. A press release from Theatre Passe Muraille bills the production as: “an interdisciplinary performance about the voice in transition, ‘Trace’ focuses on the ongoing nature of queer being and becoming by transforming a private story into a public performance that takes the audience on a journey across time and identity.” It is performer Tristan R. Whiston’s voice that is in transition throughout. As a retired Catholic educator, I know the importance of interdisciplinary studies within the secondary school system. Nevertheless, a great deal of planning is necessary to ensure the cross boundaries of pulling various disciplines together to ensure student success and learning is of the utmost importance. I’m not convinced enough planning was set aside in gelling the audio, visual, sight and sound together. As an audience member, I felt incomplete leaving the theatre and wondering what I have missed. Trixie and Beever’s set design piqued my attention. The striped beach huts where one could enter and learn about voice technology were interesting. During the show, an invited audience member went in to record something that we could hear on our way out. Jasmine King’s costume designs nicely accentuated the uniqueness of each of the characters in the live choir. Whiston’s white suit complete with a white hat was a classy look a la the 1940s. However, ‘Trace’ showcases too much in this interdisciplinary performance. It’s as if director Moynan King wants me to pay attention, here, then here, then over there and don’t forget this. I really couldn’t figure out where my focus was to be. Am I to focus on the experimental sound art (which I found fascinating by the way)? Jeremy Mimnagh’s video designs of the visualization of the lake juxtaposed with Tristan R. Whiston/Moynan King’s sound designs are rather impressive to view and hear. What was also fascinating was the whispering of the echoes of ‘Can You Hear Me?’ which worked well within the auditorium of the Mainspace theatre. Okay, is the theme of ‘Trace’ one where we are to do our best to hear, to really hear, what someone is saying? That’s what I gleaned especially when I could hear Whiston’s singing voice in transition. Not only is it polite and proper but very important to hear what everyone has to say since the world that we know now has changed so much. A transgendered male, Whiston moves down to tell us about Tristan’s journey. Tristan uses some stand-up comedy and some good old-fashioned storytelling. Okay, so I wanted to hear what Tristan was saying and I paid attention. Tristan did make me smile and laugh a couple of times at some of the anecdotes he shared. But am I now to focus on the stand-up comedy routine and hear what’s being said about the voice in transition? The archival video footage of The Boychoir of Lesbos and the live choir of a newly realized trans/non-binary/gender-queer choir provided some astounding vocals to hear and listen. It was a moving presentation of the live choir near the end to hear Styx’s ‘Come Sail Away’. The harmonious vocals of the singers were powerful. Charissa Wilcox’s lighting design framed this musical moment sharply. I could clearly see the singers’ faces from my seat. But why ‘Come Sail Away’? Where did this production want to sail away with me? What is the final destination? At one point, I read the Visual Link of ‘Trace’ in the programme. (Possible spoiler alert ahead) Within this link, Tristan is described as a transgender worrier rather than a transgender warrior, and the worries have changed over time. Tristan used to worry about how Tristan’s transgender identity will affect Tristan’s daily life. Now Whiston worries about Tristan’s life and being an average man. That last sentence is a contentious issue in our world right now. It is one causing a great deal of violence and disagreement. So, am I to glean I was sailing away to confront this controversial issue? If I was, then I felt uncomfortable about it. The production did not prepare me for this voyage. I can’t have a trace of an understanding of a social issue that has wreaked controversy, and that’s why I felt incomplete leaving the theatre at the end. Final Comments: I have no problem with theatre challenging audiences at all. Good theatre intends that. Passe Muraille has presented some quality productions since I’ve begun reviewing where I’ve been challenged to think about the story and the characters. I like when that happens. Unfortunately, ‘Trace’ is only a shadow of what it could be. Running Time: approximately 60 minutes with no intermission. The production runs to April 30 in the Mainspace at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto. For tickets, visit passemuraille.ca. TRACE by Tristan R. Whiston and Moynan King Director: Moynan King Performer: Tristan R. Whiston’ Co-Producer: Anna Camilleri Video Designer: Jeremy Mimnagh Sound Designer/Composition: Tristan R. Whiston with Moynan King Production Manager/Lighting Designer: Charissa Wilcox Set Designer: Trixie and Beever Costume Designer: Jasmine King Stage Manager: Becky Gold Previous Next

Where theatre is not only presented on the stage. Back Measure for Measure Now on stage in the Studio Theatre at Crow's Theatre, 345 Carlaw Avenue, Toronto. @kendraepikphotography Pictured: Jamie Cavanagh Geoffrey Coulter, actor, director, adjudicator, arts educator "This Measure for Measure doesn’t measure up! It’s a confusing and muddled adaptation of one of Shakespeare’s more obscure works, performed as a live radio play - of sorts. While this concept isn’t novel, its execution flounders, defying its premise and leaving the audience scratching their collective heads, bemused and befuddled." House + Body is a new-ish (2016) theatre company with a mission to “produce radical adaptations of works from the global classical canon.” All very well, indeed. I’ve seen clever and innovative takes on the classics. In fact, Stratford will be presenting this season a modern version of ‘Macbeth’, setting the uncanny action during the Quebec biker wars of the 1990s. Last season, Soulpepper presented a stunning reimagining of Chekov’s ‘Three Sisters’, shifting the action from 1890s Imperialist Russia to Nigeria’s Biafran War of the late 1960s. Now, director Christopher Manousos has adapted Shakespeare’s 1604 “problem” play (it’s neither a tragedy, comedy, nor history), choosing to have the play performed as a live radio stream inside a contemporary sound studio with only five actors playing all twenty characters. A neat idea, to be sure. But it doesn’t follow through. The Studio Theatre at Crow’s is a small rectangular room with bleacher-style seating around its perimeter. This is the sound studio from which the play will be performed. In the middle of the room are two tables together, set up with audio mixer, microphones and plenty of foley equipment, which, presumably, the cast will be using to make the various sound effects needed in an auditory production. As the cast ambles in, we learn from the host (Danté Prince) that this is an episode of “Soundwave Shakespeare,” a weekly radio/podcast program where various Shakespearean plays are performed live. Performers are introduced, including the show's star producer (Sébastian Heins) and his lover (Katherine Gauthier), and an actress (Beck Lloyd) stepping in at the last minute to play the role of Isabella. It's all good so far. Then the problems begin. Although the microphones and equipment look like we’re going to witness a solely vocal production, it quickly becomes apparent that we are seeing a live, play version of the show. The tables are sent to either end of the room along with the mics and most of the sound effects props. Actors do create some of their own sounds, but they’re off-mic and don’t sound authentic. A jug and glass of water, bells, small chains, and keys don’t have the desired weighty effect, and some weren’t used at all (by the way, boots on a melamine tabletop don’t sound very seventeenth-century). The foley fell flat. With text memorized, actors play out their scenes under full lighting and pre-recorded sound effects. This is a live theatrical production. What happened to the radio part? This is where Manousos turns his own concept on its head. He seems to have forgotten that live radio dramas and podcasts (think “War of the Worlds”) are presented purely through sound, relying on voice acting, music and sound effects to create a story. Why, then, does Manousos have his actors off-book, in blocked scenes, with multi-coloured lighting design and Riel Reddick-Stevens’ pre-recorded sound effects (a recording of water dripping when there’s a jug right on the table?)? That’s what we expect for stage plays, but this is a radio play. I’m confused. Things get even more confusing when the microphones are re-introduced in act two, and actors rarely wander from them. There’s also the matter of character relationships. For the most part, we only know the actors for the multiple Shakespearian characters they’re playing. Yet, Beck Lloyd, the actress playing Isabella, is stepping in at the last minute to play the lead role. At the end of Act One, we learn that she’s in or has had a relationship with the other female cast member. This revelation has no explanation, no understanding and is never revisited. Additionally, Lloyd is so good that it’s a stretch to believe she’s playing as a replacement. This could be a fun concept. There are some fine live play versions of radio dramas such as Joe Landry’s “It’s a Wonderful Life: A Live Radio Play” - actors standing at mics, scripts on stands, performing their own sound effects under minimal lighting, with interesting subplot branching off the main narrative. That’s what I was expecting. I also wanted to know more about who the actors are when they’re NOT playing their Shakespearean counterparts. This choice might flush out the female love affair and other relationships, including the meaning of the play’s last sentence. The five-member cast overall is quite good, with performances that run the gamut from adequate to masterful. Beck Lloyd and Jamie Cavanagh are the strongest in their nuanced understanding of iambic pentameter and rhyming couplets. Although they’re all working hard, it’s hard to distinguish who’s who among the multiple characters they're playing. This is where voice performance needs to be especially effective (since this is a “radio” play?!) It's difficult to comment on Chris Malkowski’s lighting design. As a live stage play, his spotlights, colours and fluorescents could add dimension and depth to scenes. Here, they just seem random and, as a radio play, excessive. I’m confused again. Fundamentally, the difficulty with this production is that it doesn’t know what it wants to be. Is it a live radio stream? Then why have actors memorize their lines and move about an overly lit room away from their mics? Is it a stage play? Then why have the second half performed at a table of mics? I’m all for new concepts, but they need to be consistent and make sense. Manousos needs to pick a medium and stick with it. Running time: Approximately 2 hours, 10 minutes with one intermission. House + Body in association with Crow’s Theatre presents “Measure for Measure” Adapted and directed by Christopher Manousos after Shakespeare Lighting designed by Chris Malkowski Sound designed by Riel Reddick-Stevens Performers – Jamie Cavanagh, Katherine Gauthier, Sébastian Heins, Beck Lloyd, Danté Prince The production runs until March 16, 2025, at Crow’s Studio Theatre, 345 Carlaw Ave, Toronto. For tickets, call the Box Office at (647) 341-7390 ext. 1010 or email boxoffice@crowstheatre.com Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage 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

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Damn Yankees' The Shaw Festival Michael Cooper Dave Rabjohn Grab a hotdog and head for the bleachers (Shaw Festival) to catch a spectacular revival of the ever-popular ‘Damn Yankees’ now playing through the summer at Niagara-on-the-Lake. This particular performance had an inordinate number of understudies taking over and the show seamlessly continued with marked precision and energy – a tribute to both the talented cast and Brian Hill’s direction. Another highlight punctuating the success of this production was Cory Sincennes’ brilliant design which was clearly intended to unabashedly immerse this period piece in the heart of 1950s post-war America. This added a sense of nostalgia and integrity to the story. The set included posters advertising new household gimmicks and nuclear families, art deco furniture and blinking black and white TV sets. Costumes included wildly printed a-line dresses, zoot suits and baggy baseball outfits that would make a modern player cringe. A soaring red canopy bed was another highlight. The Washington Senators stink and everyone hates the Yankees. In a ‘be careful what you wish for’ moment, Joe Boyd makes a deal with the devil to relive his youth and become a Senators star and help beat the New Yorkers. Disappearing from his wife and suburban comfort, Joe is torn between fame and his cross-generational yearning. The devil (Applegate) continues through the play as Joe’s manager, lawyer and social director all with a plan to eventually steal his soul. The Senators finally beat the Yankees, just as Applegate makes one final effort to embarrass Joe who makes the last dramatic catch, as the old Joe, who then rushes back to his home – the everyman can also be a star. Shining out of an accomplished cast were two brilliant performances. Mike Nadajewski as Applegate (Devil) was effortlessly chameleon-like. Just as the devil changes shapes, Mr. Nadajewski roams through various personalities, partly listed earlier, with both precision and abandonment. He cements his star turn with the campy ‘Those Were the Good Old Days’ thrilling the audience with his George M. Cohen-like number complete with straw hat and cane. The second rich performance came from Elodie Gillett as Applegate’s colleague Lola. Her exotic, sultry style suited the homewrecker to be. Her voice soared in ‘Whatever Lola Wants’ and a duet with Joe (James Daly) was striking. Mr. Daly did a lot of heavy lifting as the dashing Joe Hardy and was most endearing in ‘A Man Doesn’t Know.’ Another captivating comic performance came from Gabrielle Jones as the likeable Miss Weston whose squeaky voice and dreamy fawning gave way to some elegant dance routines with her posse of excited groupies. This production is elevated by creative choreography from Allison Plamondon. ‘The Game’ was especially endearing. Special effects from Skylar Fox added some mind-contorting illusions – floating balls, human transformation, and a magical wardrobe among others. Clever sound design from John Lott was highlighted by the unmistakable sound of ‘bat on ball’ – each ‘crack’ was subtly different as the unseen ball moved in various directions. This writer would be remiss to not mention a spectacular final exit that most actors probably dream of executing. Elodie Gillett, as Lola, somehow engineers her own portal into one of Dante’s circles of hell – we see some wispy evidence of brimstone as she slowly moves in, red dress steaming and blond hair flashing until – she is gone. Devilishly magical. ‘Damn Yankees’ by Richard Adlar and Jerry Ross Performers: Andrew Broderick, Shane Carty, James Daly, Peter Fernandes, JJ Gerber, Elodie Gillett, Patty Jamieson, Gabrielle Jones, Graeme Kitagawa, Caitlyn MacInnis, Allison McCaughey, Kevin McLachlan, Mike Nadajewski, Drew Plummer, Kimberley Rampersad, Alana Randall, David Andrew Reid, Ric Reid, Jade Repeta, Adam Sergison, Olivia Sinclair-Brisbane, Taurian Teelucksingh, Jaqueline Thair, Jay Turvey, Kelly Wong. Director: Brian Hill Music Director: Paul Sportelli Choreography: Allison Plamondon Set and Costumes Design: Cory Sincennes Sound Design: John Lott Lighting Design: Mikael Kangas Magic and illusions Design: Skylar Fox Shaw Festival Performances run through October 9, 2022. Tickets: shawfest.com Previous Next

Acknowledgements and Thank You Notices. Back Welcome to 'Our Theatre Voice' A Long Awaited Launch Joe Szekeres Joe Szekeres April 19, 2022 Welcome to ‘Our Theatre Voice’. First off, an enormous thank you to Grade 12 Co-operative Education student, Elodie Hraynyk. I wouldn’t have had a clue on how to format and to set up this website without her assistance and knowledge in knowing which buttons to push, where to click or whom to contact. Elodie’s continued interest in helping me to build this website and for keeping me calm and rational when I got confused kept me laughing and from wanting to pull out what little hair I have left on my head. Well, I never thought I would have my own theatre website, but here it is. A memorable and personal experiential journey now begins. First, a huge thank you to two individuals who have encouraged me in pursuing this task - Will McGuirk from Durham Region’s Slowcity and Chris Peterson from On Stage Blog. Thank you both for the encouragement, the opportunity to write, the opportunity to make many mistakes and learn from them and, most importantly, TO KEEP GOING in writing reviews and commentaries. The next thank you goes to critic Lynn Slotkin. I’ve read many of her reviews over the years and have always respected her well-regarded look on all things theatre-related. I’ve taken two review writing workshops with Lynn through the now-defunct Theatre Ontario. She has been my go-to when I’ve had inquiries and questions about the professional live theatre scene in Toronto and beyond. Lynn, thank you for the continued and valued feedback. I also wish to thank Aisling Murphy from Intermission Magazine for the productive and encouraging feedback. When I say the journey has been memorable, that it has truly been. We all have our stories with Covid. I wish to thank those professional theatre artists who agreed to share some of their life stories in their profiles through OnStage Blog. I also wish to thank those artists who endorsed my work on said Profiles. One of my plans for this site is to continue highlighting the professional artist here in ‘Our Theatre Voice’. Finally, as we slowly emerge from this pandemic with potential future waves, it is so vitally important that we continue to support professional and local live theatre within our cities and communities. David Rabjohn and I here in Ontario will keep you posted on the dramatic scene while East Coast blogger and reviewer, Aaron Kropf, will showcase the work of artists out there. Wishing everyone all good things theatre-wise as we move forward. Joe Founder, Editor and Publisher of ‘Our Theatre Voice’ Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back Inside American Pie Now on stage at the CAA Theatre, Credit: Dahlia Katz. Pictured: Mike Ross on piano during performance. Joe Szekeres “A chillin’ docu-concert. Part educational and part entertaining, ‘Inside American Pie’ rocks the CAA Theatre. The roof-raising audience appreciation in applause nearly brings the house down. One can’t help but hum along to the songs.” The line ‘the day the music died’ from the iconic 1971 ‘American Pie’ by Don McLean refers to the 1959 plane crash that killed rock and roll legends Buddy Holly, Ritchie Valens and the Big Bopper. McLean’s nostalgic and iconic song continues to be debated for its sometimes-vague line (mis?) interpretations. Artist Mike Ross and co-creator Sarah Wilson (Ross acknowledges his wife/producer, Nicole Bellamy, too) take the song’s nostalgia to the next level. They want to decode its possible meanings. In his Programme Note, Ross writes that the docu-concert is really what it implies—a collision of context interpretation and song delivered directly to the audience. Ross writes he developed this format mostly at Soulpepper, where he was given space to make mistakes and figure things out. On this opening night at the CAA Theatre, Inside American Pie’s 90-minute docu-concert aims to unravel the mystery behind the iconic 1971 song. Ross and Wilson select specific songs from the ‘60s and ‘70s that may have influenced McLean while writing ‘American Pie.’ Does this docu-concert format work? Yes. Wonderfully. Lorenzo Savoini’s concert design works well in placing Ross stage right on piano. Performers Alicia Toner, Brielle Ansems, and Greg Gale are centre stage, with Kirk White on drums upstage. Lighting designer Simon Rossiter perfectly accentuates those solo moments, most notably in Brielle Ansem’s rendition of Creedence Clearwater’s Revival’s ‘Bad Moon Rising.’ At the top of the show, Ross shares that his interpretations of ‘American Pie’ reflect are derived from his research. He encourages audience members to speak with him if they know something he might have overlooked. Led by Ross on piano, the four PEI musician ensemble accompaniment sounds terrific. They’re chillin’. Several of Ross’s arrangements are memorable: the opening ‘Come On, Let’s Go’ by Ritchie Valens, John Lennon’s ‘Imagine’ and Bob Dylan’s ‘The Times They Are A-Changin.’ Acknowledgements to Sound Designer Sergey Varlamov to ensure the song lyrics can be heard. Ross is also an incredible pianist. There’s a moment when he stands and plays with remarkable gusto and spirit. Ross’s joy in sharing his music becomes contagious. That same joy infects the audience, who nearly bring the CAA house down with their roof-raising applause. That moment is forever etched in my mind. Final Note: Again, in his Programme note, Ross describes the process of a docu-concert as alchemy that involves back-and-forth collaborations with great people who lent their gifts to a meeting ground for music, design, story, and documentary. The key word is gift. Harmony House, in partnership with Mirvish Productions, presents a most welcome gift as spring approaches. The gift of song and storytelling. When these two elements are superbly combined in this five-person ensemble, the result is a memorable theatre experience. Give yourself a gift and go see ‘Inside American Pie.’ Running time: approximately 90 minutes with no interval/intermission. ‘Inside American Pie’ runs until March 30 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333. DAVID AND HANNAH MIRVISH present the HARMONY HOUSE production ‘INSIDE AMERICAN PIE’ created by Mike Ross and Sarah Wilson Producers: Harmony House, Nicole Bellamy and Mike Ross Music Director/Arranger: Mike Ross Set Designer: Lorenzo Savoini Lighting Designer: Simon Rossiter Sound Designer: Sergey Varlamov Stage Manager: Rob Harding Performers: Mike Ross, Alicia Toner, Brielle Ansems, Greg Gale, Kirk White Previous Next

Where theatre is not only presented on the stage. Back 'Fierce' written and directed by George F. Walker Presented by Moss Theatre Collective and Alumnae Theatre Company at Alumnae Theatre, 70 Berkeley Street, Toronto Credit: Nicholas Porteous. Facing to camera: Elizabeth Friesen. Side view: Liz Best Joe Szekeres ‘Directed with bold intent by George F. Walker and peppered with grounded, believable and ‘fierce’ performances by Liz Best and Elizabeth Friesen.” Playwright and director George F. Walker takes his ‘Fierce’ and markedly turns it upside down. At times, this opening night production left me laughing rather uncomfortably. For one, the programme bills ‘Fierce’ as healing through strange and meaningful connection (and a combination of illicit substances and pizza). That made me smile, but okay, I’ll buy into it. What is remarkable about this opening night of ‘Fierce’? What appears conventional at the top of the show becomes twisted and bent by the end, leaving me shaking my head and wondering if a story like this could occur where boundaries have been crossed in client/medical professional relationships. One thing is for sure – this ‘Fierce’ makes for good theatre. Jayne (Elizabeth Friesen) has been newly released from prison after another drug and drink-fuelled public disruption. She lands in psychiatrist Maggie’s (Liz Best) office for court-ordered treatment. During the 80-minute session (sans interval/intermission), Jayne and Maggie go head-to-head in revealing and confronting hidden sides of themselves that have been buried deep for years. They struggle to cope with these sorrows and somehow bond through a need to escape the past. Douglas Tiller’s realistic-looking set design of Maggie’s office amply fills the black box third-floor theatre setting at the Alumnae. Daniel Shiels warmly lights the office playing space with a slight dimming to indicate time has passed. Tiller and Scenic Painter Alysson Bernabe have effectively captured that sterile office environment of the white walls. Office accoutrements of a lamp, the proverbial plant, and a coat rack are far stage left. Centre stage is the sitting area comprising a couch and Maggie’s chair. Upstage right is Maggie’s desk—props to designer Fabiana Mercurio for having Maggie’s degrees on the walls and the striking picture placed centre on the back wall of a vast (farmer’s?) tilled field that caught my eye when I sat down. Pictures in an office usually indicate something about the person. Farmers grow productively for consumption or use and typically profit from their goods. Is this how Maggie sees herself with her clients? Walker directs his script boldly and elicits grounded performances from his actors. Pacing is natural, and spoken dialogue is enunciated clearly. Elizabeth Friesen’s Jayne is quite the sight when the audience first meets her. Her right arm is in a sling. She sports pink hair, and her makeup for the black eye due to the off-stage accident looks very real and sore. Fabiana Mercurio dons Jayne in white socks and sandals and wears realistic inmate clothing from earth-toned sweatpants and a matching sweatshirt. It seems like there is dried blood on the front of her costume. When the audience first sees her, Liz Best’s Maggie becomes a perfect juxtaposed foil to Jayne. Mercurio dresses Best in a smart-looking pantsuit. Her hair and makeup are perfectly coiffed in that professional, trustworthy look for a psychiatrist. Friesen and Best deliver terrific performance work. They remain focused and in tune with each other. They keenly listen, move around the office with purpose and reason, remain seated with intention, and respond appropriately while never hinting at over-the-top histrionics in aggressive or hostile moments. To say anything more about the plot would spoil the surprises the audience learns about these two women, their closeted skeletons, and their hidden secrets that have been vaulted for apparent reasons that become clear as the story unfolds. Final Thoughts: On the Moss Theatre Collective Facebook site, Walker was interviewed by someone who asked if he had any advice for emerging playwrights. He responded that it’s important for playwrights to bring life to the theatre. The same also applies to audiences. To bring life sometimes means to challenge. George did that to me as an audience member. I thought I knew the meaning of ‘fierce’; however, when I looked the word up just to be sure, what else did I discover about its meaning: “heartfelt and powerful intensity…proud…strong and proud, exceptional and passionate.” These keywords also describe Moss Theatre Collective’s fine production of ‘Fierce’ and why you should see it. Running time: approximately 80 minutes with no intermission. ‘Fierce’ runs until September 21 in the Studio Theatre, 3rd floor, at the Alumnae Theatre, 70 Berkeley Street, Toronto. For tickets: @mosstheatrecollective.ca MOSS THEATRE COLLECTIVE & ALUMNAE THEATRE COMPANY present ‘FIERCE’, written and directed by George F. Walker Producer and Assistant Director: Lori Delorme Producer and Assistant Director: Cassidy Sadler Stage Manager and Lighting Operator: Shannon Farrell Set Designer and Builder: Douglas Tiller Lighting Designer: Daniel Shiels Sound Designer: Andrew Honor Props and Costume Designer: Fabiana Mercurio Performers: Liz Best, Elizabeth Friesen Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'The Effect' by Lucy Prebble Now onstage at Coal Mine Theatre, 2076 Danforth Avenue Credit: Dahlia Katz. Pictured: Leah Doz and Aris Athanasopoulos Louis Train, Guest Reviewer Profound themes in THE EFFECT tackled with a blend of intellectual depth and sensuality "THE EFFECT" at Coal Mine Theatre is a play that delves into the intricacies of human connection and the complex interplay between mind and body. Connie and Tristan, participants in an antidepressant trial, navigate a tumultuous journey of emotions as they grapple with their deepening mutual attraction. The question underlying this play’s dramatic tension is not whether Connie and Tristan will get together - that’s a given from the opening scene - but why they are attracted to each other. Is it a result of chemical manipulation, or is love? And what is love anyway, if not a neuro-electro-chemical process? Under Mitchell Cushman's skillful direction and Lucy Prebble's thought-provoking script, "THE EFFECT" tackles these profound themes with a blend of intellectual depth and sensuality. At its core, "THE EFFECT" wrestles with the enigma of the mind-body problem, delving into the intricacies of our psychological and physical selves. It also sheds light on the prevalence of antidepressant usage and raises ethical questions about the pharmaceutical industry behind it. Yet, the play avoids didacticism and instead adopts a structure reminiscent of a Platonic dialogue, engaging the audience in a captivating and nuanced exploration that stimulates both the intellect and the senses. The performances from the entire cast are commendable, but Aviva Armour-Ostroff stands out, revealing her character's layers with a captivating air of mystery and tension. Each scene deepens the audience's investment in her portrayal of Dr. Lorna James, unravelling the complexities she embodies. The inventive set design by Nick Blais makes excellent use of the small space of the stage while nodding to the show’s roots in science and invention (you’ll see what I mean when you see those amazing transforming chairs in action). Likewise, the incorporation of techy music, composed by James Smith, and projection, by Jack Considine, pays homage to the scientific setting of the play while eliciting a visceral response, quickening the pulse of those in attendance. I've often considered mental health as the uncharted frontier of dramatic storytelling. In our modern era, directors conscientiously avoid perpetuating stereotypes about most marginalized communities, yet, for some reason, the realm of mental illness often receives a pardon. While many scrutinize "Othello" for its problematic aspects, "King Lear," with its profound exploration of madness ("The tempest in my mind..."), is usually exempted. Madness becomes a thrilling plot point, while few writers undertake the necessary research to portray characters with mental illness accurately. However, "THE EFFECT" stands apart, displaying meticulous attention to detail and heightened sensitivity in portraying these characters (credit again to the remarkable Aviva Armour-Ostroff). In this regard, "THE EFFECT" proves itself truly ahead of its time, breaking new ground in mental health representation on stage. Running time: approximately two hours and 15 minutes with one intermission. The production runs to July 30 at Coal Mine Theatre, 2076 Danforth Avenue. For tickets, visit coalminetheatre.com. ‘The Effect’ by Lucy Prebble Directed by Mitchell Cushman Set, Lighting and Prop Design: Nick Blais Projection Design: Jack Considine Costume Design: Cindy DEzib Sound Design and Composition: James Smith Psychiatry and Mental Health Consultant: Eloise Ballou Stage Management: Jeff Soucy and Scotia Cox Performers: Aviva Armour-Ostroff, Aris Athanasopoulos, Leah Doz, Jordan Pettle Previous Next

Where theatre is not only presented on the stage. 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

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Charlie and the Chocolate Factory' Now onstage at London, Ontario's Grand Theatre Credit: Dahlia Katz. Pictured: Mark Uhre as Willy Wonka Joe Szekeres "Even adults can learn life messages from stories that seemingly only appeal to children. That forgotten thought becomes abundantly clear watching this slick ‘Charlie and the Chocolate Factory’ now onstage at The Grand." I owe the memory of Roald Dahl the sincerest of apologies over these last years. I was never a fan of his children’s books and considered them odd growing up. I wasn’t interested in watching the 1971 film where Gene Wilder plays Willy Wonka, either. What an unimaginative choice to make on my part. Be imaginative, you colossal fool. This slick opening night production of ‘Charlie and the Chocolate Factory’ at London’s Grand Theatre allows audiences to return to the childhood wonder of imagination. Although the musical is not at the top of my must-see lists, ‘Charlie’ is worth doing, especially since I’ve never seen the show. There are tuneful songs like ‘The Candy Man’ and ‘Pure Imagination’. There are some glitzy dance numbers to see. Much work has gone into the Grand’s production, and it shows. But why the apology to Roald Dahl’s memory? ‘Charlie’ becomes a teachable reminder to all, youth and senior, never to lose sight of tapping into imagination at any age. I did. Sometimes, being imaginative can help cope with daily life’s complex, actual, and often harsh realities. The story focuses on a selfless and compassionate Charlie Bucket (a precocious and adorable Greyson Reign Armer at this performance) who dreams of acquiring one of the five golden tickets to tour Willy Wonka’s (Mark Uhre) Chocolate Factory. Charlie is among the last to find the ticket in a candy bar he purchases. He can’t believe his luck when it finally happens. Let’s look past this immediate gratification of childhood wants for the moment. What the young Charlie does not recognize to be his luck are the adult role models in his life who care about him. Yes, the father figure is absent. However, he has a mother (poignant moments by Melissa Mackenzie) who works hard because she knows she must do so. She loves her son very much. Although they may not be as sprightly as they once were, Charlie has his two sets of grandparents alive who love him very much: Grandma Georgina (Krystle Chance), Grandma Josephine (Barbara Fulton), Grandpa George (Salvatore Scozzari) and Grandpa Joe (a doting, adventurous David Talbot) who accompanies the young lad on the tour even though he doesn’t feel well. The other four winners to tour the factory represent deadly vices. There is the gluttonous Bavarian Augustus Gloop (Nathanael Judah), accompanied by his mother (Krystle Chance), and the petulant and greedy Veruca Salt (an over-the-top demanding Nicole Norsworthy) accompanied by her patsy of a father (Salvatore Scozzari) who gives his daughter anything she demands. We also meet the world champion gum-chewing dancing celebrity Violet Beauregarde (Mikela Marcellin), who is fascinated with fame and achievement no matter the cost. She is accompanied by her father (Aadin Church). There is Mike TeaVee (Elena ‘Elm’ Reyes), a hyper computer hacker who represents the vice of sloth. He is accompanied by his mother (Meg Buchanan-Lunn). Each of these supporting characters has their moment to shine in some terrific song and dance numbers backed by a lively ensemble of dancers. ‘Veruca’s Nutcracker Sweet’ and ‘Auf Wiedersehen Augustus’ are only two examples. When the five contest winners attend the tour, their parents must sign a dubious and unclear contract. Everyone has no idea what they’re getting themselves into. Couple this with the reality that Wonka does not appear to be what he seems to be on the outside – as the story goes on, we discover that he might be, in fact, a rather dangerous individual. Scott Penner’s set design remains visually impressive, especially in the second act when everyone finally enters Wonka’s factory. The colours, shapes, and sizes are extraordinary. Every inch of space on the Spriet stage is used to the full extent, and it works. Nothing ever appears cramped. Siobhán Sleath captures gorgeous lighting designs throughout the show with beautiful hues and tints. Sound is also vital in this production to ensure everything can be heard. For the most part, it is thanks to Brian Kenny’s work. The spoken dialogue is clear. There are moments in a few of the musical numbers where I couldn’t hear all the lyrics. I’m not concerned about this quibble; I’m sure it will be rectified now that the show is running. Cameron Fraser’s projection designs nicely transport us to another world. Skylar Fox’s magic designs are perfectly timed. Something happens in the first act that flies over the audience’s heads and just disappears. Truly outstanding to watch. Joseph Abetria’s vibrant costume designs are truly remarkable as they help delineate who the characters are. The Oompa Loompas’ costumes are only one example of Abetria’s fine choices he makes. Director Jan Alexandra Smith, Music Director Alexandra Kane, and Choreographer Robin Calvert joyfully transport the audience to another time with a knowing wink, a tuneful ditty, and a jig of a dance. I liked the introduction of The Candy Man (Mark Uhre in an effective disguise) at the top of Act One. He is an oddity who owns the local candy store. Everyone likes candy; however, Smith, Kane and Calvert cleverly use this opening scene as a teaching moment. Maintain your sense of humour when things get a bit odd in life, as they sometimes will. It’s okay to indulge in a bit of chocolate. Don’t sacrifice your health in the meantime as the contest winners do. Mark Uhre is a theatrical gem as Wonka. He dances and moves with tremendous fluidity and ease. But Uhre purposefully reveals a dark side to Wonka, as do all humans. This becomes another teaching moment. Uhre shows that some people may not appear the same on the inside when we see them from the outside. For example, when some contest winners get their just deserts for not following instructions or not listening carefully, Uhre simply gives a suggestive stare to the others of “I told you not to do that” and simply moves on as if the individual did not exist. Harsh, callous, and cold are only three adjectives that may come to mind, but they are reminders to all, as Republican Candace Owens recently told a group of entitled young college sophomores – “Life’s tough. Get a helmet.” Final Comments: Just because the Christmas/holiday season fast approaches does not mean people will not experience the challenges of daily life that we all face. They will. Yes, it’s a wonderful time of the year. It’s a filling to the belly time of year. It’s also a grim reminder that life may be harsh for some. “Charlie and the Chocolate Factory’ is that theatrical reminder of this fact. London’s Grand Theatre made a solid choice to stage this production as the holiday season approaches for its razzle-dazzle excitement of colour, song and dance. Don’t forget the critical messages lying underneath the text. Running time: approximately two hours and 30 minutes. The production runs until December 24 on the Spriet Stage at the Grand Theatre, 471 Richmond Street, London, Ontario. Call the Box Office (519) 672-8800 or visit grandtheatre.com for tickets. GRAND THEATRE presents Roald Dahl’s ‘Charlie and the Chocolate Factory’ Book by David Greig, Music by Marc Shaiman with Lyrics by Scott Wittman/Marc Shaiman Based on the novel by Roald Dahl Songs from the Motion Picture by Leslie Bricusse/Anthony Newley Orchestrations by Doug Besterman and arrangements by Marc Shaiman Directed by Jan Alexandra Smith Music Director: Alexandra Kane Choreographer: Robin Calvert Costume Design: Joseph Abetria Set Design: Scott Penner Lighting Designer: Siobhán Sleath Sound Designer: Brian Kenny Projections Designer: Cameron Fraser Magic and Illusions Designer: Skylar Fox Stage Manager: Kelly Luft Performers: Greyson Reign Armer/Neela Noble, Matthew Armet, Kih Becke, Meg Buchanan-Lunn, Krystle Chance, Aadin Church, Barbara Fulton, Nathanael Judah, Christopher Lucas, Amanda Lundgren, Mikela Marcellin, Jamie Murray, Nicole Norsworthy, Melissa Mackenzie, Elena “Elm” Reyes, Salvatore Scozzari, Julius Sermonia, Michele Shuster, David Talbot, Mark Uhre. 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Dramas encompass the human response to a created life situation on the stage. Back 'Michael Kohlhaas' presented by Gerhart Hauptmann Theatre Played at the BMO Studio Theatre, Saint John, New Brunswick Courtesy of Saint John Theatre Company Aaron Kropf After many delays, Germany’s Gerhart Hauptmann Theatre in Germany arrived in Saint John and presented their stunning production of Michael Kohlhaas. This show is based on the novella Michael Kohlhaas by Heinrich von Kleist. This is a bare bones production, breathing new life into an centuries old text. Loosely based on a true story of a horse trader who is done wrong by nobility in Saxony, the titular character does everything he can to right the wrong done. He wanted his horses returned to him in the same state they were left. Kohlhaas takes to the courts and seeks help from other nobles. When he fails in these attempts he raises a mob which commits murder and burns down cities. ‘Kohlhaas’ is one of those folk hero stories that many places have. The script pushes the boundaries of what is and is not acceptable in bringing about end goals. The story of Michael Kohlhaas has many of the same characteristics of these other stories. Ultimately it asks the question: “Has Kohlhaas gone too far?” Walking into the theatre the room is draped all in white. The stage is covered in a white canvas with large streaks of red, symbolizing the blood that has been shed. Centre stage is a black saddle, which passes between the company of seven. The stark look of the set and the theatre space are reflected back by the various characters in the story. Because this is a German company presenting the story, surtitles were displayed on three of the four sides of the theatre. The use of surtitles was an important decision and choice. It was easier to watch both what is going on stage and read the text regardless of where the action is taking place. The minimalist approach to this production is what really makes it shine! The company wearing black suits, white shirts, and grey and black suspenders which becomes a striking contrast visual look against the red and white covering the space. There are few defined roles as the company rotates and takes on different characters throughout the production. Nevertheless, since I relied on the surtitles and rotation of roles, there were a few moments I wasn’t clear who was who. It’s a quibble, but I want to acknowledge each member in the company were strong. When not part of the story they remained on the side of the stage and did not draw attention away. It’s difficult to be on stage for an hour and a half and keep up the energy required, but this company maintained their intense energy from beginning to end. It’s unfortunate that Michael Kohlhaas was here for such a short time. This is the type of theatre that many North Americans might not be familiar with, or have seen before. This is a third German production for me, one at the Stratford Festival, the second was a Shakespearean production that was part of an international Shakespeare festival that happened in South Korea. Each of these productions was similar in style, and intensity. It was really exciting to be thrust into a story presented in a unique way. I only wish more people in Saint John and across Canada would have had the opportunity to experience this show. Previous Next

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

Where theatre is not only presented on the stage. Back The Wolf in the Voice Now on stage at Tarragon Theatre in the Extra Space, 30 Bridgman Avenue, Toronto Jae Yang Geoffrey Coulter, actor, director, adjudicator, arts educator “Get out of the cold and warm up to an intimate 90 minutes of powerhouse performances with a trio of some of Toronto’s finest vocalists. These top-of-their-game performers entertain, guide and educate through songs and storytelling as they celebrate the first instrument they’ve ever played: the voice. The musical stylings are delightful and the singers are undeniably talented; however, the performance comes off a haphazard mix of singing lessons, and proudful boasting. It all comes off a bit self-serving and hollow.” As a singer, I learned something while enjoying some beautifully sung jazz, opera, classical, and musical theatre selections. I learned that vocal cords are now called vocal folds, and that the show’s title refers to a “wolf in the voice” (also known in the singing world as passaggio), the transition or vocal ‘break’ between the lower (chest voice) register and higher (head voice) register. Professional singers are expected to smooth out that break and make the transition imperceptible. That was the singing lesson part of the show. What follows in ‘The Wolf in the Voice’ is a master class on how this threesome demonstrates their mastery of range, diction, and cross-generational style. The rest of the show left me wondering about the overall purpose of its proud proclamations. Performed in Tarragon’s Extra Space, a small black box space with tiered seating and limited performing space, the show starts with Neema, Jane, and Taurian, (their real names) onstage by a keyboard informally practicing Sondheim’s “You Could Drive a Person Crazy” from “Company”. Jane tries to hit a tricky high note while the others ponder the arrangement. When the lights go down, the trio begin singing a vocal arrangement of a song written for classical string instruments. Then the trio sing a well-known opera song. Next, they introduce each other to the audience and briefly explain their singing careers. After that, they collectively narrate stories and anecdotes about the highs and lows of their respective careers. Clearly taking a cue from the Tom Hanks movie, ‘Big’, the three use a large light-up piano keyboard on the floor to hop on notes, play and sing more songs, and emphasize how each of their parts work together to build a song. They then share moments when their singing voices were pushed to the limits and demonstrate what they did to overcome and achieve a successful performance. This is where Jane, Taurian and Neema’s communal patting of each other’s backs comes off as self-indulgent bragging. There are no costumes, per se. Jane, Taurian and Neema wear their everyday clothes. The informal set by Rebecca Picherack is simple and functional. It’s like we’ve been invited to a rehearsal. A piano, three stools and two high tables atop a (creaky) riser that serves as the giant keyboard. The performers make the sounds of the notes as they hop on and off the keys. Later a beautiful red curtain is drawn on the back wall for the final song. The demonstration of how the vocal cords resonate, stylized as a mock university lecture with a drop-down cutaway illustration of the human throat, is clever and informative. However, the poster could have used darker ink for greater visibility. Top marks go to Picherack’s wonderous lighting. For a small space, she uses virtually every fixture to enhance and stimulate the mood of each song and story. Her colour selection and use of spotlights on single performers and spaces are focused and sharp, varying in intensity as the lyrics dictate. Her general wash of the entire playing area is even, without unintentional shadows. Remarkable work in a square room! The most engaging part of the show is each singer’s reflection on their gift, and sometimes horror, of voice and singing. They blend beautifully with heavenly harmony. The single male of the trio, Taurian Teelucksingh, is a glorious counter-tenor, effortlessly slipping back and forth from the high and low male vocal ranges. He’s energetic, funny, and has a youthful charm that balances well with his more seasoned cast mates. However, there’s an honesty missing in his storytelling. Perhaps it’s the script. Perhaps it’s not his words. Oddly, I connected with him most at the end of the show when he thanked the audience (off script) for coming and encouraged them to check out Tarragon’s fine season of upcoming programming. Jane Miller slips between classical vibrato and straight-toned wail effortlessly. She’s likeable enough but, like Taurian, there’s a lack of connection to much of her storytelling. It’s all recitative. The most truthful of the trio is the humble and soft-spoken soprano Neema Bickersteth. She is a vocal chameleon, flawlessly switching between rich opera and jazz blues with equal precision! Her stories, about her early days as a singer, not knowing about opera, not being able to hit high notes but realizing that her university scholarship would be life-changing, are heartwarmingly truthful. She wears her joys and deep anxieties on her sleeve. She’s authentic. She takes us into her confidence, seemingly relaying her stories for the first time. She’s one to watch. Co-directors Martin Julien and Brian Quirt have fashioned a show that speaks to the insecurities of performers. Insecurity be damned, they’re successful and talented. That’s what the audience cares about. As a testament to their vocal achievements, it would have been a nice touch to hear the trio perform at the end of the show, a polished rendition of “You Could Drive a Person Crazy” that they were plunking out in the pre-show. “The Wolf In The Voice” takes the audience to the inner sanctum of the vocalist, revealing how the voice works and why. But what’s the takeaway for the average audience? What’s the purpose of this narrative outside the realm of other performers and perhaps vocal teachers? I couldn’t shake the notion that I was watching talented singers proclaim how wonderfully they overcame their vocal hurdles and how great they are now. That may be true. But that’s for the audience to determine. They don’t need to be told. Running time: Approximately 90 minutes with no intermission The production runs until February 26 at Tarragon’s Extra Space Theatre, 3o Bridgman Ave, Toronto. For tickets call the Box Office at 416-531-1827 or email tickets.tarragontheatre.com A Tarragon Theatre Production in association with Nightswimming Present the World Premiere “The Wolf in the Voice ” Created and Co-Directed by Martin Julien and Brian Quirt Associate artist – Thom Allison Commissioned and developed by Nightswimming with the collaboration of Thom Allison, Neema Bickersteth, Jane Miller and Taurian Teelucksingh. Produced by Tarragon Set and lighting design by Rebecca Picherack Performers: Neema Bickersteth, Jane Miller and Taurian Teelucksingh. Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back Monty Python's 'Spamalot' The Festival Theatre at the Stratford Festival David Hou. Centre: Jonathan Goad and members of the ensemble Joe Szekeres A VOICE CHOICE Smashing! Absolutely smashing! This ‘Spamalot’ blows the roof off the Avon Theatre from its dazzling choreography to delicious double entendre innuendo. Although 'absolutely smashing' may sound like a borrowed British coined phrase, it fits this theatrical context. The Stratford Festival's production of 'Spamalot' is so much damned fun. Set in medieval England, a land filled with strife, plague, and an abundance of shrubbery, King Arthur (Jonathan Goad) and his loyal servant, Patsy (Eddie Glen), embark on a quest to find brave knights to join the Round Table. Along the way, they recruit Sir Robin (Trevor Patt), Sir Lancelot (Aaron Krohn), Sir Dennis Galahad (Liam Tobin), Sir Bedevere (Aidan deSalaiz), and even Sir Not Appearing (McKinley Knuckle), who decides not to join the Knights at Camelot. The mysterious Lady of the Lake (Jennifer Rider-Shaw) bestows the name Galahad upon Dennis. After arriving at Camelot, a female-voiced God instructs the Knights to find the Holy Grail, the cup used during the Last Supper. The quest leads Arthur and his Knights on a journey filled with encounters with all sorts of strange beings, including cattle-tossing French soldiers, the infamous Knights who say "Ni," and even an evil bunny rabbit. The Knights decide to stage a musical not unlike ‘Spamalot’ and will eventually settle down with those whom they love. I was never a huge Monty Python fan during my undergraduate years because I didn’t get the humour some thirty-five years ago. And it finally dawned on me why I enjoyed this ‘Spamalot’ and encourage you to see it. Throughout these last few weeks, we’ve been over-saturated with an exhaustive list of information ranging from flying the Pride flag, the future of Catholic schools, and silencing people who do not share similar beliefs. A month that is supposed to bring people together seems to divide and tear many asunder. Director Lezlie Wade, Music Director Laura Burton, and Choreographer Jesse Robb’s triumvirate collaboration gloriously blew the roof off the Avon Theatre opening night. Their vision of Eric Idle’s book, music and lyrics, and John Du Prez’s music maintains the lightning pace required of farce with precision. Everything in the show continues to be a delectable lampoon from sex to Sir Andrew Lloyd Webber musicals, to ‘Fiddler on the Roof’ and even, yes, theatre reviewers. Come prepared to have a solid belly laugh ‘of ridiculousness’ that Lezlie Wade speaks about in her programme notes. Each of us truly needs to laugh right now. As soon as I heard the coconut-clopping sound of the horses off stage when Patsy and King Arthur proudly ride on their imaginary horses, I put my pen down from writing notes and just sat back and laughed. From start to finish, the visuals created by Designer David Boechler, Lighting Designer Renée Brode, and Projection Designer Sean Nieuwenhuis are breathtaking. The medieval castle walls look cartoony with a Pythonesque flair. Although there is no mention of a Costume Designer in the program, it appears that Mr. Boechler has also taken on this responsibility. The medieval clothing is a remarkable recreation, from the knights' armor to the Lady of the Lake's stunning and flowing gowns. The execution of emily c. porter's Sound Design remains solidly consistent when needed. Jonathan Goad is a charmingly silly Arthur and impresses with his strong vocal abilities, effortlessly keeping up with Jesse Robb's dazzling choreography performed by an extraordinary company of terrific dancers. Eddie Glen's portrayal of Arthur's sidekick Patsy is comedic gold, especially in the hilarious expressions he gives his King during 'I'm All Alone'. Jennifer Rider-Shaw's impeccable comic timing shines through in her performances of 'Diva's Lament' and 'The Song That Goes Like This' (which playfully pokes fun at Lloyd Webber's shows). I would love to see Rider-Shaw showcase her talent in other well-timed comedic productions like 'Noises Off'. It's worth mentioning the amusing and lively Knights. Trevor Patts' performance of 'You Won't Succeed on Broadway' is particularly hilarious when the real meaning of the lyrics becomes clear. Aaron Krohn impresses with his energetic disco moves in 'His Name is Lancelot'. Liam Tobin’s ‘The Song That Goes Like This’ with Rider-Shaw is an on-point poke at how musical theatre can drag out some duets interminably long with no end in sight. Great fun. Final Comments: Theatre is meant to make audiences think and that’s so very important. Theatre can also make us just sit back and laugh. We can’t help but laugh at all the nonsense of our woke world right now. As David Seljak says in the Programme: ‘Spamalot’ holds its [skewered elements] up to the sobering light of ridicule and asks us to “always look on the bright side of life”. And to think.” See, good comedy does allow us to think. And that’s why you should go see ‘Spamalot’ at The Stratford Festival. Running time: approximately 2 hours and 30 minutes with one intermission. Monty Python’s ‘Spamalot’ runs until October 28 at the Festival Theatre, 55 Queen Street. For tickets stratfordfestival.ca or call 1-800-567-1600. MONTY PYTHON’S SPAMALOT Book and Lyrics by Eric Idle Music by John Du Prez and Eric Idle A new musical lovingly ripped off from the motion picture ‘Monty Python and the Holy Grail’. Director: Lezlie Wade Music Director: Laura Burton Choreographer: Jesse Robb Designer: David Boechler Lighting Designer: Renée Brode Projection Designer: Sean Nieuwenhuis Sound Designer: emily c. porter Producer: David Auster Performers: Henry Firmston, Eddie Glen, Jonathan Goad, Trevor Patt, Aaron Krohn, Liam Tobin, Aidan deSalaiz, Jennifer Rider-Shaw, McKinley Knuckle, Jason Sermonia, Josh Doig, Devon Michael Brown, Carla Bennett, Amanda De Freitas, Evangelia Kambites, Bethany Kovarik, Ayrin Mackie, Previous Next

Where theatre is not only presented on the stage. Back Harry Potter and the Cursed Child Presented at Toronto's Ed Mirvish Theatre Evan Zimmerman Joe Szekeres (Note: This review is based on one of the last preview performances. With the publication of this article online, ‘Harry Potter and the Cursed Child’ will have officially opened.) Visually resplendent with superlatively exquisite technical wizardry in ‘Cursed Child’, but is there anything else? Yes, this rhetorical question is to hook you into reading, and I’ll answer it shortly. I’ve only read the first two of the Potter series and have seen the first three film adaptations so I’m coming at this review not as an aficionado, but as a theatregoer. I was still able to follow the story closely for the most part. Additionally, there are excellent refresher notes in the programme so take advantage to read as much as you can before the performance begins. It also helps my invited guest and friend, Darlene, is a ‘Potter head’. There are moments where ‘Cursed Child’ becomes jaw-droppingly engrossing for formidable technical special effects and Jamie Harrison’s mind-blowing wizardry and magical illusions. Three examples come to my mind. One is the entrance of the Dementors at the end of the first act, especially with one flying and gliding over the orchestra and stationed close to the balcony. Enchantingly and horrifically mesmerizing. Another hypnotic moment occurs visually when time travels backwards. You must see it for yourselves to experience it. The third is the entrance of some characters through the fireplace floo. Wow! However, I do want to point out a few things that drew my attention for concern. ‘Cursed Child’ becomes very dark as the story unfolds and I wondered if it is appropriate for young children to see. Advertising might say the show is suitable for 10+, but I strongly advise it should be 12+. Parents, if you have already purchased tickets for young children, prepare them well, please, before arrival at the theatre. My friend, Darlene, said there was a young girl in the women’s washroom at intermission crying her eyes out and telling her mother she wanted to go home because she was so frightened. The mother was trying to calm her daughter down by saying she would be fine and that nothing would happen to her. As Darlene and I walked up the aisle at the end, we both looked around and saw many young children had fallen asleep in their chairs possibly (probably?) because of the play’s heightened emotions. Big bucks spent here, folks, so be aware and prepare if you are taking the kiddos. Visually the production remains incredibly stunning throughout. Renovations were completed in the Ed Mirvish Theatre to accommodate the show’s staging requirements. Upon entering the auditorium for the preshow, we are at the train station and hear the customary usual sounds thanks to Gareth Fry’s designs. Christine Jones’s set design is magnificent to take in. Moving back from the proscenium arch, the house is covered in the brick found in the train stations of the United Kingdom. Neil Austin’s lighting design eerily illuminates moon ray beams ghostly reflected off the floor. I loved the flourishing and hearing the ‘whooosh’ sound of the black cloaks of the ensemble as they changed the scene settings. Katrina Lindsay remarkably captured an effusive array of colours and textures in each of the splendid costume designs. The story begins where Harry (Trevor White) and his wife Ginny (Trish Lindstrom), Ron Weasley (Gregory Prest) and his wife Hermione (Sarah Afful) are seeing their children Albus Potter (Luke Kimball) and Rose Granger-Weasley (Hailey Lewis) off at London's King Cross Station Platform 9 ¾ to Hogwarts. It is at school where the young Albus meets the young Scorpius Malfoy (Thomas Mitchell Barnet), son of Draco Malfoy (Brad Hodder) who was Harry’s arch-rival years ago at Hogwarts. Circumstances quickly erupt and unfold which leads the young Scorpius and Albus off into a nether world of darkness, mayhem and mischief that threatens to destroy them and their families. Just like the principal players, the supporting characters in the ensemble are also many of Canada’s finest stage actors who have appeared across Canada from Canadian Stage, Soulpepper, The Stratford Festival and The Shaw Festival to name just a few places. It was tremendously exciting to go through this list. When I read the Covers who substitute for the listed performers, again the names there are top-notch so the production is most assuredly in capable hands going forward. I’m not going to be able to mention each of them for the sake of space. The show most definitely belongs to Thomas Mitchell Barnet and Luke Kimball who deliver ardent performances in their character arc of development as Scorpius and Albus. Exciting to see youthful, emerging talent given their chance in this show that I’m almost certain will change the course of their professional careers. Several supporting moments drew my attention. Steven Sutcliffe brings a touch of decency and humanity as Severus Snape in his Act Two encounter with Albus. Brad Hodder’s death-like stare as Draco Malfoy is memorable. Trish Lindstrom’s Ginny becomes that voice of calm and reason often in the face of confusion and flusters. Fiona Reid is a stately and elegant Professor McGonagall who means what she says with her students (and Ms. Reid looks as if she is having a great deal of fun with some of the wand effects she enacts). Since I’ve neither read the completed series nor watched all the films, Trevor White’s Harry Potter has come full circle for me. I only remember seeing the young lad on film and reading about him breaking a million school rules. White’s convincing performance certifies that eventually troubled young lads must begin to take responsibility as an adult and as a parent. Director John Tiffany and Associate Director Pip Minnithorpe have magically and memorably created an enticingly surreal world of loss and trauma which threatens many lives in the story. However, the ultimate message behind ‘Cursed Child’? No matter the hardships and deep troubles that will occur in life, nothing will destroy the unconditional strength and bond of familial love. Now to answer the question posed earlier. Along with the beguiling look and sound of ‘Cursed Child’, is there a good story told underneath all this veneer? Let’s not forget that is the prime reason why we attend the theatre – to become wrapped up in the story told by the artists. Yes, Potter lovers will most certainly adore the story with its flash and dazzle. Theatre lovers will ask (demand?) a bit more which is what I’m doing regarding some quibbles that hopefully have been addressed. For one, there appears to be a great deal of shouting, yelling, and screaming throughout Acts One and Two which started to hurt my ears since the actors are wearing head mics. Sound design is magnified for several of the special effects but why have actors try to do the same thing with their voices? Was something amiss with Shawn Wright’s headpiece as Lord Voldemort? From my seat, it looked as if it wasn’t fitting his head properly and appeared just slightly askew. A sense of dreaded fear had to be felt at Voldemort’s entrance, and I wasn’t feeling any of it at that moment. Just minor issues which I’m sure have been addressed. Final Comments: Before I retired from my teaching career, I can recall some Ontario school boards wanted the Potter series removed from the shelves for concern about the use of ‘black magic’. After seeing ‘Cursed Child’, I can honestly say there is no cause for concern regarding this issue. The story deals with troubled father and son relationships and their eventual repair through familial and unconditional love. That is the important message audiences leave with after seeing ‘Cursed Child’. The feats of wizardry and spectacle are a bonus. Running time: approximately 3 hours and 30 minutes with one intermission. As of the writing of this article, As of the writing of this article, the show has an open-ended run. Mask-wearing remains in effect at the theatre. To purchase tickets, visit www.mirvish.com or call 1-800-461-3333. HARRY POTTER AND THE CURSED CHILD Based on an Original New Story by J.K. Rowling, Jack Thorne & John Tiffany. A New Play by Jack Thorn Director: John Thorn. Associate Director: Pip Minnithorpe. Movement Director: Steven Hoggett. Set Designer: Christine Jones. Costume Designer: Katrina Lindsay. Lighting Designer: Neil Austin. Sound Designer: Gareth Fry. Illusions & Magic: Jamie Harrison. Music Supervisor & Arranger: Martin Lowe. Hair, Wigs & Make-Up: Carole Hancock. The Company: Sarah Afful, Kaleb Alexander, Thomas Mitchell Barnet, Michael Chiem, Mark Crawford, Raquel Duffy, Sara Farb, Bryce Fletch, Brad Hodder, Luke Kimball, Hailey Lewis, Trish Lindstrom, Lucas Meeuse, Kyle Orzech, Gregory Prest, Fiona Reid, Katie Ryerson, Yemie Sonuga, Steven Sutcliffe, Brendan Wall, Trevor White, David D’Lancy Wilson, Shawn Wright. Previous Next

A talk with a professional artist about their career. Back Mitchell Cushman Moving Forward Dahlia Katz Joe Szekeres I’ve recognized Mitchell Cushman’s name from several years ago even before I started writing reviews for On Stage. I had heard of the play ‘The Flick’ but had never seen it before. When I saw it at Toronto’s Crow’s Theatre, I was gob smacked at such an outstanding production with nuanced direction by Mitchell combined with three solid performances. Mitchell and I spoke for a few brief seconds about the first time he saw the production in New York City off Broadway. Mitchell is a director, playwright, and founding Artistic Director of Outside the March, one of Canada’s leading immersive theatre companies. His work has been seen on stages as large as the Royal Alexandra Theatre, in spaces as intimate as kindergarten classrooms and living rooms, and in locales as far flung as London, New York, Whitehorse, Edinburgh, Munich, Finland and Japan. Since the beginning of the pandemic, he has been working to explore new possibilities for live performance, co-creating projects like internationally-acclaimed telephonic adventure The Ministry of Mundane Mysteries (OtM), and the “Grand Act of Theatre” Something Bubbled, Something Blue (NAC/TIFT/OtM). In 2015 he and Julie Tepperman co-created the award-winning Brantwood as part of Sheridan College’s CMTP – Canada’s largest exploration of immersive musical theatre. In 2018, he co-created and directed the intercontinental three-day immersive experience, The Curious Voyage. Recent Directing Credits include: The Tape Escape, The Flick, Dr. Silver, Jerusalem, Lessons in Temperament; The Ex-Boyfriend Yard Sale; TomorrowLoveTM (Outside the March); Treasure Island, Breath of Kings, Possible Worlds (Stratford); Hand to God; The Aliens (Coal Mine); Merrily We Roll Along (YES Theatre); Hand to God (RMTC). Mitchell has been the recipient of the Siminovitch protégé award, a Dora Award for Outstanding Direction, three Dora Awards for Outstanding Production, and his productions have received 14 Toronto Theatre Critics Awards. He holds an MFA degree in Directing from the University of Alberta, and a Combined Honours in Theatre and English from the University of King's College and Dalhousie University. What an honour to interview an incredibly talented and down to earth individual. Thank you so much for the Zoom conversation, Mitchell: 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 many different things. I’m navigating it first as a member of the community and second as an artist. As a member of the community, it just all feels surreal and there’s such a difference between when this felt new and now the fact it doesn’t feel new any more and feels familiar and more unnerving. One of the things I like about being connected to the theatre community is the extended web of hundreds of people who inspire me whom I’m used to brushing up against on a semi regular basis where we all find ourselves in the same dozen lobbies over the course of a normal year. Relationships take a lot more upkeep right now because there is a happenstance, and you have to plan every interaction. As an independent artist I think people who have been bearing the most brunt of the slowdown of the industry are independent artists and actors, designers and stage managers whose careers are based on stringing together a number of opportunities in order to sustain a living. I feel lucky that my full time is running the theatre company ‘Outside the March’ so I have still have some stability and some structure But the flipside to that is that I feel very, very grateful to be part of the more immediate circle of artists and collaborators many of whom are my closest friends. We’ve all kept each other as sane as possible during the pandemic by finding ways to create and collaborate during this time. The silver lining has been in the maintaining of these creative relationships. How have you been faring? How has your immediate family been doing during these last eight months? My long-time partner of ten years, Amy Keating, and I have been able to spend a lot of time together. In more normal times we both end up travelling a lot for work. This pandemic has been the longest period of time that I’ve spent in Toronto in about ten years. Amy and I have both worked at Stratford but never during the same time, so it’s been great to spend this time with her. Our immediate families are okay. Amy’s are in Edmonton and mine here. Our parents are in the age bracket where they all need to be really careful. I’ve spent a lot of time with my parents over the last eight months and it’s been almost all outdoors. As the weather starts to turn, I think we’re all getting nervous about that. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? I would say that the loss of community that I talked about before and also the loss of direct connection with an audience. I’ve worked on a number of projects during this time and a lot was shared digitally or over Zoom live, but there’s no laughter, no applause or feedback mechanism with the audience so you can feel a little more disconnected for whom you’re creating work. What’s also been challenging is the awareness of so much hurt travelling through our world and our community right now exacerbated by the pandemic but also powerful inequities which have further come into the spotlight. You can feel a helplessness in the face of that for sure. I think it’s easy to feel helpless during these times. It’s all intertwined within all this. It’s easy not to feel like you’re in very much control in this industry even in the best of times. 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 had six or seven productions that were delayed or fell away that may see the light of day sometime. It makes me grateful when a production like ‘The Flick’ clicked well and came to fruition. ‘The Flick’ was two years in pre-production. It’s an example of a play that has to be shared communally. I was in tech for an immersive production of ‘Sweeney Todd’ that was supposed to go on at Davenport and Dupont in these two abandoned buildings produced by Talk is Free Theatre. It was really shaping up to be something very special. It’s actually a show we’ve done once before in the United Kingdom and were going to bring it here. There was an exceptional cast of actors for ‘Todd’. I’ve done a lot of site-specific work but the kind of access to large, abandoned space that is often very hard to come by, and that was really tough not to share the show in that form. It was an intimate staging for thirty people inside the blood, gore and music of it all. I’ll always remember March 13 when we knew it was going to be our last day when all of lights were hung. We did one stumble through, run through and filmed it because we kind of knew that’s what we were going to be able to get. In those last few days of rehearsal, it felt like a race against the clock. I have faith the production of ‘Sweeney Todd’ will come back in some form, probably not in that same building because that building will be demolished. Theatre is always so temporal so you really can’t recreate something a year or two after the fact. I had some projects in pre-production, a show called ‘The Ex Boyfriend Yard Sale’ that was supposed to be presented with Soulpepper. We had done it in the past and we were going to do it last May. That is a one woman show that is a little more complete as Hailey McGee will play it so I have a little more faith. What have you been doing to keep yourself busy during this time? Amy and I have been streaming a lot of tv. I’ve never seen ‘Schitt’s Creek’ and she loves it. She’s never seen ‘The Wire’ and I love it, so we’ve embarked on binging these shows. There was a period of time where we were playing games with some friends over Zoom. We’ve been trying to get together with some close friends outside. We went on a really nice hike over the Thanksgiving weekend. It takes a lot of creativity to figure out. The main project I’ve been involved with over this pandemic is ‘The Ministry of Mundane Mysteries’, a telephone based theatre piece, and we’ve done over 800 performances entirely over the phone in over 200 cities over the world. There are also international collaborations of Mundane Mysteries all over the world. 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? It’s daunting. One of the bright spots during the pandemic is I’ve been doing a lot of teaching. I directed a show on Zoom at Sheridan in their CMTP New Musicals called ‘Living the Dream’. That opened a couple of weeks ago. Now I’m working with two groups of students at the University of Windsor directing a show called ‘The Stream You Step In’ which plays over the Zoom. All of these opportunities working with students on the cusp of graduating into the unknown have been so valuable and inspiring as to what I’m getting from them rather than the other way around. I know that sounds cliched to say, but I’ve found these students to be so versatile and adaptable. Such a remarkable ability in these students to gravitate towards these new forms and pick up new skills. For example, in directing the show at Sheridan, all of the cast overnight had to become their own audio producers, recording their own tracks and learning all of that really quickly. I guess the advice out of all this – if you forge a path for yourself in theatre, you really need to be adaptable and hungry to wear a whole bunch of different hats. Have a variety of tools in your toolset but also clarity around what it is you vitally want to bring to the table. Hopefully there will be space for this. The pandemic is only further illuminating that. We’re seeing a real levelling and spinning of the wheel. Our industry is going to look very different a year from now than a year ago, there’s a lot of hardship within that but hopefully a lot of an opportunity for new voices. Do you see anything positive stemming from Covid 19? I think Covid is making us stop as an industry and community and do some deep reflection. All of the vital conversations we are having within our industry around equity, where resources are going, and who has what seat at the table and how to properly support and elevate previously marginalized voices in the community is vital. The acceleration of these conversations following the murder of George Floyd were able to be amplified further because of the pause of the pandemic. Sometimes as an industry and community, I think we struggle with being so consumed by whatever fire we’re actively trying to immediately put out, it becomes harder to zoom out and look at the bigger picture and vital work that needs to be done. I have more belief and more of a sense of personal accountability in relation to those important themes than prior to the pandemic. Connected to this, I’ve felt more a member of a community with other artistic leaders in the city. We’ve been doing these bi-weekly artistic director meetings, myself and 40 artistic directors within Toronto. Weyni Mengesha and Brendan Healy started these groups and we’re going to find a new form for it in the new year. I’ve been more in touch with collaborators across the country and outside of Canada. Like minded collaboration with other collaborators outside the country was not on my radar prior to the pandemic. I’m hoping we can still maintain these outside of the country collaborations once we’re able to return to in person collaborations and interactions which I’m very much craving. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? I think we’re very much in an adapt or die time not just in relation to Covid but also in relation to making sure as an industry we can hold ourselves to a much higher standard in relation to the voices we are elevating. Eyes have been opened to things that can’t or shouldn’t be closed. We’re already setting ourselves up for some big shifts in Canadian theatre and to how much change there has been in artistic leadership not just in Toronto but across the country. I’m so excited about the newer and younger people who are in these positions of leadership in our institutions. We’re seeing more women in these leadership roles, people who come from an independent theatre background will be more in touch with independent artists. That gives me a lot of faith in that we have independent and dynamic thinkers. The venued companies have been dealt the most challenging blow. 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? The monetization piece of it is really hard and certainly a lot of industries have been dealing with that a lot before us – look at online journalism. This mental block we all seem to have to have about paying for something on our devices. We just think about commerce very differently in relation to digital content. For ‘Outside the March’ in one form or another, we’ve charged for all the experiences we’ve done during the pandemic. Art is a value, and I think it’s important that people resource it as such or it will diminish in quality and ultimately disappear. I think the tradeoff - the work we done at ‘Outside the March’ is still live. Whether or not you are experiencing it on your phone or over your device, anything that is pre-taped breaks the implicit bargain of theatre. We couldn’t give away ‘Mundane Mysteries’ for free because so much work and preparation had gone into the process as it was anchored between performer and audience. Despite all of the drama and tension of this time, what is it about the art of performance that Covid will never destroy for you? I think we’re all burning out on screen time. It’s definitely hard to imagine a crisis that is better designed to attack the things that theatre is. We’re seeing film rebound because it involves in person gatherings to make the work but not to share the work. And the fact theatre implicitly gathers the moment of manufacturing with the sharing all at the same time all gathered together, and how do you go forward? But I also like to think optimistically that is the very reason why there will be an increased and accelerated hunger for what theatre can offer going forward once we’re out of this pandemic. Once we can have personalized theatre again, I think there’s going to be a hunger for it. We need to keep theatre sustained and vibrant in the meantime so we can ultimately meet that moment when we’re all out of this. There will be a necessity of theatre in the rebuilding process. That’s what I’m holding on to. We’ll get there through incremental steps along the way. It might be 2022, but I don’t have a crystal ball so it’s hard to plan right now. To learn more about ‘Outside the March’, visit www.outsidethemarch.ca . Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Annie, The Musical' Saint John Theatre Company, Saint John, New Brunswick Courtesy of Saint John Theatre Company Aaron Kropf Annie Brings the Sun Out Today in our world which is still Covid laden Saint John Theatre Company wrapped up their 2021/22 season with the family favourite Annie. After coming out of a pandemic I cannot think of a show that could have been more fitting. The need for optimism found in Annie is greatly needed as we move forward and put the last two difficult years behind. This performance was made even more special because I brought along my 5-year-old daughter who was buzzing with anticipation for this show all day. Annie is based on the popular comic strip of the day 'Little Orphan Annie'. She is an orphan who continually hopes for the day for her mother and father to come back to get her while she tries to escape the tyranny of orphanage owner Ms. Hannigan. Grace Farrell (a pippy performance by Pippa Wennberg) shows up to take one of the orphans to live with billionaire Oliver Warbucks where many lives are changed resulting a typical happy ending of early musicals. Even if you might not be familiar with the show itself, I’m sure you know a few of the popular songs including ‘Hard Knock Life’, ‘Tomorrow’, ‘You’re Never Fully Dressed Without a Smile’, and ‘Easy Street’. The cast was wonderful with Bertis Sutton as the stoic Oliver “Daddy” Warbucks. His change from businessman focused on maintaining his wealth during the depression to the man who falls for Annie’s charm and ultimately does all he can to ensure her happiness was solid. Ms. Hannigan was wickedly devilish while in the hands of Jen Downey. Finally, Lauriane Pelletier as the titular character couldn’t have been better cast. She embodied all aspects of the plucky Annie and has a beautiful singing voice. My daughter exclaimed that her favourite part of the show was Annie, and really loved her songs. A slight quibble I do have with the text, however. While hit song and dance numbers are jammed into the first half before intermission, the pacing drags slightly in the second half. The quibble I had does not lie with the actors nor the director or musical director. Instead, the book and music don’t hold the same intensity and vitality as the first Act. Despite this minor inconvenience of the text, Director Scott Thomas managed to make the show sparkle and leave audiences full of optimism. What a spectacular way to end a delightful season. Congratulations to all those involved in bringing this production to the stage; it’s unfortunate that this production had such a short run. 'Annie' was a delight and I couldn’t have wanted more from this production. Oh, and by the way, my little girl loved it too. Previous Next

A talk with a professional artist about their career. Back Adrian Marchuk and Jeff Madden "When you put it all together, Frankie Valli just had “it” - and people will always recognize that “it” factor when they see and hear it." Courtesy of Adrian Marchuk and Jeff Madden Joe Szekeres A recent email conversation with Jeff Madden and Adrian Marchuk clarified how their personal lives and professional artistic careers must be well-planned in this sometimes challenging and uncertain performing arts industry. Throughout this weaving web of gigs, shows, auditions, and discussion, what’s the most essential element in their lives? They are, first and foremost, family men. I like that. They are currently touring in the concert show ‘How We Got to Jersey - A Tale of Two Frankies.’ I love the title because it says it all. I saw Madden’s work as Frankie Valli several years ago in ‘Jersey Boys’ when it played at the North York Performing Arts Centre. I haven’t seen Marchuk’s work yet, but I look forward to attending the upcoming concert show in the next leg of its journey. Adrian and Jeff call themselves theatre guys. The former calls himself a theatre guy who loves creating, rehearsing, and performing in the medium. He loves bringing joy to a live audience during the show and receiving immediate feedback as an artist. Marchuk says, " [Theatre] is where I first felt really safe and where I like myself.” Jeff says he, too, is a theatre animal and where he’s most at home. Nevertheless, he also realizes the only way to make work and earn a living as a performing artist in Toronto is to be available – and able- to do all kinds of work. Madden has worked on some television shows, voice-over gigs and commercials. He’s also just completed recording his first audiobook, which he says was fun. But he loves theatre so much. Adrian began creating his own work about ten years into his career. He has four concert shows in his ‘Broadway Biographies’ series, all of which go behind the scenes to explore the life and work of the greatest composers of Broadway and Hollywood, including Andrew Lloyd Webber, Alan Menken (of Disney fame), Richard Rodgers, and Harold Arlen. Jeff was involved in the Toronto production of ‘Come From Away’ before the pandemic shut it down. He also put together his first solo cabaret show, ‘My Life In Song’ and performed it a few times around the city with the great pianist David Atkinson. A few years later, Jeff created and performed his follow-up solo cabaret - My Life In Song - Act 2 during the pandemic, as a means of creating work for himself and lifting his spirits when the entire performing arts industry shut down. What about Frankie Valli’s music keeps drawing audiences to hear the songs? Jeff suggests that, in some ways, Pop music today is still quite like Pop music from the 1960s. It has a good, strong, up-tempo beat that makes you want to dance, incredible melodies that are earworms, pleasing harmonies, and great lyrics that tell the stories of finding love, struggling in a relationship, losing love, and hoping for love. He also adds that maybe it’s Frankie’s unique voice, with his piercing falsetto, which is sometimes playful and exuding joy and sometimes growling with yearning passion. Perhaps it was the 10-piece band with a killer horn section. Maybe it’s because they kept recreating themselves musically, with their hits spanning through the teeny-bop era, the more sophisticated mid-60s pop-rock, the late-60s psychedelic-tinged classic rock, and even into the disco era of the mid-1970s. These guys were incredible, charismatic men of the times. How did the concept of ‘How We Got to Jersey – A Tale of Two Frankies’ germinate? Over the years, Adrian and Jeff have been asked to perform material from ‘Jersey Boys’ at events nationwide - even internationally. And sometimes, they’ve performed together with a couple of other guys at a corporate event. Jeff said the guys were killing time backstage one night before a show, talking about all the tribute acts and touring shows performing some of this iconic material. And he remembers just kind of casually blurting out rather off-the-cuff that they should put their own show together. Madden added further: “We didn’t exactly jump at the idea right away, but this particular idea stuck in the back of my mind. I remember thinking we were the OG Frankies in Canada; it would be hard to top what we could bring to the table.” Adrian recalled being approached by the folks at Abbey Gardens, a venue in Haliburton, who were aware of the kinds of shows he already produced. The Abbey Gardens folks had a date they wanted him to come and do a show, and he pitched them a few ideas. They didn’t jump at his first couple of ideas. But then, out of the blue, Marchuk pitched the idea for this concert show of the ‘Two Frankies’: “When they [The Abbey Gardens folks] jumped at it, suddenly I was like, “Oh, crap! I better find out if Jeff is available!”. Thankfully, he was, despite his insanely busy schedule, and we got right to work. After that, the show came together quickly - we both had the same clear idea of how we wanted the show to take shape. We got it ready for its first performance in three months, which is fast!” ‘How We Got to Jersey’ is not just songs strung together. Adrian reiterated it’s his and Jeff’s story, their relationship with each other, and this career, all told through their experience of the insane roller coaster that was and is ‘Jersey Boys.’ Adrian re-iterates that, as opposed to fully staged musicals, concert shows are a bit easier to put up in a short amount of time, which means they can pick the show up and bring it anywhere. The show's intimacy and its direct, honest, and exciting connection with the audience is thrilling. Jeff further adds to Adrian’s thought: “[The show] is a bit of a hybrid piece - it could be considered a concert show, a tribute act, even a book musical. I’m most proud of how we tell our personal story, and how we use over 25 pieces of music - songs made famous by Frankie Valli and the Four Seasons - to help us tell our story. Some songs are used simply as underscoring; some are sung in part, and some in whole. Some have new arrangements; some are performed in the traditional arrangements you know and love.” But what about life on the road and away from their families? Marchuk says one of the main themes in “How We Got to Jersey” is the struggle to find the ideal work-life balance between being a performer and being a parent. Madden and Marchuk are both very dedicated to their families and their art. They’re both the stay-at-home parents to their kiddos, so doing an eight-show week or travelling across the country to work would be challenging. These shorter runs are an excellent way for them to have their cake and eat it, too! Both men agree that the responses to the show have gone far beyond their expectations. The script is funny, personal, and interesting, and it draws the audience into the story. Audiences might be expecting that it’s a tribute act, but "How We Got to Jersey” is more than just that. Jeff and Adrian hope for full houses for seven upcoming shows at Theatre Aquarius on June 6 for one show, Theatre Collingwood on June 11-14 for five, and Abbey Gardens on June 22 for one show, so please go to their websites and grab tickets! What’s next for these two talented gentlemen outside the concert show? Adrian teaches voice privately out of his studio in Toronto and continues to write new shows. He's working on one about George Michael and another about Kafka that one is non-musical - that he hopes to get up and running sometime next year. He has a tour of one of his Broadway Biographies shows happening in the fall of 2024 - Any Dream Will Do: The Music of Andrew Lloyd Webber will play in Markham, Barrie, and Oakville in early October 2024. Jeff says he might rejoin the Toronto cast of a particularly successful, long-running Canadian musical about the kindness that an east coast community showed to travellers from afar in late September 2001. You know, the show with three words in the title and a blue and yellow poster with the planet Earth spinning on it. Previous Next

A talk with a professional artist about their career. Back Brett Christopher "My goal is to loosen up the walls...to allow the audiences to see all the stories told in the season" Provided by Thousand Islands Playhouse Joe Szekeres Not only is Managing artistic leader Brett Christopher one intelligent man who inherently knows his community and their artistic interests, but he is also extremely patient and kind. Especially with me. I was to have compiled this second profile on him months ago. Thank you, Brett, for your patience and kindness. The upcoming 2024 Thousand Islands Playhouse season slate looks rather impressive: ‘Liars at A Funeral’ to be directed by Krista Jackson and runs May 31 – June 22 ‘Mamma Mia’ to be directed by Stephanie Graham and run July 2 – August 4. ‘Mary’s Wedding’ to be directed by Brett Christopher and runAugust 16 – September 8 ‘Jesus Christ Superstar’ to be directed by James MacDonald and run September 24 – October 27 ‘Murder for Two’ to be directed by Jeremy Webb and run August 1 – August 25 ‘Doubt, A Parable’ to be directed by Lisa Karen Cox and run September 5 - September 29. ‘Sequence’ to be directed by Kathryn MacKay and run October 4 - October 27 (At this point, the casting of each show has yet to be announced. This is the next bit of excitement to come) What was my initial impression just by looking at these titles? Get yourselves to Gananoque this summer and fall. Plus, there are the Boat tours, so why not make it a couple of nights? Stay in town at some of the bnb homes, see some theatre and go on a boat tour. Since Covid, I can’t imagine how exhausted Christopher must be at this stage. He agreed that he was. But he’s like the Energizer Bunny. He keeps going and going. What did he have to say about these past few seasons? “What was great was that people did return for [the past two seasons] despite having full mask mandates. We had great houses and audiences…there were full restaurants and accommodations. The challenge is that everything costs 30% more than it used to including set materials, housing, and labour. These are national trends, not just in the theatre.” When he built the budget in August 2021 for the 2022 season, Christopher was basing those figures on what had happened in 2019 regarding the scope of the producing model. He wanted to return as fast as possible to what the company had produced in 2019 before the pandemic. Christopher knew materials had increased in cost, but it was shocking how quickly the operating budget went from 2.5 million running cost to $2.9 million. This was all just in the cost of the plays, as administration and facility costs were virtually the same. Producing theatre costs way more than it used to. Yes, the pandemic did eat some of the costs in returning to the performances, but there were some capital reserves that the company could use to help re-establish the foundation. What are the biggest challenges as he advances into this coming 2024 season as the Managing Artistic Director of the Playhouse? “We have to anticipate these increase over the last two years are not going to drop. We just have to match the revenue to keep things going forward. A conundrum facing the entire [professional] theatre community is how to do it. Sell more tickets? Get more public funding? Donations? We must be more creative in diversifying revenue…raising ticket prices is the last resort... I’ve always been adamant that we maintain accessible pricing so that pretty much anybody can come and see a play here…. So, we’ve got to be more innovative.” Well, Brett, just looking at the 2024 season titles tells me you might be on your way to matching the revenue costs. What are some plans for the Thousand Islands Playhouse Christopher has in mind in the future? He’s open to teaming up with other theatre companies or educational institutions in the Haldimand/Dundas/Stormont/Glengarry Region and trying to figure out what sort of projects could be worked on that we’re already paying full-time staff to do. Ultimately, the game right now is finding money, which is awful because that’s not about art. Art is about imagination and creativity. Does Brett have concerns about the theatre industry going forward? Like any theatre administrator and producer, yes, he does. The other big challenge that producers are trying to address is that the producing model has been predicated on a six-day, 8-hour work week: “A conversation is happening in the [theatre] industry as to how to change that. If a week of rehearsals is added, labour costs are exponentially increased, as are housing costs. There has to be a tough conversation in the industry about how long we have leaned on people’s willingness (even with the Equity standards required) to get the play up. Can a working schedule be created that is more humane while, at the same time, not losing our shirts?” The reality of working is that the theatre industry does not follow the traditional 9 - 5 period. There are odd hours, yes. However, education is another area where teachers usually don’t just work the school hours during the day, and that’s it. Teachers also work outside a traditional designated work time frame. Nevertheless, teachers and actors/artists choose to work in this field knowing these conditions. It is an unusual labour situation. Yes, there has to be some give and take and an acknowledgement that it is unusual. Otherwise, the danger in not doing so – the theatre industry will or could lose many excellent individuals dedicated to their craft. Brett was a working artist/actor and remembered his career choice's long hours and ‘unusualness.’ He then went into theatre administration because he missed his wife and kids. He didn’t want to travel across the country anymore in that capacity: “I think a lot of actors are now looking at this same thing. Covid and the isolation allowed all of us (yes, even actors) to be with our families…I think a lot of people have been considering leaving the industry for something ‘normal.’” And none of us wants that to happen. As an artist and theatre administrator, does Brett believe listening to feedback from audience members and reviewers/critics/bloggers is essential? As an artist, he tried as hard as he could not to read reviews or feedback from audience members until after the show run. Positive or negative, the comments always affected his performance. Criticism/feedback cannot be embedded into an artistic process in the moment. But after the fact, as an artist with a bit of time and distance, usually most of the time, Brett agreed with constructive feedback since there is always a spectrum of comments. After the fact, yes, feedback is always helpful for the actor. As an artistic leader now, Christopher’s feelings never get hurt if feedback is not as positive as he hoped it might have been for the show. If feedback is more negatively constructed, he will think about the artists involved in the production. He will also consider his reasons as an artistic leader why that play was selected. I also asked him about Intimacy coaches for productions as they have become part of shows dealing with sensitive subject matter. Brett says it’s all about artist safety and believes entirely in these coaches trained to deal with unsafe moments that actors may have to confront during the play. Discussion takes place during rehearsals with the actors involved and the coordinator. Rehearsals involve choreographing each move, where every intention is discussed to ensure everyone feels as if he/she/they have a voice and to speak up clearly, if there is a feeling of unease. Brett added further: “Intimacy moments are now being choreographed with a great deal of care. No one is in any way confused. Artists are included in the decisions of what’s going to happen on stage, in terms of intimacy, so that they are complicit in the act. It’s not one person doing something to another person. It’s choreography that is discussed, learned, rehearsed, and performed. Safely.” Our discussion then turned to some edgy drama I’ve seen at the Playhouse over the last two summers. The Firehall Theatre (the thought-provoking space) was developed twenty years ago as the counterpoint to the comedy/summer stock musicals on the Springer stage. The Firehall has evolved slowly and is not seen as the ‘poor cousin.’ Brett hopes that as a program leader and programmer, he will continue to mature the relationship between the Springer Stage and the Firehall, where the productions complement each other to create a dialogue with the audience. That takes time, nevertheless, as Christopher does not want a polarizing effect where specific audiences will only go to Springer Stage and the Firehall. He adds: “My goal is to loosen up the wall between these two buildings to allow audiences to see all the stories told in the season.” As we wound down our conversation, where does Brett see the Playhouse and his role as Artistic Director headed, over the next proverbial five-year plan: “I still have many things I want to achieve with the company, both artistically and operationally. I want our audiences to continue to be excited about the breadth of our work, artistically. We must continue growing our relationship with eastern Ontario’s communities, and foster more community-based artists, administration and crew. It’s also vital to continue relationship building with our High School community and conceive how to bring young people forward into the theatre.” To learn even more about the Thousand Islands Playhouse, visit their webpage: https://www.1000islandsplayhouse.com/ and their Facebook page: @ThousandIslandsPlayhouse. Previous Next

A talk with a professional artist about their career. Back Daniel MacIvor Self Isolated Artist Jim Pryce Joe Szekeres Oh, my goodness, what an honour it has been to communicate with Canadian playwright and actor Daniel MacIvor for ‘The Self-Isolated Artist’ series. I’ve seen several of his works performed at local community theatres over the years. I also reviewed his production ‘New Magic Valley Fun Town’ at Tarragon in which he also appeared. Daniel began following me on Instagram recently. Because I hold tremendous respect for him and his work, I wasn’t certain if I should get in touch with him about a possible interview. Again I thought, as I had written in the profile interview with Mark Crawford, “Why the hell not?” I took a chance, got in touch with Daniel through Instagram, and was most pleased when he responded and said he was interested in participating via email. Daniel has written a short play for Tarragon Theatre’s UnGala coming up in late May. The UnGala is a series of three online events featuring scripts about possibility and hope from the bold voices of 16 of our resident playwrights: three video segments of 5-minute original plays presented over two days and read by the playwrights themselves! 1. It has been just over two months right now that we have been under this lockdown. How have you been doing during this period of isolation and quarantine As a writer I'm a pretty isolated person anyway. My interior life remains very active. Other than lining up for groceries I find this familiar and emotionally comfortable. 2. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? I was in the middle of rehearsals for "Here's What It Takes" at Stratford, the Steven Page musical that I wrote the book for. That was shut down, maybe next year. Also this fall I was supposed to embark on a tour of my Tarragon play "New Magic Valley Fun Town" and the solo show I created with Daniel Brooks "Let's Run Away". All of that is up in the air. 3. What has been the most difficult and/or challenging element of this period of isolation for you? Two things. One, not having a choice. Though I live in a Spartan and isolated way for the most part, I have chosen to do that. Now I have no choice. But really that's just a game of the mind. And maybe part of the malady of the modern world is too much choice. The second thing is no longer a problem, but it caused me a good deal of anxiety initially. I had to cut off all connection to American media. The horror show of American politics was too much for me – in fact, it felt like too much before the pandemic. I find the media generally unhelpful at this time, they can't resist trying to stir up a sense of urgency when that is the very last thing that this time is about. I suppose there is an urgency for epidemiologists and ER workers but for the rest of us, we need step back and breathe, day by day. If that is not the message, then the message is simply opinion. I have enough opinions of my own. 4. What have you been doing to keep yourself busy during this time of lock down? I am working on a couple of screenplays and editing a documentary called "Everything Is Real Nothing Is True" that I shot with cinematographer John Price over the last couple of years about my work with Daniel Brooks on the solo play "Who Killed Spalding Gray?" 5. 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? I think this is a wonderful opportunity to look at our desires, our dreams, our hopes for the future. What are they? Why are they? What is the purpose of theatre? What is our place in that world? We get very caught up in careerism and gigging and jobbing and the like and we forget that we are a service industry. This is a chance to ask ourselves what is the service we do? In service of what? In service to whom? 6. Do you see anything positive stemming from this pandemic? The very nature of the protocols – keeping distance, considering our actions, knowing where we've been, what we're touching, who we're talking to – are at the heart of mindfulness. If we can learn to move more mindfully through every day – pandemic or no - we will be better people and make a better world. 7. In your estimation and informed opinion, will the Canadian performing arts scene somehow be changed or impacted as a result of COVID – 19? Yes. I think it will be difficult at first but ultimately the big questions that will come up as a result of this event will make us more focused and more compassionate. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts about this format presentation? Any advantages to doing this? Disadvantages? Are you participating or will you be participating in this presentation format soon? I have participated a little. I've done a rewrite of my solo show "House" so that it could be performed to camera. It was performed by Kevin Hanchard and directed by Nina Lee Aquino under the auspices of Factory Theatre in Toronto. It was fun, 1400 people tuned in. I've also written a short play for Tarragon Theatre's UnGala coming up in late May. My interest is how this work lives in an online reality. I'm not so interested in work read or performed as plays in this format. It's too flat. Theatre needs space. 9. I’ve seen your work on stage throughout Toronto. I saw you perform at Tarragon in ‘New Magic Valley Fun Town’. I also saw a memorable production of HOUSE that was streamed online through Factory with magnificent work from Kevin Hanchard and director Nina Lee Aquino. I listened carefully to the after-show discussion. What is it about performing you still love given all the change, the confusion and the drama surrounding our world now? Aha, you saw it. Yes, it was memorable wasn't it. Kevin was sublime. I loved working with Nina. For me performing is a metaphysical journey into being and presence and connection. That's essential, more now than ever. 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 word? Onomatopoeia. b. What is your least favourite word? Partisan. c. What turns you on? Silence. d. What turns you off? Bloviating politicians. e. What sound or noise do you love? Wind in the trees. f. What sound or noise bothers you? Chewing. g. What is your favourite curse word? Fuck still works a charm, in moderation. h. What profession, other than your own, would you have liked to attempt? Architecture. i. What profession would you not like to do? Politician. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Finally!” Previous Next

A deconstruction of an individual's story. Back 'The Runner' by Christopher Morris Now onstage until November 19 at the Firehall Theatre, 185 South Street, Gananoque Courtesy of Human Cargo Productions Joe Szekeres “ ‘The Runner’ is a courageous and bold performance that must be experienced live.” The final production of the Thousand Island Playhouse’s 2023 season, ‘The Runner’ demands its audiences’ complete attention for its intense storytelling. Playwright Christopher Morris wants to create theatre that explores the extremes of the human condition. He certainly does so with his riveting and enthralling script in this production. ‘The Runner’ becomes unsettling to watch and to listen to Jacob’s disturbing monologue harrowingly delivered to us. Three audience members left last night before the play ended. I wondered if they did so because they were bothered by the subject material since the play deals with the Arab/Israeli conflict. Good theatre can bother you. It’s supposed to be disquieting at times. Unsettling as well. Good theatre makes us confront issues head-on, sometimes uncomfortably. ‘The Runner’ is good theatre. The story focuses on the pushback Jacob (David Patrick Flemming), a Z.A.K.A. volunteer, experiences when his devotion to serving others – regardless of their race or creed – clashes with the divisive beliefs of the community around him. Z.A.K.A.’s mandate is a non-governmental search and rescue team that responds to terrorist attacks and natural disasters. Partly motivated by Jewish burial laws, Z.A.K.A. ensures all human remains are collected and identified. It includes members from all religious and cultural groups. Z.A.K.A’s response to any event is to recover human remains and to assist victims. It is often in assisting victims that people can be put to the test. David Patrick Flemming takes the audience on a haunting journey as Jacob when he is put to the test. He triages an Arab woman (who is supposedly a terrorist attacker) instead of the soldier whom she has supposedly killed. As the story unfolds, Jacob is aghast by the pushback he receives from colleagues and administrators who chide his efforts. There appears to be an unwritten code of victims first and terrorists second which challenges Jacob’s moral fibre of why he is doing what he is doing with Z.A.K.A. It’s a darkened stage when we enter the Firehall Theatre auditorium. Gillian Gallow places a treadmill centre stage. Bonnie Beecher uses a stark spotlight to illuminate the treadmill. There’s an eerie haze effect in the auditorium. After I sat down and studied the stage, my first thought was ‘Where am I?”. Combined with Alexander MacSween’s, at times distinctly jarring sound designs, this creative team smartly keeps me at the edge of my seat, wondering what’s coming next. At the top of the show, the opening words: “What’s happening?” can be heard from the darkness. What’s happening is a bold and brave performance by David Patrick Flemming. He never veers into histrionics for any heightened emotional impact. Flemming remains wholly grounded. He allows the words to speak for themselves and the audience to feel the impact. His Jacob runs a credible emotional gamut of peaks and valleys. He’s shy but knows the importance of teamwork, even though some other volunteers are not nice people. Jacob wants to please his mother, with whom he lives. She has a hot meal ready for him at the end of the evening, but he hasn’t shown up the last two nights. His mother is not physically well, and he feels guilty about that. She nags at her son that he hasn’t given her any grandchildren yet. Flemming’s discussion of the Arab woman and what might or could happen to her is haunting. What’s also remarkable about Flemming’s work is his continued walking on the treadmill. His pacing remains remarkably controlled. It’s fluid and natural. Sometimes, he’s running; often, he is at a leisurely pace, and there are moments when his walking is slow. Flemming never appears out of breath. If he does slow down, it’s for a particular dramatic effect. When this occurs, I’m on every word he’s saying. According to Morris’s playwright note, this production and play were nurtured and directed by the late Daniel Brooks. Morris is credited in the programme as an Associate Director. This is my first time seeing this production, so I will credit both Brooks and Morris. The direction is tight but never feels or looks restrained. The sincerity in Flemming’s performance is a highlight of the show. I trusted that what I was hearing and seeing was a credible person who, according to Morris: “put human decency above division, while knowing full well the consequences they’ll face.” Final Comments: There’s a Catholic hymn with the lines: “Awake from your slumber/Arise from your sleep.” As a practicing Catholic, I find these two lines apropos in seeing ‘The Runner.’ It’s a play that makes me awake and pay close attention to what’s occurring now in the Middle East. Go and see ‘The Runner’. I hear there are talkbacks after specific performances with playwright Christopher Morris. I would encourage future audiences to remain after and discuss. I had many thoughts and comments running through my head that I wish there had been a talkback last night. Running time: approximately 60 minutes with no intermission. ‘The Runner’ plays until November 19 at the Firehall Theatre, 185 South Street, Gananoque. For tickets, https://www.1000islandsplayhouse.com/firehall-theatre/ or call 1-613-382-7020. THOUSAND ISLANDS PLAYHOUSE presents A HUMAN CARGO Production ‘The Runner’ by Christopher Morris Producer, Human Cargo: Samantha MacDonald Directed by Daniel Brooks/Associate Director: Christopher Morris/Assistant Director: Stephie Mazunya Set and Costume Designer: Gillian Gallow Lighting Designer: Bonnie Beecher Composer/Sound Designer: Alexander MacSween Stage Manager: Arwen MacDonnell Performer: David Patrick Flemming as Jacob Previous Next BACK TO TOP

Where theatre is not only presented on the stage. Back 'Uncle Vanya' by Anton Chekhov. Adapted by Liisa Repo-Martell Now onstage at Toronto's CAA Theatre Credit: Dahlia Katz. Tom Rooney as Uncle Vanya Joe Szekeres “A theatre dream has come back. I’m elated that this cast returns. This ‘Uncle Vanya’ piques majesty in its ordinariness.” I had seen this astounding production of ‘Uncle Vanya’ at Crow’s when it premiered over a year ago. When I heard it was returning a year later (after recent performances at Hamilton’s Theatre Aquarius), I wanted to revisit it to see if its emotional impact still hits as hard as it did. It still does, especially at the end. (except for that annoying cell phone alarm. Grrrr!!!) As I left the auditorium, an audience member remarked how ‘Uncle Vanya’ sometimes seems like a comedy. That thought had never crossed my mind. I sat with it, wondering if there was truth behind it. And there is. Liisa Repo-Martell’s solid adaptation of this Chekhovian classic with the original Crow’s cast finely highlights those comic moments because there is so much sadness within the lives of these characters. This Mirvish presentation deserves its singular review. The time is the waning days of Czarist Russia. Ivan “Vanya” Voynitskiy (Tom Rooney) and his niece, Sonya (bahia watson), are doing their best to run their family estate, which appears to be in its initial decaying stage. Ivan is the son-in-law of Alexandre (Eric Peterson), a celebrated professor. We learn Ivan is a widower. Alexandre returns to the estate with his young, rather beautiful wife, Yelena (Shannon Taylor), and this visit causes the lives of everyone in the house to be changed forever. We also meet the denizens of the family estate. There is the wise housekeeper Marina (Carolyn Fe), known as Nana. Dr. Astrov (Ali Kazmi), a local country doctor, has been called to the estate by Sonya on account of her father’s supposed gout. Sonya’s obvious growing affection for Astrov becomes noticeable as the story progresses. Does he feel the same way? It also appears Astrov carries his secret intentions at the house. Ivan’s mother, Maria (dtaborah johnson), a widow continues to voice her opinions even when she is not asked about how life is run on the estate. Ilya Ilyich (Anand Rajaram), also known as ‘Waffles’ on account of his pock-marked face, becomes the guest who shows up, stays for days, leaves, and then returns. He is a local impoverished landowner. The plot heats up when Alexandre announces his intention to sell the estate and evict everyone. What originally made this production at Crow’s Theatre astounding was its immersive experience. The audience walked right into the sitting/dining area of the estate. Most of the audience floor seating made me feel like an unseen guest watching the story unfold mere feet away. I could see facial expressions clearly in each character, which kept me keenly focused. This time, I felt removed from the immediate action at the CAA Theatre. It’s comparable to a fishbowl where I watched the action from afar. I couldn’t see faces as clearly as I would have hoped since I was about half to three-quarters of the way back in the auditorium. That doesn’t negate how powerful this ‘Uncle Vanya’ continues to be in the hands of this remarkable company of artists who know something about the art of performance. Director Chris Abraham’s gorgeous visual staging remains a theatre lover’s dream. Julie Fox and Joshua Quinlan’s co-set design is a marvel to behold. At one point, Alexandre speaks about the estate being a mausoleum. Fox and Quinlan have readily captured that ‘cemetery’ look with a stone wall back wall that rises high and towers. Astrov maneuvers a bucket into place at one point to contain water dripping from the roof. Another amusing moment happens upon Vanya’s first entrance, showing the place is falling apart. The combination of Kimberly Purtell’s lighting and Thomas Ryder Payne’s sound designs richly underscore several dramatic moments to emphasize the claustrophobia of the estate. Purtell’s selection of natural light beaming through the windows of the second act immediately catches the eye. That brief interlude of a warm glow remains welcome in a world that appears to suffocate as Yelena reminds the others. Ryder Payne’s selection of realistic sounds of approaching horse and carriage and an approaching thunderstorm acutely make us aware there is a world outside the one the characters know. Ming Wong’s costumes are apt reminders of the class system. Abraham’s direction is seamless from one scene to the next. He creates fascinating characters in their ordinariness who pique interest in what they do on stage, what they say to each other, and the underlying meaning of their discussions. I’m elated that this cast returns. Their performances are amply deepened. A noted weariness emanates in their characters, stances, and walking, making the sadness of the play pierce even deeper into the heart. As housekeeper Marina, Carolyn Fe is lovely in those moments where she hurls a one-line zinger at someone and then becomes that matriarchal figure of comfort and solace. Anand Rajaram injects a heavy-hearted gloominess into his ‘Waffles,’ who wants to feel a connection with Vanya’s family. dtaborah johnson’s Maria also provides much-needed moments of humour, but dutifully reveals the inherent sadness the others feel as the story unfolds. As the young but dutiful wife to Alexandre, Shannon Taylor’s Yelena at first elicits compassion when she feels as if she cannot breathe within the confining restraints of the estate. However, Taylor utilizes grace and elegance to hide Yelena’s true intentions. Like Taylor's Yelena, Ali Kazmi’s Dr. Astrov has much to lose. Kazmi’s Astrov effectively uses his handsome charm around Sonya, Marina, and Yelena, and there are terrific moments to watch when this occurs. Kazmi’s final moment with Sonya is heartrending. Eric Peterson’s Alexandre is devilishly narcissistic and cutthroat. His Alexandre never ventures over the top. As the ever-toiling Sonya, who yearns for love, bahia watson delivers a riveting performance of emotional layers in her conversation with Yelena before the end of the first act and Astrov before the play concludes. Tom Rooney continues to amaze as the central character. His Vanya subtly and carefully commands the stage one moment with heightened moments of grandeur the next. When Vanya finally lashes out at Alexandre as the truth comes out about the estate sale, Rooney delivers a masterful performance in listening, responding, and reacting with tremendous and attentive care. Final Comments: This ‘Uncle Vanya’ most certainly deserves a second look if audience members had the chance to see it the first time at Crow’s Theatre. If this is your first time, prepare for an epic artistic feast of performers who tell a hell of a good story. Please go and see it. Running time: approximately two hours and 45 minutes with one interval/intermission. ‘Uncle Vanya’ runs until February 25 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. David Mirvish presents the Crow’s Theatre Production of ‘Uncle Vanya’ by Anton Chekhov Adapted by Liisa Repo-Martell Directed by Chris Abraham Set and Props Co-Designers: Julie Fox and Joshua Quinlan Costume Designer: Ming Wong Lighting Designer: Kimberly Purtell Sound Designer: Thomas Ryder Payne Stage Manager: Jennifer Parr Performers: Carolyn Fe, dtaborah johnson, Ali Kazmi, Eric Peterson, Anand Rajaram, Tom Rooney, Shannon Taylor, bahia watson. Previous Next

What makes a comedy work - plot, characters, setting and theme. Back LA BETE by David Hirson Presented by Barrie's Talk is Free Theatre at Five Points Theatre, Barrie Ontario Presented by Barrie's Talk is Free Theatre at Five Points Theatre, Barrie Ontario Joe Szekeres David Hirson’s ‘La Bête’ is aptly named as it appears to be a beast of a play to mount. When it’s skillfully handled by Barrie’s Talk is Free Theatre with fine direction and a gelled ensemble, it’s that perfect comic antidote we all need now to combat the throes of a cold, dark winter. Set in 1654, France, ‘La Bête’ (The Beast) details the upheaval in a famous acting troupe in the court of Princess Conti (Amelia Sargisson), its patron. Elomire (Rylan Wilkie), the leader of the theatre troupe, has been commanded by the Princess to allow Valere (Mike Nadajewski) to become part of the company. Elomire is disgusted by Valere and his work while Bejart (Josue Laboucane), the second in command of the company and Elomire’s friend, becomes worried about offending the Princess and thereby losing her patronage and all the rewards that come with it. Valere’s arrival and entry into a nearly twenty-minute monologue in Act One drive Elomire into even more of a frenzy of contempt since some of that diatribe was sarcastically aimed at him. When the Princess arrives, she tells Elomire the acting company and their work have recently become mundane, boring and monotonous, and that new blood is needed. She hopes Valere and Elomire will work together to bring new life back to the ensemble and the art of performing. This discussion about the place and value of art in 1650 France is a most relevant consideration about its place in our twenty-first century world. Uncertain of this command as Elomire senses Valere prefers to perform alone and will have difficulty working in a group, the former challenges the latter to see if he can work as an ensemble member. This test will come in the staging of ‘The Two Boys of Cadiz’ for the Princess. Playwright David Hirson’s script is not an easy one to stage. For one, it’s written in iambic pentameter verse of rhyming couplets (remember those from high school English classes) and that alone requires actors well equipped in its execution. To maintain the authentic look of 1650 France, appropriate costumes must also be designed along with a set design to suggest the elegance of the era. There are layers of humorous sub textual meaning in the rhyming couplets and I didn’t catch them all because either I was laughing out loud or others were around me. Barrie’s Talk is Free Theatre met this challenge of staging the play head-on and did not back away from it at all. Joe Pagnan’s lush set design of drapes and fabric beautifully adorns the playing space. Pagnan has created a beautiful still scene to admire in entering the auditorium, but the huge picture frame slightly angled and suspended over the playing space indicates this story is far from perfection as it takes a slightly different turn in Act Two. An expansive-looking settee is found far stage right. A writing desk and two padded chairs are angled slightly stage right. Jeff Pybus’s soft lighting pre-show nicely sets the mood that we are in the court of royalty years ago. I really liked the pre-show music of the era so kudos to James Smith’s sound design. Laura Delchiaro’s gorgeous, absolutely gorgeous, costume designs define each of the characters from Princess Conti’s stunning ball gown to Elomire’s perfectly coiffed hair, nicely cleaned clothes and right down to spit-shined shoes, highlighted by Valere’s torn, ripped and loosely fitting clothing and cheek dirt makeup. Be warned there is partial nudity for a few minutes. Monica Dottor’s work in staging the Act One opening number is most lovely to watch the ensemble move together in time with the music in such a way that I can imagine that might have been played in front of royalty long ago. Dylan Trowbridge finely directs this production with pristine class and utmost wit. He juxtaposes perfectly the pageantry of what court life must have been like in Act One with the bawdy, loud nature of the meaning behind ‘The Two Boys of Cadiz’ in Act Two. Amelia Sargisson captures that regal sense of nobility in Princess Conti as she is willing to hear both Valere and Elomire speak about what they bring with them to the acting troupe. When she raises her voice to the two men in frustration and anger, Valere and Elomire naturally behave and respond as if they are in the presence of royalty. As Bejart, the second in command of the acting company and Elomire’s friend, Josue Laboucane solidly reveals his loyalty to his friend by assuring him that Valere’s behaviour is crude and uncalled for. Laboucane thankfully never upstages as Valere rips into his lengthy Act One monologue. Instead, I found Bejart’s silent facial reactions and responses funnier in his silent response. Rylan Wilkie and Mike Nadajewski remain sublime foils as Elomire and Valere. Their perfect timing in their responses and reactions to each other is pure comic gold. While Wilkie’s Elomire is stuffy, arrogant, moribund and pompous, Nadajewski’s Valere is cocksure, flighty, crude and childlike. Wilkie’s Elomire remains in stasis and inactive and moves with purpose when necessary in plot development. Nadajewski rolls, tumbles and falls all with the greatest of athletic ease and also with purpose. His nearly twenty-minute Act One monologue is magnificently executed in all its pausing and pumping of vulgarity, crudeness, brilliance and intelligence. Wilkie’s silent responses like Laboucane’s greatly contribute to the comedy of the moment. Katarina Fiallos, Heeyun Park, Justan Myers, Amy Keating, Courtenay Stevens and Madelyn Kriese impressively create a cohesively gelled ensemble who intently listen and respond to the events naturally around them without ever upstaging. Their work in staging ‘The Two Boys of Cadiz’ in Act Two is solid, especially in watching how the Princess reacts in finally understanding what the play means to her. Final Comments: A joy and treat to partake in live theatre especially when the tickets are free. ‘La Bête’ is pure comic genius and a joy to watch. Go see it. Running Time: approximately two hours and fifteen minutes with one intermission. ‘La Bête’ runs to February 11 at the Five Points Theatre, 1 Dunlop Street West, Barrie, Ontario. Tickets are complimentary but you must register for them at tift.ca. TALK IS FREE THEATRE presents LA BÊTE by David Hirson Directed by Dylan Trowbridge Set Design: Joe Pagnan Costume Design: Laura Delchiaro Lighting Design: Jeff Pybus Properties; JB Nelles Sound Design: James Smith Movement Assistant: Monica Dottor Stage Manager: Bona Peacock Cast: Mike Nadajewski, Rylan Wilkie, Josue Laboucane, Katarina Fiallos, Amelia Sargisson, Heeyun Park, Justan Myers, Amy Keating, Courtenay Stevens, Madelyn Kriese Previous Next

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

Where theatre is not only presented on the stage. Back 'Waiting for Godot' by Samuel Beckett Presented by Atlantic Repertory Company and now on stage until September 29 at BMO Studio Theatre, 112 Princess Street, Saint John, New Brunswick. Credit: Drew Murdock. Pictured: R.H. Thomson and Eric Peterson Aaron Kropf “A Groundhog Day treat of a production…Eric Peterson and R. H. Thomson are exciting to watch.” Saint John audiences have been gifted the opportunity to see two of Canada’s iconic artists perform Samuel Beckett’s masterpiece, ‘Waiting for Godot.’ Only a few weeks ago, Atlantic Repertory Company announced the production and that R. H. Thomsom and Eric Peterson would lead the cast as the iconic duo Vladimir and Estragon, respectively. Under the direction of Richard Rose, this production hits many of the right notes. Samuel Beckett’s 'Waiting for Godot' is more about the destination than the wait that Estragon (Eric Peterson) and Vladimir (R. H. Thomson) perpetually make for the elusive Godot. This wait has been interpreted in many ways over the years. During the day, Estragon and Vladimir touch on many topics during their banal banter. Throughout their discussion comes an unexpected pair of travellers on their way to the fair. Pozzo (Kenzie Delo) controls the silent, dejected Lucky (Patrick Jeffrey). Pazzo controls Lucky with a long rope around Lucky’s neck and a whip. Pazzo stops to chat with the two vagabonds. For their conversation Pazzo encourages Vladimir and Estragon to get the mute Lucky to think. At this point, Lucky strings together a series of thoughts, picking up speed during his diatribe. Pozzo and Lucky leave the pair to continue their wait for the elusive Godot, only to be told by one of Godot’s boys (Kate Sullivan) that Godot wouldn’t be joining them tonight but would be sure to come for them tomorrow. The show's second half is like the first, giving a Groundhog Day feeling. This time, when Lucky and Pozzo show up, it’s clear that Pozzo’s fortunes have changed since their encounter with him the night before. Estragon and Vladimir set Pazzo and Lucky on the right course again, only to be informed by Godot’s boy, yet again, that Godot will not make it today. The set for this production consists of a tree centred back of the stage. This tree is little more than a long twig with a few branches. The rock in this production is more of a giant cement slab with stairs on two of the four sides. This was a little surprising and a deviation from the typical Godot production. A great production depends on the company. With Eric Peterson and R. H. Thomson as Estragon and Vladimir, it’s exciting to think of what you’ll see before going into the show. Peterson was splendid, always doing something. Estragon seems like it was written for Peterson. Tomson matched Peterson, creating the magic that can only come from two great actors. Kenzie Delo (Pozzo) and Patrick Jeffrey (Lucky) had lovely chemistry if you can say that for this pair. Kate Sullivan (the Boy) seemed a little nervous on opening night. She was a little too quiet, making it difficult to hear her a few times (good thing many of the Boy’s lines are simple, yes or no, sir). One thing that seemed to be missing from this production was the infamous pauses riddled throughout Beckett’s work. This is a production that seemed to move along at a rapid pace. Overall, Atlantic Repertory Company’s 'Waiting for Godot' is a treat. I’m sure many will have tickets due to Peterson and Tomson because we don’t get many performers like these two in Saint John. If this is why your bought your ticket and find you aren’t sure what is really going on… sit back and enjoy the ride! This is a Godot worth waiting for. Running time: approximately two hours and 30 minutes with one interval/intermission. 'Waiting for Godot' runs until Sunday, September 29th, at the BMO Studio Theatre, 112 Princess St. Saint John, NB. Visit https://saintjohntheatrecompany.com/ or call 506-652-7582 for tickets. Atlantic Repertory Company presents Waiting for Godot by Samuel Beckett Directed by Richard Rose Set Design: Andrea Evans Wardrobe: Brenda Mcleese Lighting Design: Chris Saad Stage Manager: Teagan Keith Performers: Kenzie Delo, Patrick Jeffrey, Eric Peterson, R. H. Thomson, Kate Sullivan. Previous Next

Where theatre is not only presented on the stage. Back The Merchant of Venice Now on stage in the BMO Incubator at The Theatre Centre, 1115 Queen Street West, Toronto Credit: Kyle Purcell. L-R: Cameron Laurie and Hallie Seline Joe Szekeres “In a genuine display of humanity in her direction, Julia Nish-Lapidus does not shy away from the controversial ‘warts and all’ of these superficial characters in ‘The Merchant of Venice.’ She confronts them head-on. These unlikable people are solely concerned with their identity in money, financial prosperity, and status.” The characters in ‘The Merchant of Venice’ are unlikable individuals. Every. Single. One. Of. Them. (including the supporting characters right down to Launcelot Gobbo.) Director Julia Nish-Lapidus does not shy away from the controversial ‘warts and all’ of these superficial characters, not one bit. She recognizes the awful subjugation and othering of a specific group of people in ‘Merchant.’ She knows what makes these characters unlikeable and who’s responsible for it. It’s Antonio, the merchant, who embodies greed, wealth, financial success, and status the others desire. When the play starts, he tells the audience he’s sad but doesn’t know why. From an audience perspective, it’s interesting to see the play's inherent sadness and why it’s a challenge to produce today. That certainly didn’t stop Julia and Sound Designer Matt Nish Lapidus from creating a visual and auditory experience of the preconceptions of ‘Jewishness’ (as Matt says in his Program Note.) Shylock’s story of demanding Antonio’s pound of flesh when the 3000-ducat bond is forfeited perpetuates horrible Jewish tropes. In reality, Shylock wants Antonio dead. Thus the horrendous stereotypes of the Jewish people. Bassanio does not truly love the wealthy heiress, Portia. He borrows money (again) from Antonio to get to Belmont first and then plays the silly game of selecting the correct chest of gold and silver, leading to Portia’s hand in marriage. At the end of the play, the disguised Portia then tricks Bassanio and demands something from him, which he gives at Antonio's request. Are Bassanio and Portia, Nerissa and Gratiano indeed in love? Absolutely not. They have all been swayed by greed. Nish-Lapidus skillfully positions the characters in the playing space as if they are perpetually engaged in a chess game, contemplating their next move. Through her blocking, she establishes distance and a void between the characters, and they rarely come intimately close to one another until their issues are resolved in the final scene. Bassanio acquiesces to Antonio’s advice and ignores Portia’s earlier wish. The disguised Portia as Doctor Bellario feels she has to trick Bassanio’s love and trust. There’s no love between the young couple. The young man is only interested in Portia’s money and half of her financial prosperity because he has claims to it from Portia’s late father’s will. What is the other element Nish-Lapidus confronts about Shakespeare Bash’d’s ‘Merchant’? Although she highlights some of the play’s comic moments, ‘Merchant’ cannot be considered one by 21st-century standards. The text has problems. Religion and identity politics have replaced the humour Elizabethans would have found in the play. Christianity and Judaism have been sorely put to the test and are in constant battle. Antonio (Jesse Nerenberg) has often criticized Shylock (Alon Nashman) for charging interest on loans. The merchant has usually insulted him or spit upon Shylock’s clothing, and he has never retaliated. The other characters frequently do not refer to Shylock by name; instead, they often call him Jew. Even Antonio calling the moneylender Good Shylock does not diminish the bond forfeiture and what is entitled by law. Shylock will not even accept twice the value of the bond. He finally feels that he will obtain justice and revenge for the years of Antonio’s taunting and teasing. Regarding the identity politics within the play, Portia (Hallie Seline) appears snobbish and conceited in her approach to her potential suitors, the Princes of Morocco (a regal-looking Carson Somanlall) and Arragon (a comically arrogant Adriano Reis). Portia demonstrates apparent prejudice against Morocco. With Arragon, Portia acknowledges his virtues but firmly places him below her because of her social status. Nevertheless, she abandons the aloof identity she previously displayed and is willing to guide Bassanio (Cameron Laurie), on selecting the right casket, provided he patiently waits. She never did this for Morocco and Arragon. She wanted them to depart as soon as possible. The BMO Incubator Space sunken playing space at the Theatre Centre's ‘in-the-round’ setting is well-suited for this ‘Merchant’ staging. The audience sits on all sides, just feet from the quickly moving plot action. Although an in-the-round setting can present challenges with audience sightlines, I experienced no issues. Thanks to Sruthi Suresan's lighting design, I could see all four corners of the sunken playing space. As mentioned, Julia Nish-Lapidus creatively stages the play's opening with a genuine touch of humanity and identity. Instead of launching immediately into the production, we are at a Shabbat communal gathering. A beautifully decorated table contains the familiar items needed: candles, challah bread, drinking glasses, and wine. I think the Torah was also on the table, but I wasn’t sure and forgot to ask when I left. Before the actors gather around the table, they kibbutz with or hug each other when someone enters. It’s poignant and moving and keeps me focused. Snippets of lines from the play are recited. I didn’t recognize some of the lines, which made me wonder if there was a connection to religion or faith. Performances are grounded in truth and reality. The final scene between Alon Nashman and Cameron Scott is haunting. Nashman delivers a carefully nuanced performance filled with emotional depth, portraying Shylock’s highs and lows and the humiliation of public insults. His delivery of “Hath Not a Jew’ deeply resonates, penetrating the heart. Nashman pauses, breathes, reflects, and continues the monologue with humanity and grit. His profound anger and sorrow over his daughter Jessica’s (Cameron Scott) elopement with the Christian Lorenzo (Ori Black) and the theft of the ring given to him by his late wife Leah remains palpably intense, especially when he tells his friend Tubal (James Wallis): “I would not have given it for a wilderness of monkeys.” Hallie Seline is a cleverly astute Portia who can manipulate people against each other when necessary. She has her lady-in-waiting and confidante, Nerissa (a spirited Brittany Kay), completely under her influence. As the disguised courtroom legal expert Doctor Bellario overseeing the case between Shylock and Antonio, Seline’s delivery of ‘The quality of mercy’ is strictly business. Nonetheless, Seline infuses a touch of compassion into ‘Bellario’s’ voice, kindly urging Shylock to reciprocate and withdraw the case against Antonio. When that doesn’t happen, Seline skillfully navigates around Nashman’s Shylock, poised to seize on every word he utters. Cameron Laurie’s Bassanio seems to have a knowing twinkle in his eye when he selects the correct casket. As he discovers that he will share half of Portia’s wealth, Laurie’s pause to let that information sink in is perfect. It appears he is calculating the what-ifs of money in his mind. Laurie and Jesse Nerenberg’s Antonio seem to have formed a unique friendship. Does it cross the line into something more than mere friendship? I’m not sure about that, but the looks they exchange might suggest otherwise. Teaching ‘The Merchant of Venice’ to high school students years ago made me wonder if I had done justice to the play as much as I could have. Watching this fine production made me realize how important it is for high school students to see this version. I hear the production is sold out. I have no idea if there are school matinee performances at this time. In any event, it might be a good idea to contact Shakespeare Bash’d to inquire about school matinees or ticket availability. Running time: approximately 2 hours and 30 minutes with one interval/intermission. 'The Merchant of Venice' runs until February 23 at the Theatre Centre, 1115 Queen Street West, Toronto. For tickets: https://www.shakespearebashd.com or call the Theatre Box Office (416) 538-0988 for any returns. SHAKESPEARE BASH’d presents William Shakespeare’s ‘The Merchant of Venice’ Director: Julia Nish-Lapidus Sound Designer: Matt Nish-Lapidus Lighting Designer: Sruthi Suresan Stage Manager: M Fera Performers: Ori Black, Sofia Contal, Brittany Kay, Cameron Laurie, Alon Nashman, Jesse Nerenberg, Adriano Reis, Asher Rose, Cameron Scott, Hallie Seline, Carson Somanlall, James Wallis, Arielle Zamora. Previous Next

Where theatre is not only presented on the stage. Back Ramayana Thai Puppet Show CANADIAN PREMIERE This production was part of the Mississauga Puppet Festival, held every March at the Maja Prentice Theatre, 3650 Dixie Road, Mississauga, ON Credit: Joe Louis Puppet Theatre Company website Geoffrey Coulter, actor, director, adjudicator, arts educator “An astounding display of craftsmanship, storytelling and artistry from a troupe who’ve travelled across the globe to share their brilliance in entertaining Canadian audiences for the first time.” Who knew the City of Mississauga plays host to an annual puppet festival? The festival showcases the most captivating international puppet performances (many of them award-winning) from innovative theatre companies that are redefining this awe-inspiring art form worldwide. Every March break, Crane Creations, a local professional theatre company, facilitates and curates high-quality live national and international events. Among them is the Puppet Festival Mississauga, an international festival celebrating the art of storytelling through puppets. It’s a wonderful world where fantasy and imagination take centre stage. It's absolutely perfect for the entire family during the March break. This year’s six-day festival was performed at multiple venues, with 28 performances by 39 artists. I had the pleasure of entering the world of the Joe Louis (yes, eponymously named after the great boxer) Thai Puppet Theatre with their traditional puppet show, “Ramayana.” This remarkable company from Bangkok has preserved a two-thousand-year-old art form, teaching and entertaining through a story related to Thai culture. This multi-award-winning company is the only puppet troupe in Thailand claiming to be direct descendants of the man who founded the company over a century ago. The art form was all but lost in the twentieth century, but a resurgence was found in the mid-1990s. The large, intricately detailed puppets require three people to operate each. The results are perfectly synchronized, dreamlike movements from the puppets and operators alike. Puppeteers are dressed in black, some with faces covered, to further increase suspension of disbelief. Initially, I thought that might be a distraction, but I was happily proven wrong when I realized I forgot they were even there. A brief video explains the significance of puppets and animation spanning many cultures over two millennia. Next is a short history of the importance of puppet shows in Thai culture specifically and how the Joe Louis company is carrying the mantle of their ancestors forward into the 21st century. Performers enter the stage, stretch and move in unison as a kind of dance-like warm-up for what’s to come. Then, the tale of “Hanuman: The Great Warrior” begins. Although given no program of context or synopsis, it quickly becomes apparent we are watching a mythological tale of a deified warrior-king on an underwater quest to seek out a mystical and beautiful mermaid princess to be his consort. Along the way, he meets denizens of the deep, both friends and foes. Dazzling fish, coral reefs, and shimmering sea snakes wiggle and wag across the stage. When the king finally meets the mermaid, she plays coy and hilariously evades his affections by “swimming” into the audience, Hanuman in hot pursuit. This is where I felt the show got bogged down. A good 15 minutes was spent with the puppets and their masters playing and interacting with audience members. This seemed to delight some audience members as they slipped the entertainer's 20 and 50-dollar notes in appreciation. Alas, for me, the narrative was suspended for these extended hijinks, and while fun, I found it ultimately distracting. I needed to re-invest my attention when the puppeteers returned to the stage to bring their magical tale to its conclusion. Beyond skilled manipulation is the wonderful craftsmanship of the mostly stick-style puppets. Though the King wears a fearsome mask and intricately embroidered armour, he’s a clown, playing for laughs, while his mermaid paramour is resplendent in finely detailed traditional headdress, porcelain face and hands, shiny blue scales and billowing white tail. Adding to the visual feast are fish with glowing eyes and fluttering gills. An evil life-sized water witch is literally strapped to its operator, allowing fully articulating arms, legs and head. Lighting and music complete this dream. A myriad of colours evoke the underwater fantasy, while haze and soap bubbles pumped in from the wings make us feel truly submerged. Traditional Thai music underpins the ethereal and transcendent visuals. This is still a niche art to which few are willing to dedicate their lives. This remarkable cast makes it look easy, providing a treat that you’re not likely to see anywhere else outside Thailand. The wonder of this presentation is that it communicates its cultural significance without language. What a wonderful lesson that in our modern, divisive world of war and distrust, a troupe of puppeteers can bring cultures together to share, educate and rejoice in our collective differences without uttering a single word. We need more of this – badly! If Hanuman is indeed The Great Warrior, then the Joe Louis Thai Puppet Theatre Company is undoubtedly the Great Entertainer! Running time: Approximately 45 minutes. “Ramayana Thai Puppet Show” Presented by seven members of the Joe Louis Thai Puppet Theatre Company, Bangkok This production was part of the Mississauga Puppet Festival, held every March at the Maja Prentice Theatre, 3650 Dixie Road, Mississauga, ON To learn more about Crane Creations Theatre, visit cranecreations.ca Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back The Lion King Now on stage at Toronto's Princess of Wales Theatre, 300 King Street West, Toronto. Credit: Matthew Murphy. Pictured: David D'Lancy Wilson as Mufasa Joe Szekeres "Long live Toronto’s ‘Lion King!’—a joyous communal celebration of the circle of life between the actors and the audience." Finally, Toronto can experience a daily 'royal' coronation at the Princess of Wales Theatre with its Canadian production of 'The Lion King.' After seeing this performance twenty-five years later, what strikes me most is its connection to events south of the border, which may soon unfold in our own country. The American people seem to have chosen to restore order amid the chaos they have experienced over the last four years. In ‘The Lion King,’ that sense of order permeates the nature of the African Pride lands. All’s well within the world of nature. That order becomes toppled in chaos when the evil lion Scar (a deliciously slick and slimy performance by Salvatore Antonio) usurps his position within natural order and causes the death of the rightful king of Pride Rock, Mufasa (a kingly and regal David D’Lancy Wilson). When it appears that the young Simba (Lucien Duncan-Reid, at this performance) is to be the next king, Scar has difficulty accepting that edict. He tricks the young Simba into believing he is the cause of his father’s death, and the young cub runs away. Ultimately, justice wins in the end. The adult Simba (Erick D. Patrick), with the help of the adult Nala (lovely work in ‘Shadowland’ by Camille Eanga-Selenge), returns to restore order to his homeland with the help of friends. ‘The Lion King’ remains a veritable feast for the eyes and the ears a quarter of a century later. What an exquisite musical opening number! It continues to bring tears to my eyes. Sung extraordinarily by mandrill Rafiki (an adorable Zama Magudulela), who gathers all the creatures of Pride Rock together, ‘The Circle of Life’ reminds the audience that everything is in its rightful place in the order of nature. The presentation of the young cub of Mufasa and his lioness wife Sarabi (Lisa Michelle Cornelius) to the animals present at the end of the song in a tableau leaves an indelible image before the blackout. Director Julie Taymor's stunning costume designs stand out beautifully under Donald Holder’s rich lighting. The masks and puppetry created by Taymor and Michael Curry are captivating, drawing my attention and making it hard to look away. They are truly a remarkable sight. Additionally, Richard Hudson’s scenic design of the rising sun remains breathtaking. Because I know most of the songs, I also know their lyrics. For the most part, I could hear the actors sing, but there are moments when the orchestra drown the lyrics. Hopefully, Steve Canyon Kennedy will continue to work in balancing the orchestra and the singers. What occurs on the Princess of Wales stage is a testament to the creative team. Director Julie Taymor and Associate Director Anthony Lyn's steadfastness in envisioning a story that speaks to children and to young and older audience members touches my heart. Garth Fagan’s choreography and movement remain exciting to watch. Sean Mayes’ musical direction of Mark Mancina’s additional score and Lebo M’s additional vocal score, vocal arrangements, and choral direction soars high to the roof of the theatre several times. Two of the most notable are ‘They Live in You’ and in the second act’s opening of ‘One by One.’ There are performances also worth noting for their comic theatricality. Will Jeffs is a sharp and quick-witted Zazu. As Timon and Pumbaa, Brian Sills and Trevor Patt become irresistible charmers in their appreciative nod to two famous comedian duos – Laurel and Hardy. As the idiotic hyenas, Shenzi (Jewelle Blackman), Banzai (Joema Frith) and thick as a post with his tongue sticking out, Ed (Simon Gallant) are endearing reminders of the Marx Brothers' comedy from long ago. The singers and dancers are extraordinary. There are moments when I closed my eyes so I could listen to the various harmonies in the songs. Final Thoughts: On the GO train ride home, I did a lot of thinking about the show. What came clear to me within the hour ride home: The production upholds conservative, solid values. For example, it upholds the family unit. The male/father figure protects his family against all harm. The female/mother will care for those in her immediate life. Together, mother and father will help their young cub/children grow. This value is also reiterated by the adult Simba and Nala in the end. Other thoughts kept returning to my mind about the journey from order to chaos to order once again. First, ‘The Lion King’ assumes a respected understanding of the "Divine Right of Kings," a medieval Christian political doctrine that holds that God designates rulers to govern the land justly. These rulers are expected to fulfill their responsibilities with integrity, and at times, they may need to engage in conflict to ensure that these duties are upheld. Second, the only way to maintain an established order is to embrace Christian values, prioritizing service to others. These values are centered on love, respect for parental figures, and reverence for a higher power. The importance of these values is demonstrated in "Circle of Life," where the characters show their appreciation by bowing and nodding to one another. Ultimately, there is a call to prayer, most evident when adult Simba speaks to the dead Mufasa, seeking a sign to return to the Pride Lands and fight for what is rightfully his. These Conservative and Christian values are precisely what the American people voted for in the next four years. I wonder if the same will happen in our country next year. In any event, stories that connect to Christianity make this writer smile again and his heart leap for joy. In the meantime, go see ‘The Lion King.’ Running time: approximately two hours and 30 minutes with one interval/intermission. ‘The Lion King’ currently runs until August 30, 2025 at Toronto's Princess of Wales Theatre. For tickets, visit mirvish.com or call 1-800-461-3333. DAVID AND HANNAH MIRVISH, in association with DISNEY THEATRICAL GROUP, present: Disney’s ‘The Lion King’ Music and Lyrics by Elton John and Tim Rice with Additional Music by Lebo M., Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer Book by Roger Allers and Irene Mecchi Directed by Julie Taymor Choreography: Garth Fagan Music Director: Sean Mayes Costume Design: Julie Taymor Scenic Design: Richard Hudson Lighting Design Donald Holder Mask and Puppet Design: Julie Taymor and Michael Curry With so many tremendously awesome performers. Previous Next

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

A talk with a professional artist about their career. Back Rebecca Caine Self Isolated Artist Jennie Scott Joe Szekeres As an avid theatre-goer and attendee, I can recall how the excitement of the Toronto professional theatre scene in the late 1980s and early 1990s matched and marveled that in New York City. At this time, there were the mega-musicals: ‘Les Miserables’, ‘The Phantom of the Opera’, ‘Miss Saigon’, and ‘Rent’ just to name a few. The first two productions listed have one person in common: Rebecca Caine. It was the Canadian sit-down company of ‘Phantom’ at The Pantages Theatre (now the Ed Mirvish Theatre) where I saw and heard the lovely Toronto born Rebecca Caine perform the iconic role of Christine Daae, which she had also performed in London’s West End. I remember hearing and/or seeing how fans of the Toronto production flocked to the stage door after performances to catch a glimpse or to chat briefly with this beautiful lady. And yes, I was one of them. Again, during the first few weeks of the ‘Phantom’ Canadian run, I also learned that Rebecca had originated the role of Cosette in the London/West End production of another theatrical titan: ‘Les Miserables’. Rebecca’s dulcet sounds were not only and simply relegated to the musical theatre community. While in Toronto, she also joined the Canadian Opera Company and made her debut there in the title role of ‘Lulu’. Rebecca also received a Dora Mavor Moore award for her performance in ‘The Little Vixen’ with the Canadian Opera Company. I encourage you to visit her website and to see Rebecca’s extensive work across Canada, the US, England, and overseas with incredibly diverse roles in music and storytelling. It was also nice to read in her biography on her website that Rebecca made her straight acting debut. And when she returns to Toronto for a concert, I would most certainly like to attend to hear her sing once more in the theatre when it’s safe for all of us to be there. Rebecca and I 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 faring? How has your immediate family been doing during this time? London calling! I’ve been incredibly up and down. Initially, it almost felt freeing. No self-tapes! Air punch! I heard Helena Bonham Carter say she didn’t have to feel stressed about being cast because no one else was. Well, quite. Then the fear crept in. Thanks to the ineptitude of the mouldering pile of chickpeas that is Boris Johnson, we have an incredibly high infection rate in the U.K. Friends got sick, some nearly dying. We hunkered down. We’ve had a lot of illness in my family in the last year. My mother has been hospitalised twice and a sibling was released from six months of cancer treatment in hospital into the whirlwind of a global pandemic. A brother in law tested positive for antibodies, my sister did not. I started to have some strange symptoms, rashes, an eye infection that could be seen from space, so my husband and I were tested. He came out positive much to our shock as we’d been so careful, and he was asymptomatic. My GP told me to assume that despite two negative tests I had had it. I’ve had days of real fatigue, headaches, and depression. We quarantined, him for one and me for two, which made me feel even more barking mad. Today I’m feeling better so let’s hope we’ve come out of it really lightly and stand a chance of not getting it again although of course, we will still be super safe in our behaviour. Meanwhile, I’m convinced the steady diet of Pringles and chocolate will keep us healthy. 2. As a performer, what has been the most difficult and challenging for you professionally and personally? I’ve really struggled a lot with loss of confidence in the last few years. I’m really hard to cast, being a full-on legitimate soprano of a certain age in a world of belters. There are no roles for me in traditional opera now as I am a light lyric soprano and they are the first to walk the plank, and the projects that I do want to do are few and far between. It’s harder to keep one’s confidence in the long gaps between gigs. I have COVID nightmares. Standard actor dreams. ‘Phantom’ has been my go-to stress dream for thirty-two years. I keep dreaming I’m back in the London production where I had a horrid time. The dream has changed over the years. Initially, I was hiding on the top floor of the theatre hearing the show over the show relay but, over time, the dream has progressed to finally being on the stage. Inexplicably a trapeze act has been added to the opening number, ‘Hannibal’ and I am pantless. I constantly dream I’m onstage in something I’ve never rehearsed and don’t know, and all this plays on my mind. I wonder, when we ever come back if I’ll be able to still do it which, of course, I will because it’s in my bones. It’s hard not to have the fear at four am. The other thing that was really tough was that in the first few months of the pandemic I could not bring myself to sing. When I tried, I cried. For many weeks here every Thursday night, we clapped the NHS. My street asked me to lead them in a group sing and it felt exposing and like showing off. I wanted to be quiet and private. All over my socials, Turns, as we refer to ourselves here, were “giving their gift” and I was incapable of singing. I needed to because I go crazy if I don’t feel that vibration in my body and I needed to stay in good vocal shape. Eventually, I turned to the Bel Canto Vaccai method of Practical Singing (God knows what the impractical method is) which is over 200 hundred years old. I found that singing through the exercises daily kept me in good shape technically and mentally. 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? Straight off, I had to cancel some concerts in Canada, which made me sad as I hadn’t been back for three years and I miss everyone. Last year I did an extraordinary new piece, ‘Abomination’, an opera about a Northern Irish politician Iris Robinson and the DUP party’s appalling homophobia by the brilliant composer, Conor Mitchell. We had had plans to take it all over the place and now that’s on ice which is distressing. It’s an incredible age-appropriate role that was written for my voice and an important piece of political theatre. I was so excited for the wider world to see it. Bebe Neuwirth, whom I went to high school with, and I were plotting a cool thing we’d hoped to workshop this summer as well. I could tell you about it, but then I’d have to kill you. It’s hard to say what will become of any of these projects. Certainly here, nothing is happening until 2021… 4. What have you been doing to keep yourself busy during this time? Well… lots of gardening, weeping, needlepoint, weeping, eating, weeping, and silent screaming. I don’t seem to have the concentration to read. I have been watching a lot of ballet, which I adore. I can lose myself in it and the older I get the more I am lost in wonder at what they can do. My heart breaks for all the dancers trying to keep in shape in their living rooms; it’s such a short career, full of sacrifice. 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 given the fact live theaters and studios might be closed for 1 ½ - 2 years? My heart bleeds for them. I wish I had a magic wand to make it go away. I message the younger colleagues to tell them I’m thinking of them and support them. The next generation had things stacked against them before this bloody virus arrived, but I am utterly convinced that they will find a way of making theatre that will amaze us all. I’m so incredibly inspired and excited by their politicization, creativity, and passion. They will find ways to express themselves that we never dreamt of. Don’t succumb to the divisiveness that’s out there. That’s what they want you to do. Listen and avoid dogma. Don’t cancel, debate. Be kind and strong and you will rise. The theatre has survived plagues before. It will survive this. 6. Do you see anything positive stemming from COVID 19? I hope that there is a realisation that we can no longer see the planet as something to be plundered, but as something we must respect or it will strike back and that people must see each other as equals. I’ve been profoundly impacted by the stories raised by the Black Lives Matter, Climate change and also the Me-Too movement. I think somehow the pandemic has brought all these matters to ahead. The next generation get it and soon, they’ll be in charge. 7. Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? I can’t speak for the North American/Canadian scene as although I work over there, I am based and mainly work in the U.K. but surely the problems are the same? Unless there’s a vaccine, some sort of herd immunity develops or the virus mutates into a less fatal form or indeed vanishes, we are going to be dealing with this for some time. 8. 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? Even before the pandemic, one of my favourite things to do was to take my mother to see relays of operas and ballets at the cinema. Although many of them were playing in London it was an easier thing for my mother to handle at 87. What I did miss was feeling the music in my body. No sound system can replace being in the hall. However, in the present circumstances, I think it’s a brilliant way of getting things out there. The Belfast Ensemble streamed ‘Abomination’ to over 5000 people in 32 countries. For a contemporary opera that’s an incredible achievement. 9. Despite all this fraught tension and confusion, what is it about performing that COVID will never destroy for you? That feeling of the flow, of being in the zone, when each thought just comes unbidden and I am fully in the moment. Pretty wanky, eh? True, though. 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: Oh lordie…ugh… right. 1. What is your favourite word? Cat 2. What is your least favourite word? Ginormous. 3. What turns you on? Serious art 4. What turns you off? Donald J. Trump 5. What sound or noise do you love? An orchestra tuning up. 6. What sound or noise bothers you? Straight tone screlting. Vibrato is a fingerprint that gives individuality unless you want to sound like the factory klaxon that opens ‘Sweeney Todd’. 7. What is your favourite curse word? Twazzock What is your least favourite curse word? Unprintable. 8. Other than your own, what other career profession could you see yourself doing? Well, Pope obviously, but costume designer or medieval manuscript scholar would be lovely. 9. What career choice could you not see yourself doing? Wife of Trump. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “It’s ok Darling, we don’t need an up tempo.” Seriously, it’s “All your pets are waiting for you.” To learn more about Rebecca, visit her website: www.rebeccacaine.com Twitter: @RebeccaCaine Instagram: RebeccaCaine Facebook: Rebecca Caine Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Get That Hope' by Andrea Scott WORLD PREMIERE Now on stage until September 28 in Stratford's Studio Theatre, 39 George Street East. Credit: David Hou. Pictured is Savion Roach (centre) with from left Celia Aloma, Conrad Coates (foreground) and Kim Roberts (far right) Geoffrey Coulter, actor, director, adjudicator, arts educator “You’ll recognize the folly of family and the reality of relationships in Stratford’s new Canadian play ‘Get That Hope.’ The latest play to have its Stratford 2024 world premiere is “Get That Hope” based on playwright Andrea Scott’s experiences with that fractious group of people we call family. It’s a funny, engaging and revealing story of a family being torn apart just as their neighbourhood of Little Jamaica is being torn asunder by the incessant sound of jackhammers. Inspired by Stratford’s 2018 production of Eugene O’Neill’s “Long Day’s Journey into Night,” “Get That Hope” takes place in a crowded apartment where construction work rumbles through the walls. Family patriarch and retired factory worker Richard Whyte (Conrad Coates) is planning an ambitious Jamaican Independence Day party while systematically checking his lottery tickets. Unfortunately, Richard’s wife Margaret (Kim Roberts) and adult children Simeon (Savion Roach) and Rachel (Celia Aloma) aren’t up to celebrating as they deal with their own emotional struggles. Margaret has long resented Richard for foisting the care of his daughter from a previous relationship on her. She’s recovering from an injury and relies on her upstairs neighbour and personal support worker, Milly (Jennifer Villaverde), to take her for frequent walks. Rachel is the sole breadwinner, juggling two jobs to support the family; she’s fed up with her stepmother’s disrespect while Simeon, recently back from deployment, is just trying to navigate his life with PTSD. All this makes for an often-fraught day of disagreements and resentments that slowly fracture the family’s upbeat facade. Director (and Stratford actor) André Sills thoughtfully reveals the rich family dynamics. There’s a beautiful naturalness to his cast’s line delivery; he moves his actors around the small apartment set with purpose and intent. Nothing feels awkward or unnatural. It feels like we’re eavesdropping on the everyday lives of real people. Richard and Margaret’s deep love for each other is ever-present, and it’s evident that he and his daughter Rachel have a special bond. There’s no love lost between Margaret and Rachel. Simeon is the awkward one; the room goes quiet when he enters. Only Rachel can penetrate the wall he’s built between himself and his family. Finally, Milly empathizes with Rachel’s sacrifices and expectations as the eldest child, as the same is expected from her back home in the Philippines. Beneath it all, the play reveals the secrets, trials and tribulations that the family does their best to grapple with, individually or collectively. Some situations are resolved during the play, while others remain ambiguous. As Richard celebrates Jamaica’s independence from Great Britain, Scott’s theme of independence seems a clear allusion to the freedom that the entire Whyte family is striving for, moment by moment, day by day. As Richard, Coates reveals, he’s just a good ‘ole boy. His stoic portrayal as a hard-working immigrant to Canada is terrific. His monologue about how he ended up in Canada instead of the United States is tender and heartfelt. Pity that many of his lines were, for me, hard to understand through his thick Jamaican patois. Kim Roberts is thoroughly delightful as Margaret. Her no-nonsense, tough-love portrayal is a fine contrast to Coates’ softer Richard. As Rachel, Celia Aloma is fabulous as a young woman on the verge of making a life for herself while putting her regrets and resentments behind her. While Savion Roach gives a commanding performance as traumatized soldier Simeon, I wanted to understand his character more – perhaps an even softer side to his seemingly impregnable exterior. But that’s the playwright, not the actor. Finally, Jennifer Villaverde, as Milly, the only non-family member, brings sweetness and genuine care for the family’s well-being. The set and costumes by Sarah Uwadiae are functional and well-lived-in, from the working kitchen faucet to the plastic-wrapped sofa. The mural fragments mounted on the wall above are an effective ever-present reminder of the neighbourhood’s slow gentrification. As director Sills notes in the program, “What will be left of Little Jamaica once the …construction is complete?...will the murals be the only signifiers of what was?” Sound design by Steve Lucas nicely evokes the heat of the summer sun. His window projections effectively communicate the cramped living quarters, and the discotheque treatment of Richard and Margaret’s loving and humorous kitchen dance was spot-on! Designer Maddie Bautista’s soundscape of frenetic construction nicely conjures a neighbourhood in transition. “Get That Hope” is a revelatory new Canadian drama about ordinary Black families – struggling, complex and triumphant. Though we share the Whyte’s secrets, Scott invites us to find in them a version of our own struggles and triumphs. Her familial themes of history, secrets, trauma, betrayal, love, laughter and tears transcend race and creed. I think we all have a Richard, Margaret, Rachel and Simeon in our own families. “Get That Hope” will undoubtedly get you thinking. Running time: Approx. 1 hour, 50 minutes with one intermission. The production runs until September 28 at the Studio Theatre, Stratford, 34 George St. East. For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca ‘GET THAT HOPE’ by Andrea Scott Directed by André Sills Set and Costume Designer – Sarah Uwadiae Lighting Designer – Steve Lucas Composer and Sound Designer – Maddie Bautista Performers: Celia Aloma, Conrad Coates, Savion Roach, Kim Roberts, Jennifer Villaverde Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'GYPSY' Book by Arthur Laurents, Music by Jule Styne, Lyrics by Stephen Sondheim Now onstage at the Festival Theatre SHAW FESTIVAL Credit: David Cooper. Kate Hennig as Momma Rose Dave Rabjohn RABJOHN'S VOICE CHOICE Directed with a fulsome brashness, the production erupts with talent both on stage and off. The frothy and ever popular musical ‘Gypsy’ is playing throughout the summer and fall at the Shaw Festival in Niagara-on-the-Lake. Book by Arthur Laurents, music by Jule Styne and lyrics by the incomparable Stephen Sondheim, the musical is based on the memoirs of burlesque artist Gypsy Rose Lee. The main character (stage mother of all stage mothers), Momma Rose, requires a performer of nuclear energy from her very first bark at a producer to the last resounding note of ‘Rose’s Turn.’ Kate Hennig offers that energy and then some with an absorbing performance. Having said that, Julie Lumsden’s performance as the withering child actor turned burlesque star is equally sensational. Directed with fulsome brashness by Jay Turvey this production erupts with talent both on stage and off. Choreographer Genny Sermonia, set and costume designer Cory Sincennes, and lighting designer Kevin Fraser are elbowing each other for title of most daring and creative artist. The well-known story of acting sisters Louise (Julie Lumsden) and June (Madelyn Kriese) vigorously pushed by their mother Rose through the dregs of the last days of vaudeville, we observe their modest triumphs and their more frequent struggles. Rose will lie, steal and badger producers for her girls’ success. At Louise’s expense, Rose chooses June as the star performer but pushes her too far and she bolts the troupe. Rose’s new agent and love interest, Herbie, played with tender acquiescence by Jason Cadieux, also is pushed into leaving. A main strength of Ms. Lumsden’s performance is her versatility. Of all the colourful characters, Louise travels through the greatest spectrum of emotional decisions. The orchestra is superbly robust and Rose is equally vociferous, but Louise’s quiet moment as she stares at the floor considering the uncomfortable borders of the burlesque industry is poignant and powerful. Her transformation into a confident and global star is remarkably displayed. Kate Hennig’s performance also runs crushing through men, agents, and producers to do anything for her girls - the girls she doesn’t realize are individual women. She cannot let them go until it is realized in the agonizing final scenes of her awareness. Acting aside, Ms. Hennig belts out the big numbers with vigour including ‘Some People’, ‘Everything’s Coming up Roses’, and ‘Rose’s Turn.’ With limited roles at the beginning of the play, Ariana Abudaqa and Hanna Otta as the ‘baby’ sisters offer remarkable performances. Brilliantly inspired lighting and choreography transforms the girls into their older version right in the middle of a dazzling number. Inventive design and choreography is also displayed in a number with a full-sized car rolling on and off the stage. Further creativity is in full gear with the number ‘Mr. Goldstone.’ A singular moment of Cory Sincennes’ set design is a backstage proscenium-like wall of glass-covered shelving full of stage articles. Along with her dashing singing performances, Ms. Hennig also displays a character all about ‘change.’ This is a story of change – the girls grow up, vaudeville is fading, Rose’s role must adapt. Taking in this prodigious production may not change your life, but it will resonate well beyond the final applause. ‘Gypsy’ by Arthur Laurents, Jule Styne, Stephen Sondheim. Director: Jay Turvey Music Director: Paul Sportelli Choreography: Genny Sermonia Set and costume design: Cory Sincennes Lighting design: Kevin Fraser Sound design: John Lott Runs through October 7, 2023. Tickets: shawfest.com Previous Next

Dramas encompass the human response to a created life situation on the stage. Back Salt Water Moon by David French Guild Theatre Festival Raph Nogal Photography Joe Szekeres A beautiful August summer evening sets the stage for a most splendid production of David French’s iconic Canadian classic script of the Mercer family which introduces the early lives of parents Jacob and Mary. I’ve seen this play several times before, but this is the first I’ve experienced ‘Salt-Water Moon’ in an outdoor setting. And what a wise choice Director Helen Juvonen made as the Guild’s production is utterly charming to watch as two charismatic and engaging artists create very real, flesh and blood people before my eyes while handling the intricate Newfoundland dialect and speech patterns crisply and with tremendous grace and dignity. A shout out of recognition to Dialect Coach Leah Holder for ensuring authenticity to my ear. The setting is 1926 in Coley’s Point, rural Newfoundland. It is a moonlit night (just like the performance I attended) in September in front of a late 19th century home. Seventeen-year-old Mary Snow (Sarah Gibbons) is waiting for her fiancé, Jerome, to come visit her after Bob Foote's wake, and she is looking through a telescope at the moon and stars to pass the time. A voice is heard in the distance and Jacob Mercer (Alex Furber), six months older than Mary, and her former beau, appears. Mary is taken aback to see Jacob who left Newfoundland abruptly for Toronto a year before to seek his fortune. Mary and Jacob spend the evening making small talk, stargazing, arguing, and discussing the past, including Jacob's sudden departure. There is a simple set design which works very well in this case as the primary focus remains on the tip-top performances of Sarah Gibbons and Alex Furber. There are three entrances to the playing space. Centre stage and stage left are several lanterns with tea lights that glowed as the sun set and the evening approached. Just off-centre stage right and angled slightly is a wooden rocking chair. At stage right is a trellis of leaves with small white lights attached. Sarah is dressed attractively in a yellow dress and Alex looks dashing in a light grey pin striped suit with a deep blue tie nicely contrasted with a white dress shirt. In her Programme Note, Ms. Juvonen writes how envisioning ‘Moon’ has become an homage to the place she calls home and to celebrate her maternal family. Her profound respect for the play and maintaining consistent verisimilitude certainly came clear to me in some of the minute details she emphasizes in the 90-minute production. One example of this occurs in the convincing performances of Gibbons and Furber. ‘Salt-Water Moon’ is heavily dialogue driven, and these two actors continuously listen carefully to each other’s words and their meaning and respond so believably and realistically on an emotional level that I periodically put down my pen from making notes in my book and just wanted to watch them move with clear intent and purpose all the time. I especially relished the moment as Mary calls Jacob over to point out something in the sky with the stars and constellations. I got caught up in the moment to the point where I had to restrain myself from physically turning around in my chair and look to the sky to see where the actors were pointing. Every inch of the playing space on that stage is used to its fullest and I especially enjoyed watching how the ‘who has the power in the moment’ volley back and forth between the two. Alex Furber’s Jacob is confidant, cocky and, at times, self-assured who remains intent on trying to win back the heart of the girl whom he left the year before. I loved watching how he skillfully utilized a playful and genuine smirk on his face at times to acknowledge that he is doing his best to win back Mary’s trust and love. Sarah Gibbons is a feisty and ‘fire in the spirit’ Mary (as she is described in the text at one point) who obviously is not a push over emotionally as Jacob comes to recognize as the plot progresses. I saw just how Mary can poke at Jacob’s soft side to remind him that what he did was wrong. Gibbons knows and senses inherently just how and when to utilize playwright French’s words to fire back emotionally at the beloved beau who left her suddenly the year before. Final Comments: There was something magical about watching a live performance outdoors. The term ‘Theatre under the Stars’ took on a new meaning for me in this delightful production of a captivating ‘Salt-Water Moon’. Get tickets for this one. A wonderful evening spent at the theatre. ‘Salt-Water Moon’ continues to August 15 at the Greek Theatre in the Guild Park and Gardens, 201 Guildwood Parkway, Toronto. For tickets and information, please visit www.guildfestivaltheatre.ca . ‘SALT-WATER MOON’ by David French Production Staged by Guild Festival Theatre, Tenth Anniversary Season Directed by Helen Juvonen Production Designer Simon Flint Design Mentor Nancy Anne Perrin Dialect Coach Leah Holder. Previous Next

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

A talk with a professional artist about their career. Back Michael Ross Albert Looking Ahead Megan Terriss Joe Szekeres Michael Ross Albert and I had recently connected through Instagram. I’m still having some issues with Instagram and how to use it. When I saw Michael’s name, I kept wondering where I had seen it before. And then it dawned on me. Just this past summer, Theatre on the Ridge had staged a reading of Albert’s ‘The Huns’ about the corporate world which was a really interesting production given the restrictions of Covid. I remember speaking to Carey Nicholson, Artistic Director of Theatre on the Ridge, after the show and told her that I really hope she might consider staging a full production of ‘The Huns’ when it’s safe for all of us to return. Michael Ross Albert is an award-winning Toronto-based playwright whose work has been performed across Canada, the United States, and the United Kingdom. He received an MFA in Playwriting from the Actors Studio Drama School and has been honoured to teach new play development as an instructor of record at the University of Waterloo. We conducted our interview via email. Thanks again, Michael: In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? Your immediate family? Thankfully, my immediate family and I have been keeping healthy, safe, and relatively sane. We’re all a little lonely, and a little bored, and some days are tougher than others. But that’s all. Considering the huge difficulties others are facing during this pandemic, I feel extremely fortunate. How have you been spending your time since the theatre industry has been locked up tight as a drum? During the first wave, I spent a lot of time doom-scrolling through the Internet and trying to find comfort in junk food, booze, and classic episodes of The Simpsons. But after a while, I realized those behaviours weren’t quite doing the trick, and I decided to completely change track. With so much out of our hands, I’ve tried to focus on things that I actually can control, which these days, is mostly just my daily habits. So, I became a person that goes to sleep early and wakes up before sunrise. I deactivated my Facebook profile, which was one of the best decisions I’ve made. I’ve turned off a lot of notifications. I’ve been limiting my comfort food and alcohol intake. I’ve been taking long (and I mean long) walks in nature. I’ve started meditating. I’m becoming that guy. And you know what? It’s been pretty helpful. I’ve also had the very good fortune of working on writing assignments that had tangible deadlines. The uncertainty facing our industry has cast a big, looming shadow over my writing desk, and my focus has been even more scattered than it usually is. But once I really got going, the act of writing was very pleasurable. And I’ve been meeting with the collaborators involved in these projects periodically throughout the year, where we’ve had great, daydream-y conversations about the future. Those process-oriented conversations gave all of us a really welcome distraction from, you know, all of this. 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’m not sure “escape” is the word I’d use. To a degree, I’ve found myself retreating inward more, which could be a kind of escape. And when I’m writing, I do sort of feeling like I’m absconding to a different world, a different set of people’s circumstances. But, overall, I think the pandemic’s been a magnifying glass. Which is, like, a real gift, eh? How many generations have really gotten this gift of time to examine everything? Over this past year, we’ve had the time to put our industry, our artistic practices, our creative habits, our personal relationships, our values, our priorities, our commitments to our communities under a magnifying glass, and I think that’s going to lead to a lot of positive change. Obviously, the disease spreads like wildfire; we’re all at risk of being infected, we’re all grieving, the majority of us are facing financial insecurity and serious anxiety. COVID’s not a good thing. But the conditions of the moment have forced people in all sectors, not just the arts, to really scrutinize everything, so that hopefully, we can all make significant improvements to our very flawed systems. 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? We should be focusing on our health and safety. If that means the industry can’t come back in full force for a while, it is what it is. Artists have to be resilient because the industry has always been precarious at best. If anyone can deal with prolonged unemployment, it’s professional artists. We have to get creative; we have to make adjustments, we have to stay creatively nimble, and keep doing what we do, in whatever small ways we can. I do not envy artistic directors, or leaders of big cultural institutions, or folks running indie theatre companies right now. No one cannot predict the future, and theatre requires a ton of planning. With vaccinations underway, it does feel like there are reasonable grounds for hope that public indoor gatherings will be able to return (someday…), but we can’t really predict how long it will be before audiences feel safe returning to a theatre. Unfortunately, I think we have to wait and see. And in the meantime, artists have to find ways to stay sharp, stay connected to their community, and stay curious. The financial toll this will take on organizations is really frightening. And I think that, no matter when in-person performances can resume at full capacity, the cultural landscape will look very different for a little while. 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? Honestly, I don’t know if my understanding of theatre has changed all that much over the past year. If anything, the theatre that I’ve seen during COVID, either online or outdoors, has reinforced some of my core beliefs about it. The work I’ve seen has really hammered home the fact that communal storytelling is an essential component of the human experience. That, whether they’re watching on Zoom or sitting in a lawn chair, an audience may be more willing to suspend their disbelief and go on the journey of the play if the stakes are high and the story is personal. This work has reinforced the idea that theatre should reveal a deeper truth about humanity while being extremely entertaining. And it’s proven beyond all doubt that theatre-makers are some of the most adaptable people on the planet. As to where theatre is going. For a while, I think plays may get even shorter than they currently are. We may only see small casts on stages for a while. Technical designs will probably become a lot simpler. Theatre companies may start regularly offering online ticketing options, which would be great. They might also prioritize accessibility, which would be even better. Ultimately, despite the difficulties of rebuilding, I think the theatre will come back stronger than it was before. And after a few more months of lockdown, I think we’ll all be craving live, in-person experiences. I know I am. 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? I don’t think artists should put themselves or others in the way of physical danger in order to do their work. Emotionally speaking, though, I think art is most relatable when it addresses deep, uncomfortable feelings that we all experience but have difficulty talking about. In order to create a piece of theatre that truly explores difficult emotions like guilt, shame, fear of death, an artist needs to find methods to safely access a “dangerous” part of themselves. This past year has certainly felt dangerous. I worry about vulnerable family members and friends. I worry that a stranger’s carelessness could seriously impact the life of someone I love. And I think this sense of our interconnectedness, the fact that we rely on so many people, even people outside our sphere of personal relationships, in order to not get sick and die will definitely influence my future work in the theatre. I’m not exactly sure how. But the stakes are life or death for everyone right now. And that’s definitely the key to excellent drama. 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? Oh yeah. Early on in the pandemic, we heard one piece of rhetoric over and over: “We’re all in the same boat.” But it’s clear that’s really not the case. As a dramatist, what I’m most interested in is the various perspectives of different characters, especially in the face of moral crisis. COVID-19 has shone a spotlight on individual circumstances, big decisions, heroic acts of selflessness, and flagrant disregard for other people’s safety. I’m endlessly fascinated with why people behave the way they do when faced with the extraordinary, and that fascination has only grown during the pandemic. 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? You know, I am curious about human behaviour and why people act the way they do under pressure, and COVID has given me plenty to ponder about in that regard. But I think what I’m most curious about right now is… What story will we need to hear, after all this is said and done? What will we-- artists and audiences-- need from the theatre, in order to help the collective healing process? And how do we make sure we carry all these important reflections from the past year into our artistic practices, and into our regular routines when the pace of normal life resumes? For further information and connection to Michael, please visit his website: www.michaelrossalbert.com or his Twitter handle: @michaelralbert. Previous Next

An artistic appreciation for those who have no background in opera. Back 'Rocking Horse Winner' based on D. H. Lawrence's short story A Tapestry Opera Production in association with Crow's Theatre Credit: Dahlia Katz. Pictured: Asitha Tennekoon as Paul Joe Szekeres "A haunting one-hour operatic treatment of the dangers of avarice and greed. D. H. Lawrence’s short story speaks with emotional clarity." Tapestry Opera’s ‘Rocking Horse Winner’ surprised everyone at the 2017 Dora Mavor Moore Awards by winning five of the nine categories for which it was nominated. The story deals with the dangers when greed and avarice overtake our lives. ‘Winner’ was to have returned in 2020, but we all know what happened then. The message behind Tapestry’s production of Lawrence’s story speaks to the twenty-first-century audience with emotional clarity. The opening line of the show: “Nothing is as it should be” becomes that solid reminder that something just does not appear right in this house. We meet Ava (Lucia Cesaroni), a widowed mother and her son, Paul (Asitha Tennekoon), who are struggling in the father's absence. Paul can hear quiet murmurings of voices within the house. Midori Marsh, Alex Hetherington, Anika Venkatesh, and Korin Thomas-Smith creepily heighten the tension by uttering: “There must be more money.” Paul begins to listen to these voices and then enlists the rocking horse to tell him the names of the winners of the live horse races. Great success occurs with the first bet; however, as the story continues and the bets grow, each one comes at a significant personal cost to those within the house. Jawon Kang’s set design nicely establishes the family's social status. It is a two-level set with a curved staircase on the right. There is a strong impression of the grandiosity of the house; nevertheless, there is also a dreaded sense it’s lifeless. The house is merely a building with rooms and objects. There’s old furniture. On the upper level, there are three ornate windows. This is Paul’s bedroom. The rocking horse can also be seen in the room. Yet, there’s also a sense the room appears to be suffocating, thanks to the choice of dark colours. Some of the furniture set pieces are updated thanks to the financial winnings of the horse races. There are bottles of champagne when the money starts rolling in. Ming Wong’s costumes also help establish the family’s social status. At the top of the show, the clothing worn by Ava and Paul is not flashy at all. Paul wears white boxer shorts, while Ava is dressed in a drab fashion. They change clothing when the horse race winnings come into the house. Ava is dressed sharply in a tight-fitting green evening gown with a jewelled necklace. Paul’s clothes begin to look a tad sportier. Echo Zhou’s lighting designs sharply reflect the growing tension within the house. There are moments when the shadowy effects combined with the whispering voices made me feel goosebumps. Very nice work here. Michael Hidetoshi Mori directs the production with assured confidence. He builds tension methodically. Even though I know the story's ending, Mori still manages to disarm me momentarily when the frightening reality of the final moment sinks in. Kamna Gupta’s musical direction gorgeously captures the heavenly harmonies and melodies of the music. The five-piece orchestra never overpowers the artists. Thankfully, sur-titles are projected stage left in case one did not hear all the lyrics. Composer Gareth Williams has created some extraordinary-sounding harmonies and melodies that are most pleasing to the ear. Anna Chatterton’s libretto captures the characters’ thoughts and dialogue succinctly and briefly. The remarkable eight-member ensemble is the reason to see the production. They are fully committed to telling the story with clarity and dignity while not shying away from the harsh realities of how greed can and will destroy the human soul. Peter McGillivray and Keith Klassen become terrifying reminders of what greed can do to the human soul. As respective house servant, Bassett and Uncle Oscar, they now ‘provide’ a male influence in young Paul’s life. However, they do not provide that positive guidance. Instead, the two men greedily do whatever they can to ensure they receive a piece of the horse race winnings. At one point, as young Paul rides the horse in his room to determine the winner of the Derby, the young boy becomes overcome with great angst. The looks on Klassen and McGillivray’s faces are terrifying to watch momentarily. Their Oscar and Bassett hold no concern for the young boy at all. Frightening but effective. Watching Lucia Cesaroni’s change as Ava becomes a horrifying reminder of the horror of what greed can do to a human. At the top of the show, her Ava appears tragically despondent, given her current situation as a single parent. But when the money comes in, Ava sadly allows the superficial luxuries of life to cover up the sadness at the expense of her tormented child. Asitha Tennekoon delivers a truly fascinating performance as ‘man-child’ Paul, who aptly reflects this label when the audience first sees him. He wears white striped boxer shorts, socks, and a white long-sleeved shirt. There are moments when Asitha’s work reminded me of Stephen Sondheim’s ‘Children Will Listen’ from ‘Into the Woods’. Tennekoon listens carefully to the other actors and responds appropriately. At times, his Paul shows signs of being a savant, especially when he announces the winning names of the horses. As a retired teacher who worked with young people from the ages of 10-18, Paul also exhibits signs of being autistic. Initially, I would have thought Paul to be a savant, but now I lean more towards him being autistic. Tennekoom’s Paul becomes a tragic, lonely individual on the verge of manhood. The outside adult influence selfishly takes financial advantage and gains from Paul instead of providing guidance and help through this sometimes-confusing array of internal emotional upheaval. Final Comments: D. H. Lawrence's short story still holds pertinent meaning in the 21st century about the value of money and how it can threaten to destroy personal lives if mishandled. Tapestry Opera’s production is dark, but is it ever an important story to experience. ‘Rocking Horse Winner’ runs to November 12. Go and see it. Running Time: approximately one hour with no intermission. ‘Rocking Horse Winner’ runs to November 12 in the Guloien Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets, visit crowstheatre.com or call the Box Office (647) 341-7390 ex. 1010. A Tapestry Opera Production in association with Crow’s Theatre. ‘Rocking Horse Winner’ based on the short story by D. H. Lawrence Composer: Gareth Williams Librettist: Anna Chatterton Director: Michael Hidetoshi Mori Music Director: Kamna Gupta Assistant Director: 郝邦宇 Steven Hao Costume Designer: Ming Wong Lighting Designer: Echo Zhou 周芷會 Set Designer: Jawon Kang Stage Manager: Myra A. Malley The Cast: Asitha Tennekoon, Lucia Cesaroni, Peter McGillivray, Keith Klassen, Midori Marsh, Alex Hetherington, Anika Venkatesh, Korin Thomas-Smith Musicians: Aysei Taghi-Zada, Tanya Charle Ivenluk, Brenna McLane, Sybil Shanahan, Stéphane Mayer Previous Next

A deconstruction of an individual's story. Back 'No One's Special At the Hot Dog Cart' by Charlie Petch Now onstage at Toronto's Theatre Passe Muraille Credit: Nika Belianina Pictured: Charlie Petch Geoffrey Coulter, actor, director, adjudicator, arts educator 'This solo performance poignantly hammers home the importance of coping, listening, and helping.' I was a Toronto boy! It was my city! I spent three years in a downtown university and the next two decades of my career within a 3-kilometre radius of Yonge and Dundas. It was a pleasant trip down memory lane then to rewind the clock and re-live the urban jungle of decades past with Charlie Petch’s whimsical, yet provocative, “No One’s Special at the Hot Dog Cart” now playing at Theatre Passe Muraille. This irreverent, funny, and oh-so-timely reminiscence, performed by the playwright in a single 65-minute act, is a personal and societal exposé of the impact of sharing space. It poignantly hammers home the importance of coping, listening, and helping through first-hand events they experienced as a teenaged hot dog vendor and how the de-escalation techniques learned years later as a health care worker could have saved relationships and forged a deeper understanding of the street community. The play’s politically charged themes of dignity, an overburdened health care system, criminalizing the underserved and connecting to the human condition are not new, but they do challenge our collective attitudes and responsibilities. Through monologues, spoken word, and music, Charlie proclaims how a failing economic structure perpetuates poverty rather than protects the poor. All this while pushing around a hot dog cart. Staged in Passe Muraille’s main black box space, we see the faint background of the building’s brick wall and fire escape metal stairwells. Charlie emerges from the distant shadows dressed in jeans, T-shirt and plaid shirt tied around the waist. They push a hot dog cart between two light standards signed “Yonge & Dundas” and “Church & Gerrard”. They stand like sentinels marking the perimeter of Charlie’s garbage-strewn precinct of the early 90s. To the left is a small platform with a microphone, stand, a foot-operated recording device and several eclectic instruments including a ukulele, cowbell and even a handsaw (when was the last time you saw someone play one of those?). Also visible are buckets, pylons, squeegees, a necktie, sneakers, and milk crates. These are later assembled to act as proxies for Frank and Jimmy, characters integral to Charlie’s narrative. As with many new works and pieces still in development, playwrights often cast themselves in their own leading role. Such is the case here. Petch is storyteller, observer, philosopher, and advisor, thoroughly invested in a message that must be heard. Petch’s talents as a wordsmith and musician are undeniable, their acting skills not quite as accomplished. Some lines were hard to hear when facing away from the audience (with no help from the inoperative headset microphone). Characters and situations in Charlie’s monologues, like the unfortunate thief Frank or the loner Jimmy, could have been more colourful and impactful were it not for Petch’s frequently monotone, one-note delivery. Rather than speaking to milk crates, Petch could have breathed more life into the characters by becoming them through simply donning a hat, slipping on a tie, or wrapping in a blanket. Perhaps this acting challenge will be realized in future iterations. Director Autumn Smith stages the scenes in the downtown locations clearly. We know where we are in the city – the corner, the street, Dundas Square, a parking lot. The pace mostly clips along as Charlie follows the hot dog cart to meet new people and discover new things about what makes Toronto tick. What’s not always clear is Charlie’s focus. Much of the first half they avoided eye contact with the audience, delivering lines in profile to some formless shape on stage right. This choice served to disconnect more than engage this reviewer. Less clear were the juxtapositions of Charlie’s future years as a hospital caregiver and 911 operator with their heady hot dog days. I wanted this contrast to be more apparent with a physical or lighting change to signify these leaps in time. Sounds of street buskers, music and blaring megaphones added greatly to the inner-city heartbeat. It is problematic that the pace of Charlie’s narrative suffers while they move to a small platform at the side to set up equipment and instruments to record it live. Perhaps pre-recordings could have been used here to supplement rather than slow the pace. Lighting designer Steph Raposo nicely shapes a shadowy set with sharp spots and square shapes representing digital screens. Amber and blue hues effectively convey the morning and midnight hours. Street scenes are instantly recognizable. As stated earlier, a deliberate effect to transition us to Charlie’s health care years and back would keep the narrative lucid. Set designer Joel Richardson evokes the iconic Toronto locations perfectly by plunking two towering light standards in opposing corners, metropolitan monoliths with an excess of trash strewn at their bases, a constant reminder that this is a city story of intersecting communities. “No One’s Special at the Hot Dog Cart” is a love letter to relationships, self-discovery, compassion, respect for our street communities and an overburdened health care system. It’s about de-escalation and the truth about what’s working in our emergency services and what’s failing us. Perhaps Charlie’s message of “if I knew then what I know now” can give us all to cause to ponder, protect, respect and question, “Am I helping enough?”. Running time: approximately 65 minutes with no intermission. The production runs until March 23 at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto. For tickets: visit passemuraille.ca or call (416) 504-7529. A Co-production with Theatre Passe Muraille and Erroneous Productions The World Premiere of ‘No One’s Special at the Hot Dog Cart’ written and performed by Charlie Petch Directed by Autumn Smith Set Design by Joel Richardson Lighting Design by Steph Raposo Previous Next BACK TO TOP

Dramas encompass the human response to a created life situation on the stage. Back 'Macbeth' by William Shakespeare. Presented by Loyalist City Shakespeare and Saint John Theatre Company Now onstage at Place Fort La Tour Andrew Finlay Aaron Kropf Loyalist City Shakespeare and Saint John Theatre Company present ‘Macbeth’ at Place Fort La Tour. What a terrific choice in production to draw Saint Johnners to the national historic site for the first time since its reconstruction. Place Fort La Tour was the scene of a bloody battle a few short years after Shakespeare penned the now famous Scottish play, a perfect setting for this production. This ‘Macbeth’ also marked the first time Shakespeare is performed outdoors in the loyalist city which made the excitement palpable in the sold out opening night crowd July 12. If you want a chance to catch this performance get your tickets quick! The first week is already sold out. Macbeth (Cameron Secord) encounters the weird sisters who tell him that he is soon to be given a new title and then become King. Spurred by his wife (Christina Isbill), Macbeth takes the steps needed to change the predictions from the witches into reality. When his actions affect his sanity, Macbeth becomes more and more intent on holding the crown, but another foretelling by the weird sisters lets him know how his reign will come to an end. Director Sandra Bell has selected an ideal location for the show, and the company of actors and crew are clearly passionate about bringing the works of William Shakespeare to audiences in Saint John. Bell’s knowledge of the work comes across in this staging. I’m sure there were some restrictions in the use of the space but I would have enjoyed to see more use of the forts buildings throughout the show. However, the space that she did use was a wonderful use of the many levels offered by Place Fort La Tour. Cameron Secord leads this company with an apt portrayal of the titular character. Secord plays a Macbeth that is quickly motivated by power, and just as easily becomes a man overwrought by regret for the actions he’s made to take and maintain the crown. Christina Isbill’s Lady Macbeth is even more obsessed with power than her husband. Isbill brilliantly delivers the “Out Damn Spot” monologue with great skill, one of the highlights of the production. Madison Lucas, Matt Hamilton-Snow, and Beth Pollock were definitely the pique of excellence as the three witches. When they were on stage as the triumvirate they commanded the space unlike any other in the company. Additional kudos must be given to Beth Pollock for her deliciously delectable turn as the Porter (my favourite scene in the show, it’s one that I always look forward to and she did not disappoint). It was a delight to take in a Shakespeare performance again. Hailing from Stratford, Ontario, I miss the amount of Shakespeare I used to take in living there. This production was well conceived and presented. It was really enjoyable. However, the production lacks a the subtlety that Shakespeare requires for it to be a truly spectacular production. With that aside this is a production that is well worth taking in while it’s on until July 22. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'The Cavan Blazers' by Robert Winslow Now onstage at 4th Line Theatre, 779 Zion Line, Millbrook. Credit: Wayne Eardley. Photo of the 2023 company including Colin A. Doyle and Robert Winslow Joe Szekeres "The Cavan Blazers" emphasizes the significance of and for religious tolerance, but it often comes at a costly price. Background: Playwright Robert Winslow’s ‘The Cavan Blazers’ is in its seventh remount at 4th Line Theatre. It was the flagship production of the theatre company back in 1992 and again re-staged in 1993, 1996, 2001, 2004 and 2011. This is the first time I’ve seen the production. 4th Line Theatre’s mandate promotes Canadian cultural heritage through regional and environmentally staged dramas, and the company is to be commended for it. This production of ‘The Cavan Blazers’ features more than 50 actors, including both local performers and those belonging to the Equity Union. Additionally, an advisory to dress appropriately for the elements. A play does not stop at the Winslow Farm if there is a brief rainstorm, so pack appropriate gear just in case. Opening night was halted briefly for a heavier rain twice in the second act. Lightning ultimately forced the show's postponement for safety reasons. I returned the next night. There was another brief rainfall, but it cleared. The Play: Set in 1854, ‘The Cavan Blazers’ dramatizes the conflict between the Protestant and Catholic Irish settlers in Cavan Township outside of Peterborough. Justice of the Peace Patrick Maguire (JD ‘Jack’ Nicholsen) wants to establish a Catholic parish in the township. Dane Swain (Colin A. Doyle) leads the vigilante group ‘The Blazers’ who do whatever they can to stop Catholicism's ‘threatening influence’ in the township. Commentary: As a practicing Catholic, I wondered how the story would unfold. After watching Winslow’s play, I couldn’t help but make a connection to Harper Lee’s ‘To Kill a Mockingbird.’ Both works contain hurtful language towards Catholics and members of the BIPOC community, respectively. Yet, Miss Lee’s book has been removed from some school districts’ curricula. Should practicing Catholics be upset about treatment towards them in Winslow’s play? Yes, because it is horrible to hear and witness on stage. Should Catholics avoid Winslow’s play as some school districts have recommended for Miss Lee’s book? Absolutely not. Approaching the ‘Cavan Blazers’ requires an open mind. The same applies to reading "Mockingbird." These were horrible times in our collective history, but they cannot be erased or ignored. They must be confronted head-on. The Winslow Farm setting works well for this ‘Blazers’ remount. Although unintentional, the opening night impending thunderstorm and dark sky were a perfect example of the literary term ‘pathetic fallacy’ we learned in school, where the outside weather reflects the characters' internal feelings. The sound of periodic rolling thunder increased the dramatic intensity at various moments. But this is not going to happen at every performance. On the second night, chirping birds at sunset also added to the mystique of the outdoor setting. Productions I’ve seen at 4th Line always strive for realism and have been successful. For the most part, Korin Cormier’s costumes replicate 1854 nicely. One quibble. In the first act, Matt Gilbert (Father Phelan) enters wearing the sacred vestment of a priest after performing a wedding ceremony. He then proceeds to dance in it. I have taken courses in Roman Catholic church history. A priest would not wear the vestment outside of the celebration of the Mass and most certainly not dance in it either. This might be seen as disrespectful of what the vestment represents. I checked the program to see if a local parish priest was mentioned, and a thank you was extended to one. Did this thank you extend for the loan of the vestment, for clarification regarding the wearing of the robe, or both? The selection of pre-show and post-show music duly reflects the conflict between Irish Catholics and Protestants. A choice made in the set design puzzled me. There is a picture of Bobby Sands (1954-1981). I had to take a few moments to look up the significance of this individual to Ireland. I’ve included date of birth and death. Since ‘Cavan Blazers’ takes place in 1854, I couldn’t understand why Sands’ picture is there, and I missed the connection. Maintaining accent consistency always remains a challenge for actors—a nod of appreciation to Dialect Coach Melee Hutton for the work involved. For the most part, the actors are successful; however, there are some audibility issues. I can’t hear clearly what is said when there is overlapping dialogue. The same goes when groups of characters may be angry. I couldn’t hear the conversation. It’s admirable that the actors strive for believability—make sure you can always be heard in future performances. Project, but don’t holler. 4th Line Artistic Director Kim Blackwell directs the production with a sure hand. The 50-actor cast energizes Robert Winslow’s intense script of brewing troubles between the Catholics and the Protestants. J. D. Nicholsen remains a stubborn but determined Patrick Maguire throughout to ensure a Catholic presence in Cavan. Solid work from Katherine Cullen as Patrick’s wife, Ann, who is a Protestant and also dutifully stands by her husband even with the harassment and taunting she and her family receive from the Blazers. Ann can only take so much as anyone can. A poignantly touching scene between the two in the second act is heightened when the youngest daughter waves at her father. Colin A. Doyle’s Dane Swain is a passionate and fiery Protestant leader of the Blazers who makes it his duty to ensure no Catholic influence permeates Cavan. Like Nicholsen, Doyle also brings some very human character moments to the surface. In Act One, Swain allows Father Phelan to continue his journey into town after a taxing encounter with the Blazers and, in Act 2, when he confronts Patrick’s wife, Ann, in the tavern. Playwright Winslow assumes the role of Justice of the Peace, John Knowlson. In a drunken conversation he shares with Maguire in the second act, Winslow’s monologue of the reasons why he assists in helping to build the Catholic settlement is powerfully delivered. Complete silence in the audience around me when we learn about Knowlson’s backstory. Nicely done. Why audiences need to see ‘The Cavan Blazers’: It is a timely play which speaks to the 21st-century audience. There are countries still pitted against each other. Russia and Ukraine are only one example. The 2023 remount is handled with the utmost care not to hide the truth. No one emerges victorious as fault lies on both sides, and everyone involved dearly pays the cost. This production can lead to meaningful discussions about tolerance's true meaning and understanding. See it. Running Time: approximately two hours and 10 minutes with one intermission. Production begins at 6 pm. ‘The Cavan Blazers’ runs until August 26 at 4th Line Theatre on the Winslow Farm, 779 Zion Line in Millbrook. For tickets, visit www.4thlinetheatre.on.ca or call the Box Office at (705) 932-4445. Previous Next

A deconstruction of an individual's story. Back 'Shirley Valentine' by Willy Russell Now onstage at Port Hope's Capitol Theatre Sam Moffatt. Pictured: Deborah Drakeford as Shirley Valentine Joe Szekeres Willy Russell’s ‘Shirley Valentine’, the two-hour one-woman show, recently opened Port Hope’s Capitol Theatre 2023 season. Nearly thirty-five years since the original London production premiere, the play centers around 42-year-old Shirley Valentine (Deborah Drakeford) who’s stuck in a rut in her marriage. Sometimes she ends up talking to the kitchen walls to make up for the lack of communication with her husband, Joe. The two of them have two grown children now out of the house and living their own lives. Shirley feels she has become a servant to her husband and adult children and wonders if there is more to life. As she fixes chips and eggs to go with her husband’s tea, Shirley lets us in on various things going on in her life. The biggest news? Her friend Jane has won two tickets in a contest to travel to Greece and wants Shirley to go with her. At first uncertain, she finally makes the choice, leaves a note on the kitchen cupboard, packs her bags, and flies off on a transforming holiday that will change her life. I was puzzled at first by this choice to open Port Hope’s summer theatre season. There’s a sexist ‘80s feel to ‘Valentine’. On top of that, Shirley’s behaviour in Greece might also be considered foolhardy if she is trying to discover there’s more to her life than what she experiences right now. But hold on. The Capitol’s Artistic Director Rob Kempson is one astute man and knows what he’s doing. He hires the right people in the right position. He understands the audience. The appeal of ‘Shirley Valentine’ stems from its ‘80s roots and stares straight in the face of the current woke culture about what it means to be a woman today. Kempson accomplished his goal on this one. Smartly, I will add. Karen Ancheta directs with a compassionate understanding of the play’s universal messages and a savvy awareness of the ‘80s time frame. ‘Valentine’ speaks volumes about the celebration of womanhood even 35 years later. Real women from the ‘80s are like Shirley Valentine. They toil in the trenches of daily life, unlike some currently painted ‘woman face’ social media influencers who want us to buy what they claim to be. Real women dream, then come home and most likely put their own needs behind those of their sometimes-neglectful husbands and often suffer for it. We cheer for individuals like Shirley in the ‘80s who stand up and say: “No more.” Thirty-five years ago, Willy Russell, a male, writes about the beauty of a real woman like Shirley Valentine. My friend Marg who accompanied me remarked on this as well. Shirley learns to like herself through her wounds and scars and doesn’t try to cover them up. That’s what the play is all about. Many around me were enjoying hearing Lyon Smith’s good choice of appropriate pre-show ‘80s music soundscape. As Costume and Set Designer, Jackie Chau holds the important task of giving the audience the credible look of the period. She succeeds. Deborah Drakeford’s wig is very much the ‘80s look. The bright pastels she wears when waiting for Jane to pick her up are another reminder. Additionally, Chau purposefully juxtaposes two set designs which reflect Shirley’s emotional frame of mind in each act. In the first act, there are subtle hints of an at-times dreary-looking fake oak kitchen that hasn’t changed over the years much like Shirley’s marriage. The brickwork on the back wall needs fixing. The kitchen walls look as if they are closing in. Sometimes Shirley must stretch to reach the cupboards high above. Although there can be comfort in knowing some things are as they should be, Shirley becomes bored with this mundane routine. Joe likes his tea being placed on the table as he comes in the door from work. The open-air free-flowing second-act set design in Greece splendidly lit by Daniele Guevara beautifully reflects Shirley’s rational state of mind. That gorgeous choice of an aqua blue light colour works well combined with hearing the intoxicating sound of the ocean provided by designer Lyon Smith. There’s space to move about. At one point, Shirley lies down on the sand and speaks to us. What I thought was a nice touch was the placing of seashells along the perimeter of the stage. The final tableau of the production involving light and sound is breathtaking as the play has been brought to its rightful conclusion. Deborah Drakeford sparkles as Shirley Valentine and delivers a tour de force performance. While telling the audience about the relationships she forms with others in Greece, Drakeford becomes that credible woman who learns to fall in love with the idea of living which is another message of the play. In the first act, Drakeford shows a definite tension in her physical stance in her home kitchen. Her emotional frame of mind runs the gamut from nervousness to excitement of the unknown like a giddy schoolgirl. Shirley knows this life has become mundane, but Drakeford wisely never allows her emotions to ramble out of control. In the second act when the setting changes to Greece, Drakeford reveals a completely different Valentine. Her physical stance is serene while her spirit is calm. She presents as a relaxed woman in control of who she is and what she has done and doesn’t apologize for any of it. Nor should she. Drakeford sashays around in the kimono she wears with aplomb. She loves to sit silently at the edge of the ocean on a chair with a glass of wine, look out over the water, and breathe. Drakeford doesn’t make this moment at all theatrical. It’s all done as a matter of fact and naturally. It is the audience who marvels at the change. Her comic sense of timing is superlative. In the first act, Drakeford’s delicious raunchy talk of a certain lady part ‘down there’ left those sitting around me in stitches of laughter (me included). (Side note: don’t bring the kids). What I also find fascinating about Drakeford’s work in the first scene of Act One? She actually makes eggs and chips and makes it all appear as a normal course of events in Shirley’s life. And it’s all wonderful to watch and see this woman begin to love living once again. Final Comments: Thirty-five years later, ‘Shirley Valentine’ remains as relevant as ever. Any concerns I first had about the play are gone. It’s charming to re-visit and so is Deborah Drakeford in the role. Go see it. Running time: approximately two hours and 10 minutes with one intermission. ‘Shirley Valentine’ runs until May 28 at Port Hope’s Capitol Theatre on the Mainstage, 20 Queen Street. For tickets, call the Box Office at (905) 885-1071 or visit www.capitoltheatre.com . SHIRLEY VALENTINE by Willy Russell Now onstage at Port Hope’s Capitol Theatre Director: Karen Ancheta Set and Costume Designer: Jackie Chau Lighting Designer: Daniele Guevara Sound Designer: Lyon Smith Stage Manager: Charlene Saroyan Performer: Deborah Drakeford Previous Next BACK TO TOP

Dramas encompass the human response to a created life situation on the stage. Back 'Jim Watts: Girl Reporter' by Beverley Cooper Now on stage at the Winslow Farm, 779 Zion Line, Millbrook Ontario Wayne Eardley Dave Rabjohn “History ringing in the ears. Brilliance in the production’ At the pastoral setting of the Winslow farm near Millbrook, Ontario, 4thLine Theatre opens its second production of the 2024 season. “Jim Watts: Girl Reporter,” written by Beverley Cooper, is a big-scale production covering the chaotic and devastating Spanish Civil War – a time of historical complexity worthy of Tolstoy. Cooper and director Kim Blackwell manage to sift this complexity into two hours of riveting theatre. The plot line also dovetails the story of Canadian volunteers, especially the real-life Jim Watts, who travels to Spain to fight fascism. The brilliance of this production comes from two fronts: Blackwell’s adaptive use of the many facets of the rich outdoor theatre space and the commanding performance of Katie Ryerson as the linchpin of the cast. Jim Watts (she goes through a series of names) comes from a wealthy Toronto family—a family not pleased with her almost maniacal idealism and her political bent toward socialism. She seizes on the conflict in Spain—as did thousands of other Canadians—and manages, through sheer will of personality, to travel to the war-torn country as an employee of a Toronto newspaper. The other local connection comes from the story of Jim Higgins, who rides the rails across Canada looking for work. Eventually, he ends up fighting in Spain, where he meets Watts. He will settle in Peterborough. The fascist forces led by Franco are attacking a legitimately elected Popular Front. The complexity (and thus the overwhelming horrors) comes from the many-layered participants – German and Italian fascists supporting Franco while Russian communists and an international brigade support the Republicans. Every political stripe seemed to be involved, along with infighting among each group – everyone seemed to be fighting everyone else. Even Canada’s prime minister did not support Canadian volunteers. The war ends badly with Franco’s expected victory. Blackwell’s vision absorbs the unique theatre space offered by the farm. Five or six acting spaces serve the necessary needs of such a wide-ranging story. A period-style truck functions in various ways around the area. The large open fields serve as battlegrounds as the faraway voices echo the horrors. A clever revolving stage gave poignancy to several scenes—the various speeds of turning reflected the mood of the scene. The fact that it was mechanically turned by minor characters (as opposed to machinery) offered richer involvement from those characters. Katie Ryerson, as Jim Watts, carried the production. At the centre of almost every scene, her skill diversity is evident. Her enthusiasm as a teenager grew into a young woman of ideological strength. Her strong will is then tested as she sees the horrors for herself. Most moving was the grief in her eyes –compelling grief that shook the audience even more than the bombs and shock of the dead. Other fine performances emerged from Matt Gilbert as Dr. Norman Bethune and Thomas Fournier as Jim Higgins. Gilbert brought a roughness to Bethune that fit the chaos of the moment. His speech opening the second act was brilliant. Fournier expressed a calmness in contrast to that chaos. His reflection at the end of the play was riveting. 4th Line also integrated (as usual) many young people to act as villagers and soldiers, which gave a full measure of authenticity. Some of the minor characters had very flat voices, a problem that became more enhanced by the outdoor venue. Some ‘cameos’ depicting a young Ernest Hemingway and a bombastic Errol Flynn made the case for the number of colourful figures during that time, but it did not move the play forward. Another highlight is the splendid costume design by Korin Cormier, Samantha Adams and Avelyn Walman. Just the sheer volume of their work with almost thirty actors, many playing multiple roles, would be overwhelming. Despite that challenge, the period costumes of villagers, soldiers, politicians, dancers and children were strikingly authentic. The scale of this historical tragedy is immense, highlighted by a little girl announcing the horrors of Guernica. But the story is also often internal and personal as Jim Watts encounters both outward and inward grief. This audience left with history ringing in their ears. ‘Jim Watts: Girl Reporter’ by Beverley Cooper Director: Kim Blackwell Performers: Katie Ryerson, Thomas Fournier, Matt Gilbert, Mark Hiscox, Ian McGarret, Mikayla Stoodley, and many other local performers. Music director: Justin Hiscox Costume designer: Korin Cormier Choreography: Anita La Selva Stage management: Emily Brown Production runs through: August 24, 2024. Tickets: 4thlinetheatre.on.ca Previous Next

Where we hope to help young people develop an intrest and a passion for a futrure in theatre. Back 'The Adventures of Pinocchio' Young People's Theatre YPT Site Joe Szekeres What a tremendously enjoyable opening night production of ‘The Adventures of Pinocchio’ at Young People’s Theatre! What a joy to see a show specifically geared to children and their families. And what a gift to give yourselves and your families this Christmas/holiday season. If you would like to introduce young school aged children to the wonderful world of live theatre, order your tickets now because I have a strong feeling ‘Pinocchio’ will sell out especially over Christmas and New Year’s. The press release speaks about a dream team behind the scenes with a cast of first-rate actors, and I agree wholeheartedly. This dream team all around makes this production come alive. As director, award winning actor Sheila McCarthy is at the helm accompanied by Canadians Brian Hill who wrote the book with cleverly written lyrics and music by Neil Bartram. The names I did recognize on stage and behind the scenes are some top-notch individuals. I know I will scan future programmes for the names I did not recognize and keep an eye out for them as these talented people are most deserving of the standing ovation at this opening night. I’m sure we all know the story of Pinocchio (Connor Lucas), the little wooden, energetic boy who wants to become a real boy. His father Geppetto (Shawn Wright) loves him not matter what happens. As the story unfolds, Pinocchio does whatever it takes to get what he wants. At times, Pinocchio is impulsive and rash while at other times he is obstinate and harsh. Pinocchio goes on a series of adventures and meets many strange and eccentric individuals who ultimately lead him to understand the difference between what he wants and what he truly cares about. In order to do this, Pinocchio must be honest with himself and others. This year, YPT focuses on the Seven Ancestral Teachings of the Anishinaabek people. Honesty is the focus in this production. And director Sheila McCarthy clearly and consistently maintains this focus throughout the seventy-five minutes presentation. Pacing is tight and fluid. David Terriault’s music direction helps to keep the production moving along. Joanna Yu’s gorgeous costumes and functional set design magically capture the storybook appeal. The puppetry of the large fish and watching how it swam across the stage mesmerized me. Connor Lucas is an energetically high Pinocchio who longingly wants to experience as much real adventure that he can in his quest to become a real boy. His tap-dancing sequence in ‘It’s Easy Being Me’ is one of the highlights of the show. There is a world-weary poignancy in Shawn Wright’s performance as Geppetto. My heart was breaking for this father who believes he has lost his son forever but keeps looking for him no matter the cost. The eccentric supporting players add intense drama and suspense to the fast-moving plot events. As the Blue Fairy who appears and disappears as she tells us the story and converses with Pinocchio, Malindi Ayienga ethereally reminded me how life can sometimes be mysterious. Jacob MacInnis is a deliciously campy and evil Puppet Master who pushes Pinocchio to his limits. Joel Cumber and Arinea Hermans as the shyster Fox and Cat theatrically and magnetically share an eleven o’clock number about money growing on trees. Great fun to watch Mr. Cumber and Ms. Hermans nimbly move across the stage with such grace and ease. Noah Beemer’s Lampwick teaches Pinocchio a very hard lesson about people who supposedly only like you to gain certain things. Susan Henley, Sierra Holder and Kelsey Verzotti beautifully round out this cast with memorable moments in song and dance. FINAL COMMENTS: An enchantingly delightful afternoon or evening of entertainment for the family. Don’t miss out. THE ADVENTURES OF PINOCCHIO Production continues to January 5, 2020 on the Mainstage at Young People’s Theatre, 165 Front Street East, Toronto. For tickets, call (416) 862-2222 or visit www.youngpeoplestheatre.org for further information. Production recommended from ages JK/SK – GRADE 6 Performance runs approximately 75 minutes with no intermission. There will be some Q and A sessions after performances so make sure you check first. Director: Sheila McCarthy; Music & Lyrics by Neil Bartram; Book by Brian Hill; Music Director: David Terriault; Choreographer: Julie Tomaino; Lighting Designer: Louise Guinand; Sound Designer: Adam Harendorf; Set & Costume Designer: Joanna Yu; Stage Manager: Kristin McCollum. Photo by Cylla von Tiedemann. L-R: Connor Lucas, Arinea Hermans and Joel Cumber. Previous Next