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Back Ted Sperling Looking Ahead Laura Marie Duncan Joe Szekeres I got the chance to travel to New York and Broadway figuratively when I interviewed Ted Sperling. I’m always appreciative of the opportunity to speak with American artists. I learned a few things about Ted even before I begin to share what he has coming up and in store for audiences shortly. From Ted’s personal website (which I will include at the conclusion of his profile) he is a multi-faceted artist, director, music director, conductor, orchestrator, singer, pianist, violinist and violist. He is the Artistic Director of MasterVoices and Music Director of the recent Broadway productions of My Fair Lady, Fiddler on the Roof and The King and I, all currently touring nationally and internationally. A Tony Award winner for his orchestrations of The Light in the Piazza, (which was marvelous when I saw the OBC several years ago, Ted is known for his work across many genres, including opera, oratorio, musical theater, symphony, and pops. Mr. Sperling recently appeared as Steve Allen in the final episode of Season Two of “The Marvelous Mrs. Maisel.” When I was in New York several years ago to see the Original Broadway company of ‘Titanic’, Ted appeared in this production. Starting May 7, this week marks the launch of a new online concert series Ted has created with Dreamstage Live: Broadway Stories and Songs. Each Friday night (with a repeat stream Saturday afternoon) Ted hosts a Broadway star for an intimate hour-long concert of songs from shows old and new, interspersed with anecdotes from their shared experiences on stage and off. Before I began the interview below, I asked Ted how the ‘Broadway Stories and Songs’ came about. He said it was born out of ‘Music Never Sleeps NYC’. It was a 24-hour music program with everybody recording remotely when the pandemic hit. Ted said he contributed two Gershwin songs. There was a lovely response from the program according to him. Since the response was positive, a new platform Dreamstage Live started, and Ted was asked to put together a Broadway series. And there are some talented artists who will participate: For Ted, the experience was “joyous being in a room with someone to be able to make music and not do it remotely and send recordings away and wait to get them back. To be spontaneous to make beautiful sounds in a beautiful room on a beautiful instrument has been nourishing and long needed.” A big part of the ‘Broadway Stories and Songs’ are the stories that will be shared along with the songs in the one-hour concert. There are around 9-10 songs for this concert, generally speaking. In a way, this format for Sperling is harder than a full-length program because you have to be really picky and finds things that connect with each other and connect with you, and have a nice flow. Along with some Broadway favourites, each of these concerts will allow the artists and Ted to explore some new repertoire. Ted and I conducted our conversation via Zoom. Thanks again for adding your voice to the conversation: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. How has your understanding of the world you know changed on a personal level? I’m even more grateful for the opportunities I’ve had, proud of what I’ve been able to achieve, and curious to see what will be next. During this year, I have not taken this year off. In some ways, I’ve been working harder than ever because everything takes more planning and effort when you have to do it this way. And I branched out into making short films. I’ve made one before as a director long time ago. Now, by the end of this pandemic season, who knows when the actual end of the pandemic will be, in this year from April – April, I will have produced 23 musical short films and directed close to half of those. It’s been a great new experience for me. With live indoor theatres shut for one year plus, with it appearing now that Broadway theatres will slowly re-open in mid September 2021, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? Well, so many things have happened during this year in addition that were in motion before the pandemic but have crested now. I think there are a lot of question marks, certainly a big push in the desire for fairness and opportunity and good behaviour (reference to the recent Scott Rudin’s behaviour). So, I think that’s going to be very much at the top of people’s minds when we go back to work And I think it will be an adjustment period for all of us. Personally, I believe there will be a great hunger for live theatre and for any kind of live performance that’s actually the way we used to enjoy it in a crowded room. I think it’s still the reason people go to the movies as opposed to watching them at home alone. There’s something about a shared experience, cheek by jowl, with strangers that we crave. To have been deprived of it for over eighteen months really for Broadway, I think there will be a lot of pent-up energy and a lot of pent-up enthusiasm that I’m hoping will just come bursting forth. As a professional artist, what have you missed the most about live theatre? I think the camaraderie. It’s why I went into that area of music to begin with. Putting together a show or even performing a show on a nightly basis is such a large basis group effort, and you build a temporary family. But it’s a family of friends, and I personally look forward to being with them on a daily basis whether it’s in rehearsal or performance. I really like the rehearsal process. No matter what kind of show you’re working on, whether it’s an old one or a new one, it’s like solving a varying complex puzzle, but doing it with friends. It’s like sitting down with the New York Times Sunday crossword for an extended period of time when there might not be an exact right answer. It’s all a bit of educated guess work. It’s a lot of collaborative thinking. It’s a lot of compromise and I just really enjoy that process. It’s why I love working in the theatre as opposed to say being a recitalist. At one point, I aspired to be a member of a string quartet, but after spending a summer doing that, I realized it was a little too confined for me to be with the same three people. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? (Ted laughed) Well, so many things, I think. Giving somebody a hug. Being able to walk outside and just breathe fresh air. And I guess an audience. These concerts we are doing for thr Broadway series which you mentioned in the introduction to my profile are done for a remote audience, so we don’t get that feedback in the moment. We have to pull on our experience of performing these songs before. I love making recordings. I love the concentration and trying to get it absolutely perfect, but with these concerts we’re going for the opposite. Even though there is an essentially a beautiful room with microphones like a studio, we’re imagining the audience with us and forgiving ourselves for any little mistakes we might make for the sake of the spontaneity and the joy of being in the moment. Explain what specifically you believe you must still accomplish within the industry. I have a lot of ambitions still. I’ve always been sort of a restless artist trying to push myself into new territory. I’ve been directing as well as music directing now for around twenty years. But when I started that, that was a whole new adventure, but I think I still have a lot to learn and a lot to explore in that way. I’d like to do more of it. Directing these films and producing these films has been a wonderful new avenue for me, and I’d love to keep expanding that way. I’m also interested in trying my hand at writing. I have to carve out some calm space in which to do that which has been a real challenge, even in this time. So, I think I have a lot still to explore, a lot to give, a lot to find out about myself and I hope I have a nice long time to find that out. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement? Is it an important one OR are Covid themed stories possibly the last stories that both artists and audience members would like to see in the theatre? I don’t have a crystal ball, no one does. I think, though, that I have some good instincts. For example, the big project that I’ve been working on this whole year is this video production I mentioned to you called ‘Myths and Hymns’. When I conceived of it last March/ April, I knew it was going to take me a while to get something on the air, to actually have a finished product. So, I tried to imagine, as an audience member, what would I be interested in seeing six months in the future because people were already creating art right away on the internet. But I knew that it was going to take me awhile. I don’t want to be doing what people are doing right now. I want to be doing what people are hungry for in six months, nine months from now, a year. We didn’t know how long this was going to take, but I was pretty sure we weren’t going to be able to perform live for a year. So, I think I predicted well. And the piece I produced has elements to it that feel fresh and worth tuning into. And certainly some of them have drawn inspiration from our live in Covid, but I personally will be relieved to be free of this pandemic. And so, my gut is people will want to move on. They’re not going to want to look back. I may be wrong, but during the AIDS epidemic and after, there were many AIDS related plays. The question with musicals is that it often takes years to get done from conception to performance. In the old days, Rodgers and Hammerstein could take a book about World War 2 and written during World War 2 and have it on Broadway just a couple of years after the war. ‘South Pacific’ was very timely. Even ‘Showboat’ adapted very quickly and came out not that long after the book. These days, it more often takes four years. So, if you can imagine us in four years still wanting to be discussing Covid musically, you may be a better man than I am. (And Ted and I laugh) I don’t know. We’ll see. We’ll see. I imagine artists will find ways to talk about it so I guess that’s what will keep it fresh. As an artist, what specifically is it about your work that you want future audiences to remember about you? That’s a really good question, and I should have had a bit of time to formulate a beautiful answer. I think that I would people to relish my joy, to experience my joy in making music and theatre. I pick my projects carefully because I know they’re going to require a full investment of my time and thought. So I want to be able to embrace them fully and love them. So, when I’m picking material for my Group Master Voices or when I’m signing on to a new show, I want to give it that litmus test. Will I want to be fully devoting my interest and time months from now, years from now doing it eight times a week. So, I pick things that I really like. And I hope that really comes across in my performances and my productions. I’ve been told that by people that when they see me conducting that I love it and that I’m having fun. And I do think that should be an element of any good performance. And along with that, I hope there’s a sense of warmth in my music making and directing. I feel like that’s an important quality for me. That’s what I want my art to hold is caring, warmth and deep emotion. So that’s what I push myself towards every time. To learn more about Ted, visit his website: http://www.tedsperling.net/ Previous Next

Back 'First Métis Man of Odesa' by Matthew MacKenzie and Mariya Khomutova Now onstage at The Theatre Centre Alex McKeown Dave Rabjohn Art imitates life imitates art. An extraordinary example of this adage is now playing at the Theatre Centre in Toronto. ‘First Métis Man of Odesa’ by Matthew MacKenzie and Mariya Khomutova is produced by Punctuate! Theatre and The Theatre Centre. A true tale of love, marriage and family is told by the very couple themselves – the very couple who both wrote the play and performed the play. To publicly bare your own life and soul – its pain and its hope is a remarkable achievement. Matthew MacKenzie, artistic director of Punctuate!Theatre, travels to Odesa for some theatre workshops. He meets Mariya Khomutova, an actor from Kiev, and they slowly fall in love. Their relationship grows even among the most dire worldly events including the covid pandemic and the brutal attack by Russia. In spite of this and the fact that they come from opposite sides of the globe, Mariya becomes pregnant, they marry in Odesa and somehow they get to Canada to start a new life. This is a tale of contrasts which includes the pain of guilt and shame, and the hope of love. The strength of this production comes not only from the authenticity of the story but also from the very genuine performances of Mr. MacKenzie and Ms. Khomutova. Reinforcing the emotions of the play is the creative lighting and projection design of Amelia Scott. Mr. MacKenzie appears timorous and apprehensive in the beginning. This was not a weakness – he became charming. His constant questioning of decisions and fate becomes integral to their relationship. His halting manner and dry humour draw the audience in. He is often so deadpan that the poor pan never had a chance. Ms. Khomutova is equally charming, but her power comes through in the darker moments of the story. Her pain is, again, genuine – to relive an actual agony in front of an audience takes both strength and talent. The writing reflects the yin and yang of life’s humour and tragedy. Hilarious references such as a Kelsey Grammar forehead or the origins of Boston (not) Pizza contrast with the horrors of the pandemic and the war. The contrasts in their personalities include his pragmatism against her romantic side. She prefers the classics compared to his passion for more contemporary works. Her momentary contempt for the very work they are performing is a brutally dark juncture in the play. Two brilliant soliloquies in the second half of the play were astounding as they dug deep into each of their tortured moments. As mentioned, the work of Amelia Scott and her projection design was stirring. Her images were not a subtle echo of the story. They were full-throated blasts of energy that both moved the story along and reminded us of the horror and the beauty of the narrative. Images included striking northern lights, looming clouds of war, and a frightening floor of blood. An image of light moving up or down was a simplistic, but powerful reminder of airplanes leaving or landing. Again, the contrasts of war and peace, life and romance or the clashes of cultures made this work robust and potent. However, the true strength of ‘First Metis of Odesa’ was the courage of this creative pair to share, without dilution, their pain and joy. ‘First Métis Man of Odesa’ by Matthew MacKenzie and Mariya Khomutova Performers: Matthew MacKenzie and Mariya Khomutova Director: Lianna Makuch Production Design: Daniela Masellis Projection Design: Amelia Scott Performances run through April 8, 2023. Tickets: theatrecentre.org Previous Next

Back Sarah Dodd Self Isolated Artist Ian Brown Joe Szekeres Since I’ve been reviewing for On Stage, it has been most rewarding if I become aware that Canadian professional actors and artists are following the blog and reading the articles. I was pleased when I received a message that Sarah Dodd started following me on Twitter. I had to think for a minute as I did recognize her name. And then it came to me that I saw Sarah in a wonderfully crafted performance of ‘The Front Page’ at the Stratford Festival last summer. Just this past fall, I had read Sarah would appear in a production of ‘Marjorie Prime’ at Coal Mine Theatre in the winter with a stellar cast that included Martha Henry. Sarah speaks highly about her experience in her profile. This play was one I did not want to miss. But I did as another On Stage Blog reviewer really wanted to see the production. And by opening night, most of the tickets were gone. Note to self: Don’t do that again if you see the cast is a dynamite powerhouse. In our line conversation, Sarah told me she likes to work on new plays as it is her favourite to do. Her professional background is quite impressive. Since 1996, she has been working off and on at The Stratford Festival and has worked with some of the country’s finest performers including Brian Bedford and Martha Henry. Other appearances include Tarragon Theatre and Nightwood Theatre. Sarah is also a recipient of two Dora awards, one for her work in Daniel McIvor’s ‘Marion Bridge’ and directed by Mr. McIvor himself, and the other for her ensemble work with thirteen other women at Nightwood for ‘The Penelopiad’. The more online interviews I’m conducting, the more I would love to meet these individuals in person. I’m hoping that will begin once this pandemic is lifted: 1. How have you been keeping during this crisis, Sarah? How have you and your family been doing? At the beginning, I didn’t do well. I walked into a grocery store after rehearsal around March 13th and everything was gone. No milk, no toilet paper, no meat, no canned goods and I immediately had a panic attack. I called my husband and he helped me through it. I came home empty handed and he got up at 6:30 am the next day and found the things we needed. He’s an incredible guy. Since then, I have tried to think of this time as exactly what it is…time. I get to be with my son, and I get to be with my husband. We are healthy, we love each other, we laugh a lot and there have been many desserts baked. The most important thing we have done is allow each other to have bad days. You want to stay in bed? No problem. Don’t want to talk? That’s fine too. Need to cry? Here’s a shoulder and a chocolate brownie. 2. As an artist, what has been the most difficult and the most challenging for you at this time? Seeing all of our community lose their jobs. It is overwhelming and devastating. I worry about how artists are going to pay bills and unexpected expenses. I worry about lost opportunities for younger actors who were about to explode onto the scene. I worry about the new work that has been cancelled and may never be seen. I worry that some theatres will have to close for good. Also, I desperately miss my friends and the rehearsal hall. 3. Were you involved in any projects (pre-production, rehearsals or production) when the lockdown occurred? What has become of these projects? I was in the first week of rehearsals for Susanna Fournier’s ‘Always Still the Dawn’ at Canadian Stage. It was two one acts, directed by Severn Thompson and Liza Balkan. I was in a room with three brilliant actresses: Sochi Fried, Fiona Sauder and Krystina Bojanowski. Across the table were two remarkable directors and the astonishing Susanna Fournier. Heaven! We started on Tuesday and by Friday it was over. Gone. It was shattering. Brendan and Monica at Canadian Stage were so good with us and very transparent about what was happening. I am forever grateful for their care. I have been told that we will be back, I just don’t know when. I was also going to do ‘Meet My Sister’ by Bonnie Green at the Lighthouse Festival. Liza was going to direct this, too. So, needless to say, Liza and I have had some virtual cocktails. We have heard that the show will be in the 2021 season. 4. What have you been doing during this time to keep yourself busy? My son is going into high school next year, so I’ve been helping him with his homework. He has approximately 4 to 5 hours a day. I help him with the math and science, my husband helps with English and French. I’ve also been doing a lot of gardening, walking the dog and reading. Lately, I’ve been attempting yoga, which has proven harder than the algebra. I like the lying down on the mat part and breathing. I also stay busy by panicking and drinking “a glass” of wine. 5. Do you have any words of wisdom or sage advice to performers who have been hit hard by the pandemic? Any advice to those new graduates from the theatre schools who have entered the industry at this tumultuous time? For graduates, I wish every theatre program in the country would set up a mentorship program. When you graduate you are given a mentor whom you can contact in times of uncertainty. For performers, I have no idea what advice I could give. I am at a complete loss and I think that’s okay. I have no clue what each day is going to be like and I’m reluctantly learning to take this one day at a time. I do know that as soon as this is over, I’m going to see a lot of plays. 6. Do you see anything positive stemming from COVID-19? I hope that the government takes a long hard look at the treatment of vulnerable persons. The elderly, women, and children in violent homes, the homeless. I’m hoping that long term care facilities will be overhauled, and that affordable housing will open up. It was easy enough for the government to say, “Stay inside”. Now, they need to provide safe and affordable places to do it. On a lighter note, it’s been nice to be able to hear cardinals without the din of traffic. 7. Will COVID-19 leave some lasting impact on the Canadian performing arts scene? I hope not. I think initially it’s going to be very difficult for institutions to assure audiences that it’s safe to come back. Once, we are able to assuage any fears, I think everyone will be overjoyed to get back in their seats. Artists are a sturdy folk. As soon as we are given the “all clear”, we are back at it with hearts open. 8. Some artists have been turning to You Tube or streaming/online presentations to showcase and share their work. What are your thoughts and ideas on this? Do you see any advantages or disadvantages? Will You Tube and streaming become part of the ‘new normal’ we are hearing so much about? My son and I have been watching the National Theatre and Stratford Festival live YouTube casts. It’s been great way to introduce him to different plays and interpretations of Shakespeare. He loves a good lighting grid and raucous stage fight, but even he said “it doesn’t feel the same”. He’s 13. The audience and the performers feed off each other, we create the space together and because of that, every night is different. You can never rebroadcast that experience. I think it’s a great advertisement tool. Anything that draws more audiences in is fantastic. 9. What is it about performing you still love even through these uncertain times? I am really lucky because I was performing ‘Marjorie Prime’ a few weeks before the closures. It was one of the best times I’ve ever had. We were welcomed by Ted and Diana at The Coal Mine Theatre with such trusting and open arms. Stewart Arnott directed us into his delicate and moving vision of the play with such heart and humor. Martha, Beau, Gord and I were a loving quartet. We shared a dressing room, laughed our butts off, shared stories and experiences and we kept Martha well stocked with chips. If anyone missed or jumped a line (and we all did it), without a beat the other person just moved on. We listened to each other, we trusted each other, and we respected each other. It was perfect. That’s what I love. That is what keeps me going. That is what I hope for every artist: Love, Work, Community, Respect. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he asked his guests at the conclusion of his interview: 1. What is your favourite word? Welcome 2. What is your least favourite word? Actually 3. What turns you on? Invitations 4. What turns you off? Explanations 5. What sound or noise do you love? My son’s laughter 6. What sound or noise bothers you? Shouting 7. What is your favourite curse word? Dick 8. Other than your own at this moment, what other profession would you have liked to try? Architect 9. What profession could you not see yourself doing? Masseuse 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “I loved you in ‘Paradise Lost’” Previous Next

Back Colm and Donna Feore Moving Forward Ann Baggley Joe Szekeres To the 115 Canadian and American professional theatre artists whom I’ve profiled over the last six months: thank you so much for sharing your stories and your thoughts with all of us. On a personal note, it is the arts to which I have turned during these sometimes very trying six months of the pandemic to keep me focused and going in knowing the end will be in sight. I passionately believe with all my heart and being the end of this pandemic is in sight. When is anyone’s guess? Live theatre will be back, and it will be a pleasure to return and watch all professional artists grace the stage again with those roles, those ‘dream’ roles, you so very much want to play. Who knows what format theatre will take as we slowly emerge from all this? But that is the exciting part in anticipation of wondering how the theatres will tackle this new challenge. When the decision was made in October to conclude the ‘Moving Forward’ series November 30, I struggled trying to decide who to ask as there were so many other artists out there with whom I so very much wanted to contact but time restraints didn’t allow me – at least for now. But who? I came upon a trailer of ‘Bon Cop, Bad Cop’ a few weeks ago online, and I just knew right then that I wanted to ask Donna and Colm Feore for an interview. I just sensed they as well were the right choice to conclude this series. And so, I contacted the Stratford Festival to ask for a contact to get in touch with the Feores. And I was equally humbled and elated when Donna got in touch with me to say she and Colm would be delighted to participate and to conclude the series. Donna is an extraordinary director and choreographer of many shows at the Festival. I’ve seen Colm in many wonderful productions at the Festival as well along with many television and film roles. Thank you/Merci, Donna and Colm for the interview via email. Until we all see each other again: 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? DONNA: It is very troubling to see the numbers climb so high again in November. It is a stark wake up call that Covid has gone nowhere and we are completely dependant on behaviours of our society to keep everyone safe. Hand washing, distancing and mask wearing continue to be the smartest action we can do at the moment. I am optimistic we will come out the other side of this pandemic. The recent news of vaccines is very encouraging! COLM: I am feeling optimistic and defeated by turns. On the one hand, I believe we will be back when circumstances allow and that we can stay ready for that moment; on the other, the sum of what we’ve lost is huge and I am trying to reconcile that loss with the need to keep moving forward. When we emerge from this pandemic period I think we will keep what we have learned about best practices and have a new, and I hope, appreciation of the value of what we do, both our audiences and ourselves. How have you been faring? How has your immediate family been doing during these last eight months? DONNA: I think there are good days and there are fewer good days for me. I miss the social and physical contact with people. I have however been given a huge gift of time to see friends that I have lost contact with over these last years with busy schedules. My immediate family is doing well. We had our daughter home for almost 6 months as she is a professional volleyball player, and her sport was shut down. Our son just graduated law school, so he was home for an extended period of time before he started articling. Our oldest son and his wife work form home in TO but we found we had more time with them. I believe we would have never had this time with our adult children without this pandemic and I will be profoundly grateful for it forever. COLM: I began the shutdown committed to keep working on what I was doing when we stopped. When it became clear we were not coming back, I grieved for the work done but began to think about the new perspective the shutdown offered. Our business is precarious. If you are lucky enough to do it and keep doing it, you keep going, almost afraid to stop. When you are forced to stop you start to reflect. We had some of our family with us to share our time and even though it was weird we cherished it. These moments showed us what is really important. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? COLM: Well, professionally this has been catastrophic. And, like my wife and I, many of our colleagues and friend are two artists households. The threat is existential. We’ve relied on each other to reach out and encourage, philosophize, laugh and cry about the situation. And it helps. I’ve got a lot of balanced advice from other artists about how to cope with the stresses of these days. Some offer wisdom, some books, some recipes, some exercise ideas. All useful, all welcome. DONNA: I miss my creative teams most of all. I realize now that it has been taken away, just how much I love and cherish our time together. The laughter, the brilliant ideas, the collaboration. It is a loss both professionally and personally because we are a close group and have worked together for a long time. It just always was so great to be together. I miss them all so much. We have stayed in touch a fair amount these last months. It is an important bond that a pandemic can’t destroy. I worry for the artists, especially the artists that are alone. I feel terrible for the younger generation of artist that is just beginning, but I am especially sad for the actors and creative artists that are mid career and on the cusp of huge breakthroughs. It is painful to see them having to put everything on hold and rethink knowing how incredibly talented they all are. 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? DONNA: At the Stratford Festival I was directing and choreographing a version of “Chicago’ that I had been given the permission to completely reimagine. There are 15 production numbers in the show, and we were one day away from the sitzprobe for ‘Chicago’. The sitzprobe is the first time the company gets to hear our orchestra play the score, and the singers get to sing the songs with the orchestra. It is a magical day ALWAYS, no matter the show but this one felt incredibly special. ‘Chicago’ has a magnificent score and to hear our brilliant musicians play it was going to be off the charts! It was heartbreaking to have to stop dead and, when we went in to collect our belongings, the rehearsal room was set up for the sitzprobe. I will never forget that feeling of sadness when I walked in the room and saw that. I feel extremely optimistic that it will be produced in the future, so we just have to be patient. I was also directing and choreographing a new musical of ‘Here’s What It Takes’ written by Steven Page and Daniel MacIvor. We had been developing the show for over 2 years and we were in production on week 3 when we stopped. It was another blow to not see the show produced and it was going to be in the beautiful new Tom Patterson Theatre. I am very hopeful that it too will have a life in the future. I also have two shows that are in pre-Broadway tryout phase. Both of those shows are new works, and both have dates set for fall of 2021 and early 2022. COLM: I was rehearsing ‘Richard III’ which was scheduled to open the new Tom Patterson Theatre as an echo of the production with Alec Guinness which opened the festival in 1953. We were well on our way and I had been preparing for many months before we started so when we stopped and then realized we weren’t coming back, it was a shock. I continue to work on the play, but I don’t see us returning to it until at least 2022. What have you been doing to keep yourself busy during this time? DONNA: Lots of hiking!! I am the creative producer on a new project for the National Arts Centre Orchestra. It is a 4-part television show that features some of our most gifted artists both in the worlds of music and the visual arts in Canada. I am excited and look forward to an announcement of the project in the very near future. I have been working on both shows being produced in the USA with the writers throughout the pandemic. They are both brand new musicals, so we have taken this time to continue working on the score and the script. It has been wonderful to have the time in a more relaxed environment to really dig in. I have cleaned out my house and continue to do so. I cannot believe how much stuff we have accumulated and kept over the years! It feels good to purge and do the stuff around the house that I have said I would do for the last 10 years! I have connected with friends that I have not seen or talked to in far too long. That has been such a positive part of Covid for me. We have some close friends in Stratford that have been in our bubble this whole time, so we feel lucky here. We also are extremely fortunate to have an amazing family that we are so grateful for. COLM: Well, once the biggest question of our day became “what’s for dinner?”, I knew I’d have a purpose. I love cooking and having time to try stuff out has been great. I’ve had a chance to read more and more widely. We’ve also begun to just start fixing things up around the house that our work allowed us to ignore for so long. And perhaps the best thing is that we had a couple of our adult children isolated with us while they studied for various things. It was a great pleasure getting to know them better. 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? DONNA: To be honest, everyday is a new day of discovery of what interests me and how I enjoy spending my time. Live theatre will be back. It will be different, but it will be back. I guess I would say to keep trying to work on your skills. Keep exploring new skills and get curious about other things. These are opportunities that you might otherwise not have had without this enforced pause in our industry. Colm has always been interested in so many other things other than acting and I admire his ability to allow curiosity to take him down some really exciting paths. I am trying to do that more and I highly recommend that a young actor and creative artist coming out of theatre school allow that curiosity into their being. It is a scary time for so many artists. Our industry was uncertain enough financially, so this added stress is a lot for many to bear. I hope and wish that people are finding a way through it. COLM: I am certain that public performance will return and that the lessons of the pandemic will change how it works. I think that the best way to ride out this crisis is to continue working on your craft. It’s about staying ready and being flexible. And no matter what you are doing to make a living, never stop the imaginative work of the actor. I was taught that every class was an acting class, that there was always something to be learned from living. Nothing is wasted. That said, I know that for the perennially unemployed this has gone from a dry spell to a desert, but we must trust that what we offer the world is desperately needed and, as soon as we possibly can, we’ll be back. Do you see anything positive stemming from Covid 19? DONNA: That’s hard because there has been so much suffering and continues to be for so many. I do however feel that Covid has given time for all us to reflect on our choices, our actions, and our evaluation of the future. I have talked a lot about family and friend time which has been such a positive. I have also seen so many artists create a new path for themselves that is so impressive! It is amazing to see the talent that has come out of these artists. Our community in Stratford has been hit hard both in the theatre, the retail, restaurant and hospitality industry. I have watched a community get behind each other and support each other so much. People who are hard hit themselves reaching out and helping others. It has made me love this city of Stratford even more. COLM: In the face of such global suffering I find it hard to see much positive though perhaps, the time for isolated reflection has been of use. We’ve had time to question our choices, and I know that moving forward our choices will reflect the experience of Covid. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? COLM: No question that Covid will transform the performing arts locally, nationally, and globally. We are going to have to learn to live with it, or something like it, forever. The lessons of science will allow us to come back together, but I think it will take some time to figure out how. The one ray of hope I have is a fundamental belief in the deep desire humans have for community. We need to share our stories, our songs, ourselves, it’s part of what makes us human. DONNA: Yes, it will. There is a hard reality for all the performing arts in North America. It will be a long climb for the arts to get back to a healthy financial position again. I do think we have all taken for granted that we will always be able to do what we love in our industry. Our worries were our next jobs. When the anchor was thrown overboard in our speedboat, and our industry literally stopped around the entire world, it proved that it can all be taken away instantly. I know I will never take it for granted ever again. 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? DONNA: I think it has been particularly good for some artists to be able to continue showcasing their work and teaching on You Tube and other platforms. I am interested in content that is developed strictly for a digital platform. I think it is something that can live alongside the live event in the future. We live in a huge country geographically and being able to digitally reach communities that do not have the means to come to a live event whether it be theatre, dance, opera or symphony is crucial to the future of the arts and their relevance. COLM: I’m happy to see artists taking advantage of whatever medium is available to get their work out there. In a few short years there have been profound changes in how people get their entertainment. If an artist can connect with their audience via You Tube etc then why not? I will always love the live experience with both players and audience in the same space and if that space must be virtual, bring it on. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? DONNA: Our creativity remains in us all. That won’t go anywhere. It is where it needs to be right now, whatever that looks like. COLM: I have been incredibly lucky to have worked on a few projects while under Covid protocols and restrictions, and what it couldn’t kill was my gratitude for, and delight in, the work. Acting is a crazy business at the best of times but working under these peculiar conditions made me appreciate how much I enjoy it. Not retiring just yet!! (Editor’s Note: and I’m pleased you’re not just yet) Previous Next

Back 'Message In A Bottle' Choreographed and Directed by Kate Prince. Based on the Songs of Sting A Sadler Wells and Universal Music UK production presented by TO Live Lyne Thiesen Geoffrey Coulter, actor, director, adjudicator, arts educator VOICE CHOICE Electrifying and Intense. A stunning and breath-taking new dance production. “Message in A Bottle” is a breath-taking new dance production. It’s equal parts genius choreography and visionary storytelling put to Sting’s timeless and intelligent lyrics of love, war, and everything in between. It’s one of the most magnificent performances I’ve ever seen. It’s beautiful, shocking, inspirational, innovative, and jaw-droppingly creative! This is a show that comes around but once in a lifetime. You absolutely cannot miss this spellbinding work of art! The UK’s five-time Olivier-Award nominee Kate Prince treats Toronto audiences to her latest magnificent new dance show, “Message in A Bottle”, and, boy, is it a feast for the senses! She’s pulled out all the stops. Her skills and unparalleled talent bring us an original show inspired by Sting’s iconic hits and poetic lyrics. Her creative team and unbelievably talented company of 14 dancers tell us a poignant and relevant story of hope triumphing out of human suffering and displacement in a war-torn, anonymous country. Art imitating life in our modern world of strife and discord. It moved me in ways that I can’t fully describe in this review. I’m still processing the experience and thinking about its beauty days later. This is the first time I’d seen a dance show based around the music of one artist’s work and, while not a die-hard Sting fan, I found myself revelling in the new arrangements of his iconic hits like “Every Breath You Take”, “Don’t Stand So Close To Me” and “Spirits in the Material World”, here given new meaning with revised tempo and pace. The stunning production, costume and lighting design is among the finest I’ve ever witnessed in a dance performance, and I’ve seen quite a few. But it’s the keen storytelling by director/choreographer Prince and her dancers that charts new ground. I heard many refer to this as a jukebox dance show. It so much more than that! The music is brilliantly integrated into an imagined story about one family: a father, mother and their three teenaged children – Leto, Mati and Tana - living an idyllic, tribal existence in a faraway country. They live in harmony with their land, their people and each other. When a civil war erupts, the family’s world is devastated, their homes destroyed, their lives forever changed as they face this brutal reality together. They need to make impossible choices to ensure their survival. They attempt to flee their homeland and become refugees in a strange land where they are separated and imprisoned. But love and hope sustain them. With Sting’s new arrangements, the cast brilliantly flies through the two-hour masterpiece with a stunning fusion of styles – mostly hip hop, breaking and contemporary with popping, locking, lyrical and some ballet thrown in. This mash up of styles is almost a new style in itself. The hard-hitting street hip hop here melds with the fluidity of lyrical and precision of ballet technique. The flips, tricks and head spins are all there, but the influence of the other dance styles is extraordinarily evident and breathtakingly beautiful. The incredible 14-member cast pour their hearts, souls and bodies into their characters and dance with an aliveness of empathy. Their group and solo works are stunning, poetic, astounding. Prince communicates through dance masterfully. Her ability to tell a story with such clarity through movement alone is remarkable and no small feat for any choreographer. There was something about this performance. The feeling we were in for a special experience was palpable as the audience held its collective breath from the first dancer’s movement until their much-deserved, unanimous standing ovation. There isn’t a single step that doesn’t have a purpose. Prince also brilliantly weaves the best design elements to augment her narrative. Video projections by award-winning designer Andrej Goulding provide moving greyscale backdrops of ocean, sky, rain, and sand with the most gorgeous and ominous silhouette work. Natasha Chivers’ exquisite lighting is spectacular, enhances the emotional intensity in every scene with banks of side lights and carefully places spotlights above that allowed performers to seemingly appear and disappear into shadows. Her use of shapes to denote confinement and isolation was claustrophobic. Her integration of lights into Goulding’s video projections was seamless. I often couldn’t discern where one ended and the other began. It was intense, dark, ominous and seconds later warm, placid, and inviting. A cast member unto itself. Stunning! Costumes by multi award-winning designer Anna Fleischle were functional and fluid - billowy leggings, sleeveless vests, flowing skirts in muted tie-dyed colours put the dancers at the forefront. Her addition of subtle tribal patterns, futuristic grey suits with half-moon headwear, even black hoodies and overalls perfectly transported us to worlds of beauty and danger. Continuing the vision of subtly enhancing the dancers, set designer Ben Stones places the action in a simple “black box” with walls at right angles and openings magically appearing and disappearing upstage. Again, it’s minimal design for maximum impact – a few boxes that look like vegetable crates, a rotating square room framed with no walls and moveable bare flats provide lots of room for choreography. “Message in a Bottle” is electrifying and intense, with stunning individual production elements expertly entwined to create a something much larger than the sum of its parts. New arrangements of some of Sting’s iconic and poetical hits along with newly composed interstitials perfectly fit Kate Prince’s inspired vision of war-torn countries, refugees, displacement, and human resilience. It’s relatable, visceral, and important. While her direction and choreography are impeccable, there’s nothing that compares to watching a dancer making something live in the moment. The strength, agility and versatility of the troupe is extraordinary. This alchemy of storytelling, dance, Sting’s music, and impeccable production design elevates this theatre going experience to something transcendent. I’m still on cloud nine. Previous Next

Back 'Holmes and Watson' by Jeffrey Hatcher Produced by Stage Centre Productions at North York's Fairview Library Theatre Marc Siversky Joe Szekeres A jolly good mystery to unravel in Stage Centre’s ‘Holmes and Watson’ I’ve often wondered if the Sherlock Holmes/Dr. Watson’s storyline has run its course in twenty-first-century theatre. Even though ‘Holmes and Watson’ premiered in 2017, I’ve always found the challenge behind these period pieces remains to do justice to the playwright’s intent while ensuring that audiences still enjoy the plot. Can audiences enjoy these mystery genres where we are asked to put clues together ourselves as the plot unravels? This is tough since our woke world right now demands instant gratification from all kinds of entertainment we are now seeking. I must applaud Stage Centre Productions for going against the grain and staging Jeffrey Hatcher’s ‘Holmes and Watson’ because the company made it work. Theatre lovers are craving a return with a vengeance. I’ve seen it myself in surveying other audiences while I’ve waited for plays to begin. We all want a good story to follow. ‘Holmes and Watson’ is a good story for the local theatre community. It appears that famed detective Sherlock Holmes is dead. Or is he as the body was never retrieved? That is the question both Dr. Watson and we unravel in playwright Jeffrey Hatcher’s interesting storyline of intrigue and deception. Following the famed detective’s death at Reichenbach Falls with his nemesis Professor Moriarty (Jeremy Henson). Holmes’s trusted assistant Dr. John Watson (Daryn DeWalt) is called to disprove the many fake notices that Sherlock is truly alive. Through a newspaper clipping, Watson learns three men have been admitted to a remote mental asylum claiming to be Sherlock (Ted Powers, Lawrence Stevenson, and Joseph van Veen). Each of these men matches Holmes’s physical description. One of these gentlemen is quoted with something the only real Sherlock would know. Watson travels to the asylum to confront these three men while also having to deal with its ghoulish-looking Matron (Mickey Brown) and silently towering Orderly (Chip Thompson). Visually, Stage Centre and Pierre Rajotte’s fascinating set design caught my eye as I sat down in my seat. I try to leave at least 10 minutes before a performance to study the set if it is possible. I encourage future audience members to do the same. The set has a film noir cinematic style and flair, thanks to Director Marc Siversky and Rajotte’s clever design. This style allows the playing space to become different locales without having to incorporate laborious set changes, and that’s a huge bonus for the audience not to have to sit through a few moments of change. Clay Warner’s lighting design effectively incorporates moments of shadowy lights to create that sense of mystery about the story as to what is coming next. Marc Siversky and Eric Dupois’s video design is also intriguing. Whether it was intentional or not, I liked the focus on enlarging some of the designs which certainly highlighted the foreboding atmosphere. Victoria Richardson’s Costume designs are wonderful period recreations. Director Siversky’s solid control over the plot’s action keeps it moving at a good pace. There are moments of lengthy dialogue where audiences must pay careful attention to keep up with the quickly moving plot. Because there are numerous twists, I am doing my best not to spoil surprises for future audiences. Daryn DeWalt remains confidently solid as Watson. Robert Frances boldly maintains that aura of something not sitting just right as Dr. Evans. The three Sherlock Holmes in Ted Powers, Lawrence Stevenson and Joseph van Veen believably create uniquely yet somehow similar characteristics of the famed detective. It was a treat to watch how each of them seized the moment to explore the actual Holmes they are searching for. Jeremy Henson’s blustery Moriarty made me smile because he successfully captured his essence. Final Comments: A lot of information is thrown at the audience and there were moments when I kept wondering where all of this is going. Trust me, it will make sense but stick with the story and don’t lose sight of playwright Jeffrey Hatcher’s clever plot because it does work. There’s an adage I’ve seen posted. Some may consider it tiresome while others may consider it appropriate: “I didn’t see that coming.” This thought came to my mind once everything becomes clear in the plot. Nice work Stage Centre. Thank you for not including an intermission because the momentum would have been lost. Finally, dear reader, don’t spoil the plot surprises for future audiences. Running time: approximately 90 minutes with no intermission. ‘Holmes and Watson’ runs to October 8 at Fairview Library Theatre, 35 Fairview Mall Drive, North York. For tickets call the Box Office (416) 299-5557 or www.stagecentreproductions.com . ‘Holmes and Watson’ by Jeffrey Hatcher Directed by Marc Siversky Stage Manager: Malcolm Byrne Set Design: Pierre Rajotte Lighting Design: Clay Warner Costume Design: Victoria Richardson Sound Design: Marc Siversky and Scott Griffin Video Design: Marc Siversky and Eric Dupois Props: Shannon Breedon Performers: Daryn DeWalt Robert Frances, Chip Thompson, Mickey Brown, Ted Powers, Lawrence Stevenson, Joseph van Veen, Jeremy Henson Previous Next

Back John Jarvis Looking Ahead --- Joe Szekeres First time I met John Jarvis was many years ago on a Sunday afternoon during an ‘Open Doors Toronto’ where audiences got the chance to speak to several professional theatre artists who graced some of Toronto’s finest stages. The late Al Waxman (CBC’s King of Kensington) led a group of us around to the theatres. I remember sitting in the Bluma Appel listening to John speak about the history of The Bluma Appel and some of the actors who worked on that stage. I can also recall some of us were given an opportunity to get up on the stage and ‘perform’ a scene with John. He was gracious and kind when volunteers came up on the stage and allowed each of us to have our ‘moment’ there on the Bluma Appel stage which I can recall as huge. Since then, I’ve seen John’s work in several productions at Toronto’s Soulpepper Theatre including ‘Innocence Lost’, ‘Orlando’, ‘Spoon River’ and ‘Of Human Bondage’, both of which he had the good fortune to perform to great success in New York City. John has also taught acting at George Brown College. Television and film credits include Seasons 6 and 7 of ‘Suits’ and ‘Business Ethics’. At this moment of writing his profile, I recall with much fondness John’s work in Soulpepper’s ‘A Christmas Carol’ which has become a holiday and Christmas favourite of mine. John has been the narrator in this production since its inception and plays the three Ghosts Scrooge meets on Christmas Eve. I let John know that perhaps we need a little ‘Christmas Carol’ this year to help move us out of the pandemic; ergo, Weyni Mengesha and Luke Reece – please take note this writer would love to see ‘A Christmas Carol’ on the slate again this year (provincial health conditions obviously in place) John’s recent television and Film include ‘Stockholm’, ‘Suits’ (Season 6 and 7) and ‘Business Ethics’. He also has taught acting at one of Canada's premier theatre schools, George Brown College. He studied at Montreal’s National Theatre School of Canada. We conducted our conversation via Zoom. Thanks again, John, for such a quick interview and turnaround in time: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. Initially, I was quite taken aback by the global community recognizing the existential threat of what this was. For probably the first time in the world’s history, so many communities of people agreed to shut down, to cut off, to retreat to their homes. I was quite astounded by that global group activity. Then the fissures began, and people pushed back, and we’ve had such a very complex result. Friendships have been lost; family members have argued. While I was in Shopper’s Drug Mart today, there was a guy in front of me who was on his phone, and he was quite vehement in his call to someone saying, “No government is going to tell me what to do anytime!” And I thought, ‘C’mon, it’s the dilemma of Me, and what I want to do.” Or it’s my shared sense of protecting everybody in the group. I think the group is holding firm and, although we get attacked for being fearful coming to a power of government and this cultural war, I think people have found some strength in Covid that when it comes out the other end there will be a renaissance of ideas and activities. There will be a bursting forth of people wanting to come and see theatre and theatre artists in an expression of joy in wanting to get back on stage. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed. What I have delighted in is that so many companies, small and large, have put out product of some kind. Profile has been maintained that the artists are developing some kind of theatre to keep the profile of the company in the public view. But behind the scenes the money they will require to begin again to contract actors and designers and playwrights and the sheer enormity of producing a play, where is that dough going to come from? So far, we haven’t seen too much collapse of companies walking away. I know that some artistic directors have reached certain levels of exhaustion, and some have decided it was time to leave anyway. I’ll be curious because governments will come to the plate to a certain degree. And for the big companies, where will they get the money? There’s all the will in the world but when a large company says a million dollars is needed, what’s going to happen next? I haven’t heard the behind-the-scenes despair of the financial departments of theatre companies. A year ago, many actors, myself included, didn’t have a sound studio or filming studio in their basements. I do voice over work as well, so I had to get an expensive microphone and all the other accoutrements where I now have to do self tapes of lighting and sound and cameras. All actors are their own production company and their own editing suite now. It’s been active in television and film as there is a 37-page protocol that has allowed production companies to go ahead. It was always ironic that a theatre company was not able to rehearse and film a production of a play. But a film company could rent the theatre, come in and shoot a film or movie. It’s always been a head twister. As a professional artist, what are you missing the most about the live theatre industry? Well, it’s the flesh and blood. It’s the only card we have on the table that we’ve had for 2000 years. It’s a piece of human breathing, audio flesh in front of us. I’ve watched some Zoom plays and have tried to engage as much as I can, but it started to pull away because I just need to see the actors. I want to see the play and watch the spittle come out of their mouths. My voice teacher said the Greeks had brass urns on top of all the aisles so that the human voice would ring through those brass urns and send pillars into the cosmos to hold the thing together. So, the sound of the human actor is holding it all together. People will be hungry to hear that sound of a real, live voice. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? I remember reading some of the profiles in this series, Joe, and some had some very funny answers. I’ll never take for granted that the joy of being in front of an audience is a celebration rather than a paranoia of performance or the worry of how I’m doing. I think all of that worrying now appears to be of little use, and that the chance to just be in front of people is a new psychological entity that I never really thought of, and I’m sure that’s what a lot of actors are saying that they need to be in front of people who will laugh and cry in the way that a story is told. Because this commonality of Covid that the audience and actor have gone through together, we are equally as hungry to meet each other. Whatever the fourth wall, it will have been of little or no use to people because they know that I haven’t been performing in front of audience, and I know that the audience has been watching television, Netflix or listening to the radio, and that there’s a genuine humility to be with each other again. I think that will be quite exciting. Describe one element you hope has changed concerning the live theatre industry. The discovery that theatre can happen anywhere; it can be on a bicycle zooming by, in a park, on your front lawn, in the driveway. Artists can go up to the balcony of your house; they can make an event happen anytime or anyplace and people will stop and be engaged. It is interesting through this societal change of Covid with the politics and the social justice issues spinning and boiling, I always thought that the theatre was moving towards this change. Before, many other arts industries were always trying to draw in the diversity of the cities we live in. As a veteran actor myself, the glory days are shifting and there’s new blood coming in, and new energy. If it takes telling the disparity and the dystopia, and the dilemma that the new culture is finding within the story, that’ll be the stories of the future. Explain what specifically you believe you must still accomplish within the industry. In the contemplation many of us have had to think about one’s career, one of the allowances of many hours of time that we’ve had during these last 16 months, you are as good as your last performance. There’s a new play coming up and you have to prepare for that audition and performance. When Ralph Richardson at 92 was asked about his career, he said, (in a British accent) “Good God, ol’ boy, I’m only halfway through the fucking thing.” (Uproarious laughter from me). I’ve much more to learn. With that contemplation, I’ve a new degree of expression that might reveal itself to people and I look forward to seeing what did that year do to one’s emotional world and the capacity to express the worries, the fears. During these last 16 months, I’ve read some of the great literature – ‘War and Peace’, ‘The Count of Monte Cristo’, ‘Our Mutual Friend’ that had no electricity in it and no sense of what was going to happen in the 20th century. So now that I’ve read about these incredible people in these incredible novels, what’s next. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I was sitting with my family the other night, and somebody said, “Oh, I bet you when we go back to the theatre that somebody will enter with a mask, and someone says to take the mask off. I don’t want to see a play about Covid.” I don’t want to see Covid used as a metaphor. I want this story of Covid to be over. I don’t want Covid to be a pivot point into a story. I want something different. I want a new story. I don’t want anything as a reminder because we’ve all quite had enough. I’m sure there will be a brilliant playwright who will find a brilliant way of incorporating the lonely person sitting in a basement trying to figure out what to do to tell a story or to engage. The cultural dilemma of Indigenous Canadians, Caribbean Canadians, Asian Canadians, it is their time to find their stories and to share it with us. Susan Coyne and Stewart Arnott delivered a beautiful two hander recently on Zoom about a virus. It was really quite beautiful, but we’ve seen enough about Covid. Susan and Stewart have already done it. As an artist, what specifically is it about your work that you want future audiences to remember about you? Ah………. “John Jarvis did his best. He gave his all.” (He says with a gleeful grin) In the quiet solitude of the basement, there are great days of remembering performances you loved and cared and gave it your all. And there are days where you think and remember for whatever reason you stumbled through maybe because you weren’t focused, and you know you didn’t give it your all that you should have done. I would say that I poured my sense of life and my sense of humour, and my sense of joy in people, and I poured it into everything I did. That’s what I hope future audiences will remember. Previous Next

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

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

Back Alexandra Lainfiesta Theatre Conversation in a Covid World Sam Gaetz Joe Szekeres To know that professional theatre artists are reading this profile series has been a boost of inspiration for me, so I thank you all with plenteous gratitude. That’s how I came to meet Alexandra Lainfiesta. I had seen her at the Stratford Festival in Napoli Milionaria! and was delighted when she got in touch with me through Messenger. Her story and voice are quite unique. Born and raised in Guatemala, Alexandra moved to Canada at the age of 19 completely on her own to follow her love and passion for the live performing arts. She attended the Canadian College of Performing Arts in Victoria, BC for two years and after graduation, travelled to Vancouver to pursue classical training for acting at Studio 58. In 2017, she joined the Birmingham Conservatory for classical training, and in 2018 did her first season at the Stratford Festival where she got to play some of her favorite roles which include Assunta in Napoli Milionaria!, Adriana in Comedy of Errors and Anne Boleyn in Henry VIII. Alexandra is a Jessie Richardson Award winner and currently has been focusing on her work as playwright. With support from The Stratford Festival, Alexandra has been developing a new operetta with Beau Dixon titled “Calderona” based on the life of Spanish actress Maria Ines Calderon during the Spanish Golden Age. She divides her time between Toronto, Stratford, Vancouver, Victoria, and Guatemala. We conducted our conversation via email and Zoom: 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? I was in absolute denial for the first two weeks after rehearsals suddenly stopped at the The Stratford Festival for our 2020 season. I started to exercise at home, meditate and kept working on my script for the shows we had been rehearsing for. I had convinced myself that this was going to be over soon. Then, I waited, and waited…. and waited… and by end of April it dawned on me that this was going to take much, much longer, and so I went through a roller coaster of ups and downs, of gratitude for the time I now had in my hands to then frustrations and grief for the art we had created together in rehearsals that now was lost and slowly seeing the industry I had dedicated my life and heart to, slowly and painfully cancel seasons. My whole family is in Guatemala, and it was such a surreal thing to experience. Usually when something goes on there, it’s not happening here, but for the first time it was there as much as it was here. Nature, long phone calls from good friends and family, Whatsapp/Facetime/Houseparty were a huge support to my mental health in 2020. I’m grateful for it. How have you been spending your time since the theatre industry has been locked up tight as a drum? Going through old photos, cards, letters. Writing. Lots of writing. I also spent a lot of time in nature and close to water. Water is an absolute healing and calming element for me. I stayed in Stratford for the majority of 2020 and now I am back in Vancouver. During the lockdowns I had time now to connect with dear friends across the globe whom I hadn’t talked to in years. I also created a small draft and demo of an operetta I had in mind with Beau Dixon, thanks to initial support from The Stratford Festival. I felt very fortunate to have had the opportunity to create music through these times. I think the biggest take from all this time away from the industry I love, is how much I’ve grown as an individual and how much more compassion, love and understanding I have for others as well as setting my boundaries and living a much more grounded life. As many can relate, I am not the same person I was before the pandemic hit globally. 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? Covid has definitely not been an escape for me. It became the “C word”. At one point it was everywhere. All conversations I was having with people over the phone, the news, social media, signs on the grocery stores, just absolutely everywhere. I am an extrovert who loves people and community gatherings. I’m Latina! So the lockdowns were absolutely hard. It was also quite shocking the first day I went grocery shopping and now everyone around me was wearing masks. I do have to say though, that the absence of theatre and work gave me the time to go in and heal many things I had procrastinated to deal with to heal. It also brought so much awareness of the many layers of social, gender and racial inequalities not only in our industry but in the world. I do have to say, I’ve been transformed by this global experience that is the pandemic. 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 think we are creative beings. As Steinbeck said: “The theater is the only institution in the world which has been dying for four thousand years and has never succumbed. It requires tough and devoted people to keep it alive.” We will come up with something, yes it won’t be full head on, but we will do theatre. In 2020 I was very fortunate to have been able to work. I did several shows that were filmed, edited and then shared online, as well as outside festivals with limited audiences. Will there be theatre? Yes, not how we’ve known it, but it will be there until we can fully gather safely again, and we will. I’ve gone through enough hardships in my life to know that there is always light at the end of the tunnel and that ‘this too shall pass.’ I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? I think we have less time for BS now. I believe that whatever we do, whether it’d be classical, contemporary or a new work, it must be grounded, now more than ever, in truth. And what is truth? To me, truth is when we belong to ourselves and only speak from the integrity of our heart. I don’t believe that there is an “absolute truth” or a “best”. There is just honesty and speaking from the heart. ‘There are as many Hamlets as there are actors’ and actors come with a diversity of identities and thoughts which must be celebrated. We are in the service of story-telling and representation. Truth transforms and it is time we show multiple truths on stage. 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? Define “danger”. If it means exposure to harm or injury, I say no. That thinking is what has created this toxic idea that “those who make art must suffer”. The Theatre is a workplace and must be treated like one. If the word danger is more of the idea of the “possibility” that “something might happen and we don’t know what will”, then yes. I do think actors and audiences alike must feel that tension of possibility which can only be brought by being in the absolute present moment and the only way we can be present is by being self-less, because it is about the ‘other’, what we want from the other. Being alive is active. Possibilities are active. I prefer those words. And in regard to feeling danger during this time of Covid, I have to be honest, this isolation and this life of being in alert mode at all times and having privileges of liberty being taken is not new to me. I came to this country as an immigrant, completely on my own, and many of the feelings experienced during the lockdowns were somewhat familiar already. And yes, this will absolutely inform my work when theatre comes back because it has reminded me of the importance of human connection and how that is what keeps me alive and thriving. Live theatre is a living dance of thoughts and possibilities and it is always about the other and getting something from the other. Self-absorbed and self-centered theatre is beyond boring and exactly what makes teenagers never want to step into a theatre again. 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? Yes, it made me sensitive to think and see beyond the obvious. It made me face fear and transform it. It made me want to come back to theatre to take the space that for years has been only been given and allowed to a certain sector of the population. It made me want to work towards taking on more leadership roles in our community. It made me sensitive to the work that needs to be done in order to achieve equity. I also because quite aware and sensitive to the fact that the Canadian government thinks of theatre as an “event” and not a workplace. Theatre is an INDUSTRY, and it is about time we start educating our government that we are a business that creates revenue and employs thousands of people across Canada. 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 love curiosity! Curiosity is active, alive, honest, inviting, and exciting. I became curious about systemic changes and my responsibility as a storyteller in this world and how perhaps I can influence that. I became curious about the human connection that was lost and how that has affected our mental health. I became curious about the creation of live theatre without being able to have a live audience. I saw an outstanding play reading of “Mojada” by Luis Alfaro, where the director, Juliette Carrillo, used the cameras and created this new hybrid of film and theatre to create something spectacular. The audience was being included in the reading through the camera lens. Same went for the performance of a play in Mexico City called “Bichito” (The Spanish language premiere of “Little One” by Hannah Moscovitch) in which director Paula Zelaya Cervantes did an outstanding job, again, merging a live performance with different cameras and having the actors either hold one camera and speak directly at it or take it with them to show certain scenes from their perspective and what they were viewing. I became curious about the conversations I was having with people. How profound, honest and grounded most of them are. I became curious about how it is okay to honestly answer the question “How are you?”. I became curious about all the kids whose introduction to school was during this time. To all the teens who had to graduate in 2020 from High School. I’m curious as to what this will do to the little humans who will one day be adults who experienced this pandemic as kids. And now, regarding what I will take back with me when theatre comes back in full force, I have to say that the spark that I know I will take with me is that of human connection. I do think that the greatest healing in our world will take place when live theatre and live music come back. Connect with Alexandra on Instagram: @alelainfiesta / IMDB: imdb.me/AlexandraLainfiesta You can also visit her website: www.alexandralainfiesta.com Previous Next

Back Michael Cerveris Moving Forward Zack Smith Joe Szekeres The Zoom conversation I held with two-time Tony Award-winning actor/musician for ‘Assassins’ and ‘Fun Home’, Michael Cerveris, was compellingly informative, and I was taking in as much as I could. Michael put me at ease so quickly that I felt as if I was having a virtual cup of coffee with him and, at one point, I imagined he got up from the table, went to the imaginary urn, and poured me a second cup all the while just speaking calmly and comfortably how the worldwide pandemic has led him to take stock of where he is at this point in his life, and where he is headed next. He was visiting his father in Pittsburgh when we had our conversation. I’m assuming Michael was speaking from the living room at his father’s home, and the scene was quite idyllic. There was a beautiful ray of sunshine through the glass pane where Evangeline, the puppy he rescued from the Louisiana/Mississippi border, lounged quietly on the sofa in the sun’s warmth. The first time I saw Michael on stage was in 1993 in his Broadway debut of ‘The Who’s Tommy’ as the Pinball Wizard of this energizing rock opera. I went back later that year with a friend to see the show ‘cause it was so damn good. The next time I saw him on stage was in ‘Titanic’ and the third time was in the revival of ‘Sweeney Todd’ where he played the demon barber opposite one of the grand dames of the New York Theatre, Patti LuPone. Yes, this interview is lengthy again, but I didn’t want to miss a word. Thank you again, Michael: It appears that after five exceptionally long months we are slowly, very slowly, emerging to a pre-pandemic lifestyle. How has your daily life and routine evolved as a result of this emergence? It’s been up and down, I think, like it is for everybody. I’ve gone through different stages of dealing with things. I think we all expected this to be a shorter event early on, so there was the initial panic and anxiety but a certain amount of excitement (I suppose you could call it) because everything was new and urgent feeling. It was quite frightening being in New York at the beginning stages because it was very dire there early on. Fortunately, New York is one of the safer places to be in America because people took it seriously early on. I wish the rest of the country could have recognized and learned from our example just what’s possible when you do take it seriously immediately. Since those early distance days, like everybody, I started to settle into this new way of existing. There are benefits in some ways to stopping the forward motion of your life and taking stock and really asking yourself which things essential, and which things are not. I’ve been trying as much as possible to use the time well and prepare myself to be a better person in a better place, when this is over or when we’re at least on the other side of it. I’ve never had so organized clean closets and dresser drawers and basement in my life. Right now, I’m going through boxes in my father’s basement that I’ve left there for years, and that he’s been asking me to go through for years. And that’s been great fun as I’ve been discovering all kinds of terrific things, posting photographs from my early performances as a boy growing up in West Virginia. That apparently is the most entertaining thing I’ve done in decades for people as they are seeming to enjoy it a lot. My Facebook and Instagram feeds are full of people enjoying my embarrassing younger photos. So at least I feel like I’m doing something good for the world right now. I’ve also spent a little bit of time a little further upstate at one point during the pandemic, and I do recognize it’s easy when you aren’t living in a close urban environment, like New York, to feel that the threat isn’t quite as urgent. When you quarantine in an apartment and have to wear your mask even to walk down in your building to get your mail, it’s a different kind of thing. When you see refrigerator trucks with bodies in them because there isn’t room in the morgue, it makes it clear how serious you need to take it. It’s difficult when you’re quarantining in a house with a yard, when you can walk along the street in a suburb without a mask, because you aren’t going to be encountering people close enough to necessarily have one. I do understand how difficult it is to impress upon people the seriousness and reality of the disease’s spread, and we’ve seen the consequences of that throughout the US, especially now in people not believing it or not taking it seriously. Of course, the numbers start increasing in those areas. It’s the benefit and the curse of living in a close urban environment, but I’m really proud of how New York and New Yorkers have responded. It really has been a real blessing to have the kind of leadership and the science-based thinking in the state and local governments that we have. Hopefully, that will mean that we can continue the course we’re on and think about opening theatres in a safe, responsible way at some point. It’s really difficult for all of my live performing friends, and hundreds of thousands of people who aren’t directly on stage but are affected with the closing of the theatres. A lot of the city’s economy is dependent on that business surviving, and it was one of the first to close in order to keep people safe, and it’s going to be one of the very last ones to re-open. There’s no discussion yet for serious plans for live entertainment venues to re-open anytime soon, even though some jobs are re-opening hopefully slowly and carefully. In my business, people are sometimes hanging on by a thread in the good times, so it’s really a challenge. We’re trying to encourage our government to extend subsidies to venues and to our live performers and it’s been an uphill battle. Were you being considered for any projects or involved in any projects before everything was shut down? Not on stage, I had a film project and television project that were both supposed to happen in March and April. They tried re-scheduling the film about four times. One time I had my car packed and driving to where we were supposed to film, and I got a call saying, “Ohhh, we’re not going to be doing that now.” So, that’s indefinitely postponed but hopefully, it will happen at some point. There is a television HBO production project that I’m going to be a part of that is planning to start work in late September if all goes well. And they have a well thought, organized set of plans to do it in a safe and manageable way. Hopefully, that will be happening and will be a long-term project. I can’t tell you what it is right now but it’s gonna be kind of terrific, and it involves a lot of New York stage actors. That will be a helpful thing. What’s been the most challenging element of this isolation for you? It would be really training myself to just exist in the present moment and not be making plans and feeling like I need to do things. It’s funny, I’ve been saying for the longest time that I’ve wanted to slow down and wanted things to stop. I guess, be careful what you ask for. So many of my friends and colleagues immediately jumped in and got into busy mode with self-creating projects. They were doing lots of camera and Zoom meetings and projects. I found myself busier while not working than I was working. Everybody had a podcast or a benefit performance they wanted to contribute to. I wanted to feel engaged and wanted to contribute something. The most challenging thing, to answer your question, is considering what my usefulness is in a time when our understanding of who an essential worker is has changed overnight. The immediate feeling was, well, maybe what I do isn’t really essential, and we like to think of ourselves as essential to society, and the arts are an essential part of society. An immediate crisis like that maybe those skills are the ones that aren’t most necessary. This can leave you feeling a little useless and superfluous. I had a lot of friends who became teachers and they were struggling for ways to provide service to their students so they would ask me and lots of actors to come visit their classes virtually and talk to their students. I thought, “Well that’s something that I can contribute to and positively offer something.” And then there were lots of other projects like the Sondheim Birthday streaming that went a long way to help reach people in isolation and make them feel a little connected still to things that brought them happiness and pleasure. I said yes to everything and found myself exhausted. I was busy doing things all the time and my friends who were saying they were bored in quarantine I kept wondering how is that possible? It’s different for everybody. Do you believe theatres might be shuttered until at least the fall of 2021? That seems a viable possibility. It’s difficult because there are so many layers to the question of when theatres can re-open. And this may be an opportunity for Broadway and large-scale commercial theatre to do some re-thinking and considering the economics of theatre. This is something I thought back in 2008 with the financial collapse and really threatened Broadway and you heard people wringing their hands and saying, “This is going to kill Broadway.” My thought was maybe this would make producers think differently of how they produce things to make them more affordable to more people, but instead, the opposite happened. Broadway got more expensive and business was better than ever. With a Broadway production, it can’t function at a 50% capacity. Broadway shows that are doing well in the 75% capacity range close all the time because even that is insufficient to keep them going in the business model the way it is now. My hope is the opportunity to re-think that and where the money is going. More money should be spent on people who are working for you than on things, on spectacle and re-think profit margins while thinking about the comfort and safety in the seating area for the audience. In some ways, downtown, regional, off-Broadway theatres that consistently find ways to operate with ticket sales at 50% with grants and sometimes don’t fill the houses are able to survive, and perhaps this something that the larger theatres may have to re-examine again. This might be the way things can re-open. The arts in general have shown an ability to adapt and change when it’s necessary. They just tend to drag their feet for as possibly long as they can. The theatres need to be more pro-active and forward-thinking rather than reactionary and responding to events, especially with the social justice movements going on right now and the technological advancements. The combined moments of social conscious awakening along with the pandemic crisis has been a real opportunity to shake the dust off these things and to get more people involved with new ideas about what is possible. Hopefully, that’s what’s going to happen. Equity is dealing with a case by case decision on whether or not to open a show given what the theatre is doing to ensure safety for all involved. It’s a challenge in so many ways, but this piecemeal show by show thing that different producers will have different ideas on how to do things might delay re-opening even more. The history of commercial theatre isn’t a well-organized machine. Any words of wisdom or sage advice you would give to other performing artists and recent theatre graduates who are concerned about Covid-19? Well, that’s always been a difficult question to answer and now it’s really difficult. I’m encouraging people to take heart and to take advantage of this time to be reading a lot of plays, watching a lot of things, and educating yourself. You can be writing and developing projects for yourself, talking to friends, and just try to imagine the theatre that you want to see when it’s possible again. My major words of encouragement: The fact that so many things we assumed to be true suddenly are not and things that could never be suddenly are (live performance could shut down for 6 months or longer). The positive side of all this? A lot of things that we thought could never change could now possibly change if there’s a will. That’s kind of exciting. I grew up with the idea that things are the way they are whether or not I liked it or not. We’ve seen now how immediately and completely things can change. Drastic change can happen if people do things differently. I think in some ways it’s an exciting time to start a career in the theatre. If we’re making things over again, we should be making things that contribute more to our society and to our communities by giving more opportunity to do something new. That’s the place to look for hope and encouragement. Do you see anything else positive coming out of the pandemic? In my country, I see the potential for a positive regime change, although it’s anything but assured, I’m afraid. I don’t think of myself as an optimist generally, and yet I think I fundamentally am. I fundamentally want to believe the best of people and the best of situations. I’m very conscious and very clear about the perils and dangers about the really dark and unpleasant things that have been revealed about the country I live in. It’s not isolated to my country, it’s a global phenomenon but it’s especially heightened here. It’s been really heartbreaking to have to come to terms with the realities of life in this country for a lot of people. To have spent the last four years to have the mask lifted from who we as Americans like to believe we are. But the positive thing is now we know what we’re up against. We know what the real truth is. And again, that gives us the opportunity to change it. We can’t change anything if we don’t acknowledge it to be true and needs to be changed. That goes for everything from economic inequity to racism, sexism. These things are all tied together and incredibly complicated, but just thinking your country is the best with the best democracy, that kind of thinking blinds you to the problems that are there and need to be solved. Well, it’s pretty clear what the problems are and needs to be solved. Whether we can do that or not, it’s up to us, but at least now we know where the work needs to be. Depending on your half full, half empty glass perspective, that can be a positive thing at least a first essential step. Will Broadway and the North American performing arts scene be changed or impacted on account of the coronavirus? People are starved now for coming together. For a long time now, there’s been a move for more isolated kinds of entertainment. We get a lot more through our screens now, and I think we’re getting a little tired of it at this point. For example, I hated Zoom and Face Time before all the shutdowns necessitated them. I would always try to avoid doing them. I can’t say I love them anymore now than I did then, but I’m at least used to them now and see the benefits of them. I think a lot of things will be done through these formats even after things slowly open up. There are good things to that. We’re starting to find the limits of the satisfaction we can get from our screens. Theatre, live performance, even for people who say, “Well, I can get all that on my screen, why bother going back?” Well, I think the first-time people return to the theatre, and that theory is all going to be blown out of the water. They’re going to remember as though for the first time what that thrill is. There’s nothing to make you appreciate something like the threat of losing it or not having it. I like to think and hope there will be more value placed on live performance and interaction. Certainly, that will be true in the beginning and, as humans usually are, will take it for granted again. I look forward to a time when we can take going to the theatre for granted because that would be nice. The arts and theatre have often thrived in times of great social unrest and difficulty. I’m hoping there’s a lot of seeds of great art being sown right now that will flourish when there’s a place for it to flourish again. And I think that is possible. There’s certainly a lot to write about now, not just the pandemic but our very mortality and humanness. It’s fair to hope there will be a re-surging, flowering and a Golden Age of theatre when we’re able to come together again. What are your thoughts about live streaming? The streaming of filmed live productions that has already happened, hmm…maybe it’s because I grew up in the bootlegging concert era, tape your favourite band era. I’ve never had the aversion to those things being available. I’ve never believed that’s made people less likely to go and see something. I’ve always felt that it will more likely make you want to go see something. If you hear a garbled cassette performance of The Grateful Dead, you’re going to be more likely to go. I understand and appreciate the economic concerns and people having their work compensated, so if somebody is making a profit from the streaming of your work then, certainly, that needs to be compensated. There are so many things I’ve done over the years that are archived at the Lincoln Centre Performing Arts Library. It wasn’t the thing to record a show for broadcast back in the day. I do wish those kinds of archives could be accessible to people. It’s very difficult to access those things. You either had to be involved with the production or an academic pursuit to watch them. I would prefer that live streaming not be sold or commercially done. If you do, then you really have to pay everybody which will make it prohibitive. I wouldn’t mind if that’s the way things happen. As far as creating work to be Zoomed or streamed, it doesn’t excite me as an audience person or as an actor. I watched a few earlier on. For the most part, I was disappointed and frustrated, and ultimately not all that interested. There were some things like Richard Nelson has done a series of plays called The Apple Plays, the Gabriel Plays, that were recorded. I would encourage people to go find these plays because they’re really great, but he since has written a couple of Zoom plays and those work well because that’s the premise of the play. These characters are on a Zoom call to each other, so it makes sense that it’s happening as to how it’s happening. I haven’t really seen other things online that I’ve found particularly satisfying. I’ve done a couple of readings and they were really just kind of pale and unsatisfying, the technological challenges are a big hurdle. It’s hard to get any sense of pace when there’s a delay between people’s microphones. I would be more in the camp of “I’ll wait until we can actually do it.” Despite all this confusion, drama, turmoil, and change surrounding our world now, what is it about performing you still love? It’s pretty obvious the live human communal experience of it. Both as a part of an ensemble working together to make the performance and the event of having an audience, the stage crew, dozens of hundreds of people that make it magical, even if it might have occurred only once out of say 500 times. We go to experience with other humans. It’s part of our DNA to gather. Our society has drifted away from that for a long time. It would be nice if this was a bit of a turning point of how much we missed that, and how much we need that. That’s the fundamental thing about performing. Follow Michael on his Facebook: Michael Cerveris Actor/Musician or his Instagram: michaelcerveris. You can also visit Michael’s website: www.cerverismusic.com . Previous Next

Back 'The Stillborn Lover' by Timothy Findley Presented by Scarborough Theatre Guild now onstage at Scarborough Village Theatre Darlene Thomas Joe Szekeres A master acting class for a community theatre production thanks to a gelled ensemble cast who remained intently focused throughout. Bravo to Scarborough Theatre Guild for tackling one of Canada’s prolific writers of the twentieth century. As we all slowly emerge from this pandemic, what an enjoyable and golden opportunity it was to be treated to a company of actors who were clearly and diligently prepared for Timothy Findley’s ‘The Stillborn Lover’. First produced in 1993, ‘Lover’ is not an easy play to stage by any means as there are so many subtleties within the script that requires an audience to pay close attention to the unfolding story. Clarification about the title. For most of us, the word ‘stillborn’ means born dead. There is another definition for stillborn - failing from the start: ‘unsuccessful, abortive’ - to remember as you are watching the production. Thankfully, Scarborough Theatre Guild got me out of a rut of binging ‘Netflix’ or On Demand. Not that there’s anything wrong with that if that’s what people want to do; however, when I go to the theatre, I look forward to being challenged and being able to think about what’s playing before me. And hopefully, I will leave the auditorium at the conclusion with new thoughts and ideas or having learned something about human nature. As Prospero once said in ‘The Tempest’: “This is such stuff of which dreams are made.” Jeremy Henson directs this terrific cast with much sensitivity and compassion and creates a wonderful dream of a story to be told. Pay close attention nevertheless as it is easy to get either lost or confused in all the dialogue. The year is 1971. According to Theatre Scarborough’s website: 'The Stillborn Lover' follows the abrupt recall of highly regarded Canadian ambassador in Moscow Harry Raymond (Clive Lacey) from his post to a safehouse by the Minister of Foreign Affairs, Michael Riordan (Ted Powers). At this safehouse, Harry is questioned by two members of the RCMP Daniel Jackman (Neil Kulin) and Greg Mahavolitch (Brad Finch) about a crime committed in a Moscow hotel room. Accompanying Harry is his daughter Diana Marsden (Marisa King) who defends her father during this interrogation. We also meet Harry’s ill wife, Marian (Jill Tonus) and Riordan’s wife, Juliet (Vivian Hisey). In another interwoven plot, we also learn Riordan is planning to run for the leadership of his political party upon learning the incumbent Prime Minister is stepping down on account of poor health. Both Michael and Juliet are wanting to avoid any scandal that could ruin the former’s run at becoming leader of the country. However, past secrets and indiscretions threaten the careers of both Harry and Michael. Lester Ruiz’s gorgeous set design amply fills the playing space of the Village Theatre. I spent a good deal of time just sitting and taking in as much as I could in noticing the intricate workings of the safehouse. From my seat, I noticed the detailed painting on the stonework in front of the first set of steps. I counted five levels each representing an area of the house. Ruiz didn’t have to add anything further as he allowed me to fill in the rest of the house in my mind. Chris Northey’s lighting design effectively created a sumptuous fall look with the necessary earth tone colours of fading browns and hue tones. Jennifer Bakker’s selected appropriate projection designs to add visual context to the scene. Andy Roberts’ sound design and Ross Inglis’s musical score successfully underscored some of the intense moments of dialogue. Andra Bradish and Darlene Thomas’s work in costumes and make-up coordination and design strongly delineated the various idiosyncrasies and habits of each of the characters. I especially liked how the makeup on Jill Tonus’s face keenly reflected her illness. This ‘Stillborn Lover’ company has clearly understood the importance of working together as a gelled ensemble to tell a good story. None of these seven actors ever ventured over the top in reactionary or histrionic moments in this opening night performance. They strongly remained always grounded and, in the moment, while allowing the words of the dialogue to speak for themselves. I hesitate to point out individual performances here because, as Jeremy Henson wrote in his Director’s programme note: “[these actors] tackle numerous themes and controversial topics [in this play] regarding politics, diplomacy, loyalty, betrayal and power…but in the final analysis I distilled my answer into one word [what this play is all about]…..LOVE!”. This theme of love is key to understanding the unfolding drama with the characters and its connection to each of them. Spoiler alert – there are two moments of brief nudity which is handled with the utmost care. It is not gratuitous or gaudily presented, but it is necessary for important plot development. FINAL COMMENTS: As we return to the theatre, I believe the key for community theatres to keep moving forward is to take a risk and select a production that will take actors out of their comfort zones. So much has occurred to all of us over the last two years, and our artistic culture will become part of that evolution and growth moving forward. Nearly thirty years old, ‘The Stillborn Lover’ still speaks to audiences today if we allow it to do so. I wholeheartedly recommend seeing this solid production. Running time: approximate 2 hours and 30 minutes with one intermission. I continue to wear my mask at all theatre performances. Production dates: July 14, 15, 16, 21 and 22 at 8 pm. July 17 and 23 at 2 pm. Ticket prices are $24 with Student/Senior at $20 taxes/fees included Warning: ‘The Stillborn Lover’ is meant for mature audiences for its themes, sexual situations and brief nudity. Performances run at The Scarborough Village Theatre, 3600 Kingston Road, Scarborough. For tickets, visit www.theatrescarborough.com or call the box office at 1-416-267-9292 THE STILLBORN LOVER by Timothy Findley presented by Scarborough Theatre Guild Producer: Darlene Thomas Director: Jeremy Henson Stage Manager: Teresa Bakker Performers: Clive Lacey, Jill Tonus, Marisa King, Ted Powers, Vivian Hisey, Neil Kulin, Brad Finch Previous Next

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

Back Michaela Jeffery, Playwright "I think of theatre as compassionate spaces of communal action." National Theatre School of Canada Joe Szekeres Oshawa’s Durham Shoestring Performers (DSP) will perform Michaela Jeffery’s ‘WROL’ (without rule of law) on March 24, 25, 29, 30, 31 and April 1 at the Arts Resource Centre behind City Hall. Recently I had the opportunity to share a Zoom chat with the Calgary-based playwright where she completed a more general drama undergraduate BFA degree. She is a graduate of the National Theatre School of Canada (NTS). Her father is a retired Drama teacher so Michaela proudly states she has been thriving in drama for a lot of years beyond her formal training. When she finished her undergraduate program, she interned for a couple of years with New Play Development-based Calgary company called Alberta Theatre Projects before applying to the National specifically to do playwriting. The National Theatre School has a three-year intensive playwriting program of two students working on plays all day. It was a wonderful experience for Michaela, and she feels incredibly fortunate to have been a part of this opportunity. What exactly does playwright training look like? Jeffery describes the ‘lovely, decadent’ process as the most organic extension of human storytelling. Her studies at NTS involved working one-on-one with playwright artists, being in constant conversation with them, and getting to have a backseat view of their working on developing work. It felt like a lateral professional-to-professional conversation which felt wild as a young student because nobody had treated her like a professional up to that point. However, she was brought up very quickly to that professional level standard of NTS and learned about standing up for herself in her growth as a playwright. How has Michaela been feeling about this gradual return to the live theatre as a playwright even though we are still in Covid’s embrace? With Alberta known for its own complex ecology, Jeffery pointed out the province has been referred to as ‘America North’ as it was the first to “pitch a fit” about mask-wearing. The current provincial government (until May) is really pandering to some of the very specific pockets of the Alberta population that are not interested in doing things for the greater good. Jeffery works for Arts Commons, a performing arts centre and art gallery in Calgary, which houses four theatres in the immediate complex of the building. Throughout the beginning of the pandemic, she was on teams setting rules about what to do with the bare base mandate level of the province. Do these teams go above and beyond what should be expected or just go with the bare base provincial recommendations? Jeffery said many of Alberta’s vulnerable population come to the Commons to see touring artists. It’s peace of mind and why wouldn’t a business try to do what it can to protect people: “I think of theatre as compassionate spaces of communal action. The space we are in while we make theatre is one where we take care of each other. What is appealing to me about writing for the theatre? There is something very important about a live experience. I’m not dismissive of some of the incredible online work that has been done. We’re all coming together to think about how we might make a better world or imagine a solution. So, let’s take care of each other while we do this.” Our conversation then turned to WROL since it will be performed in Durham Region in March. WROL was a recent finalist for the international Jane Chambers Excellence in Feminist Playwrighting Award (2021) and Alberta Playwrights Network Alberta Playwrighting Committee. The play has already been produced forty times most of that in the United States. Michaela bills the play as a dark comedy. There are some amusing moments while there are some dramatic elements and issues these girls will have to end up facing for the rest of their lives. The plot involves a handful of Girl Guides who have essentially gone rogue. It’s a story of young women finding their voice and fighting for something they believe in while trying to make the world better. Whether the audience agrees with their tactics to accomplish this is the reason to come see DSP’s production. Jeffery describes the literal layer of WROL’s plot: “Technically the girls are trying to get to the bottom of something. They live in a rural area with a history of a kind of cult that existed and then vanished. The girls are playing Nancy Drew in trying to solve this survivalist cult and in the process find a hideout of a single guy who could come back at any moment. Is this guy part of this cult that vanished?” Combine this understanding now with how these young women feel about themselves to be in a world that isn’t taking their concerns or their fears seriously. Things can’t stay as they are at this current moment. WROL becomes a look at how decisions are made. Are they made equitably and justly? Although it is never expressly spelled out, there is an allusion to things that can’t stay the way they are in this current moment. Is it the apocalypse? The world is changing and as Jeffery says: “Shit could go sideways at any moment”. Whatever these girls are struggling with, it’s all rooted in love, and a desire to care for each other and the planet. There is also an element of fear and anger the girls have to deal with too. Michela knows there have been some gentle and combative versions of WROL produced, and she loves how her script has been brought to life in these two ways. The way it’s written in the text has led to some directors going the tender direction with WROL while others have gone the hard, revolution route. Michaela stated there is an argument for staging WROL either way. It will be quite interesting to see which route the Durham Shoestring Performers take. The genesis for WROL came from a few places for Jeffery. She was asked to take part in an Alberta Theatre Projects Playwrights Unit during her first year out of NTS. She chose the age of 12-13-year-old girls for her play instead of the ages of 16-18 because there is something really striking about that point in ourselves and the self-discovery where we’re not cynical at 12-14 yet as we are when we’re at 16-18. Michaela gave further thought to danger and young children and an understanding of urban myths. She gave further thought to what the mythologies of 12-year-old girls are. WROL became the genesis of what were the earliest moments Jeffery felt angry as a young female person. What messages does Michaela hope audiences in Durham will take away from WROL as they leave the theatre? She said WROL has a very complex ending in the sense it’s really open-ended. Past audience members have been asked what the last image was or what was the last thing they remember. Each audience member will tell a different story about the action that occurs at the end of the play. Is it an action of defeat or is it an action of hope? Her final words about WROL: “I really hope that audience members are excited and engaged in thinking about fighting for things they believe in their own lives and relationships and the world they live in. Will audience members think about how they protect their own inner child? What do courage, bravery and risk all look like? And what would I want to do for the world I live in?” To learn more about Calgary-based playwright Michaela Jeffery, please visit her website: www.michaelajeffery.com . Previous Next

Back Kyle Brown Moving Forward Andrew Seok Joe Szekeres It has only been a few days when I discovered that a former student of mine from many years ago, Kyle Brown, has been cast in the Toronto company of ‘Come from Away.’ The current Toronto cast had been performing ‘Welcome to the Rock’ from their various homes. I was looking at each of the cast members and was elated to recognize Kyle in the company. After studying Music and Biblical Theology at Gateway College in St. Louis, MO, Kyle practiced church ministry in music and youth leadership. Eventually, he learned this was not his path and returned to Canada where he began performing while taking private lessons in singing, dancing and acting. Kyle only had four rehearsals into the production before the pandemic shut down all the theatres. His first appearance in the Toronto company was to have been April 9. Well, Kyle, when the all-clear is given and you are in the company, I will be out to see your performance. It appears that after five exceptionally long months, we are slowly, very slowly, emerging to a pre-pandemic lifestyle. Has your daily life and routine along with your immediate family’s life and routine been changed in any manner? Well, first of all, we’re going outside more. It’s kind of like coming out of the cave if you will. We all are. It’s very nice whether you’re distanced meeting with people for a gathering. It’s a really nice feeling to see other people. On top of that, I’ve recently picked up a few restaurant shifts. I know an owner of a restaurant and was lucky enough that he was kind enough to offer me some work especially with the uncertainty of CERB ending. Were you involved or being considered for any projects before everything was shut down? My focus at that time when everything shut down five months ago was just on ‘Come from Away’. I was just really trying to get my brain wrapped around the entire production. It is a hefty show to put on in terms of just everything that is happening on stage. There are twelve actors on a stage for nearly the entire show. There are a lot of quick changes and a lot of transitions, not intense but very subtle and specific choreography. A lot of things to pick up on, and I had six weeks to do it as I was to have put in the show April 9. This whole process has been an interesting game of guessing and being wrong. I don’t guess anymore. You realize pretty quickly that at some point we have no clue when we will be back. Something in my gut is telling me maybe in Spring 2021 just because it marks a year since we were shut down. There’s no evidence for that, it’s just my gut feeling. I’m not basing that on anything. It all depends on whether there is a vaccine. Some of the theatre companies have big choices to make and the government allows people, what’s feasible for a production, safety precautions for the actors and the audience, and everyone involved. It’s a tricky thing to maneuver. I don’t envy anyone who has to make these decisions because it’s very tough. Describe the most challenging element or moment of the isolation period for you. Probably the very beginning was just the uncertainty. And I think throughout this whole thing is the uncertainty. It’s just a lesson for us all, we don’t know anything in life at the end of the day. But not knowing, for example, as we were discussing when we’re coming back, it makes things difficult and to go about your life. For me, I’m waiting with this awesome production that’s ready to go when we can go, but who knows when that’s going to be? And what do I do with myself in the meantime? How do I make an income? How long do I hold out? What do we do? The uncertainty is challenging but I’m getting used to it. The restaurant owner is a friend and knows my situation that when the theatres are re-opened, I will just say, “Here’s my two-week notice. As soon as I get that call, I’m out of there.” What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? Since theatres will most likely be shuttered until the spring of 2021, where do you see your interests moving at this time? I’ve been first and foremost embracing the ‘non-busyness’ of it all. I’ve been doing a lot of meditating, doing a lot of self-care work and reflection as well. I found myself alone a lot with my thoughts and doing this self-care and reflection allowed me some new and further personal insights into who I am and my person and what I wanted to know and/or change about myself. I’ve been exercising a lot which is something I never really did but it’s kept me sane. It gave me an excuse to get outside every day just into the back where I live. The exercise is nothing too intense but getting some air. I’ve walked A LOT…I’ve never walked this much in my entire life. I’ve walked around this entire city three times over. That’s been good. I’ve also been helping some friends with some projects. I’ve also been trying to explore other avenues of creativity. This is a good opportunity to explore other things I didn’t do so often. I tried my hand at writing a little bit. Currently, I’m trying to write a short film. I don’t know how, if or when anything will ever come of it. But the point is for me to exercise my creativity in a new way since I can’t be on the stage right now. I do want to finish the short film and find other related elements of my creativity. I also like writing songs and working on my instrumental skills. I play a little bit of piano. I’m not exceptional but I can work on it. 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? Ya know, I’m not one as a kid myself like I should be doling out wisdom but…I would tell other artists just remember why you chose this route in the first place. Those reasons are still valid even though the avenue has changed. For most artists, we want to perform, we want to create, we want to tell stories and there’s a need for that. There’s always been a need for that. Regardless of what is happening in the world, we artists will come back again. Speaking for myself, it was never really about the paycheque because we know what this life could be like. It can be very tricky to get that pay cheque and there’s also A LOT of work involved. The pay cheque was not the leading motivation for me to become a performing artist. The reason why we became performing artists is still there. It’s still valid and will be needed more than ever. We’ve seen in this time how much it is needed from people performing from their balconies earlier at the beginning of the lockdown. There’s a need for performance. Stick with it. We’ll be back some time. We will be. To the new theatre graduates: This is a really good time to hone. You’ve just graduated but keep digging into yourself and into your craft. Keep learning and developing. Try new monologues. Now’s a good time to beef up your audition material. You’ve got plenty of time to select monologues and songs. It’s also a great time to create as well. Obviously, the time of a pandemic is not ideal for the new graduates, but this isn’t the end. You’ve just spent a bunch of money at theatre school so at least give it a chance. I’m taking my own advice. I’ve actually increased what I’ve normally been doing. I would normally see a vocal coach once a week. She was also an overall coach for me. We’d go over monologues, text work, and breathwork. Now we’re meeting four times a week at least via Skype. I’m just trying to improve. I’m trying to be the best I can be. Do you see anything positive stemming from this pandemic? With all respect and understanding to anyone who has lost anybody on account of COVID or who has lost a job or financially, I actually see a lot of good. Whether we want to call this ‘The Great Intermission’ or ‘The Great Pause’, this was something that was needed for all of us even outside the theatre industry. I think a pause was necessary. Our pace of life was, for many of us, a little insane if you think about it. Everyone’s running around constantly trying to run the rat race, busy, busy, busy and we’ve become so addicted to this need to be busy. I think that sometimes comes at the expense of our relationships, at the expense of our physical and mental health, at the expense of our spiritual health. We need to take the time to pause and to see what’s really important and valued and valuable in life. So, this pandemic was a necessary thing. I think now we’re seeing connection. I’ve connected to people to whom I haven’t spoken in a long time and it’s really been nice. My relationships have gotten a lot stronger throughout this even though I haven’t been able to see others in person all the time. I found everyone has just been a lot more vulnerable. Even the conversations I’ve had with friends, the tone of the conversation has shifted especially in America. Everyone now is in this place where we’re not so distracted. We can think about things in a deeper way, we can have conversations in a deeper way, more healing in our lives because we’ve been forced to. It’s time to heal. I really do. It feels very rough, tumultuous in the world but I think that’s what is needed for real healing to come. We have to see these things clearly. I see that we’ll also be a little more careful in the future. More people are washing their hands. I was always an avid hand washer. In your informed opinion, will the Toronto and the Canadian performing arts scene somehow be changed or impacted on account of the coronavirus? Yah, it’s undeniable. There are going to be impacts that are positive and negative at the same time. We’re seeing theatre companies struggle, amounts of money being lost. We don’t know what this is all going to look like. There will definitely be safety protocols in place. It’s going to be strange in the beginning because I don’t think it’s going back to the way it was before. We’re seeing a lot of online work now happening. We have to at this point. There’s a lot of conversation going on and talking since we’re not back to work yet. There will be a huge call for different inclusions in theatre. Those calls have been happening for quite some time. I didn’t see the Indigenous round table discussions going on at Stratford and I really wished I could have. I was mostly just reading what was happening online. There have been a lot of courageous people coming forward to have these tough conversations. As a black man myself, I found myself very affected by a lot the stuff that was happening in the US. There is a lot of conversation about race relations in every industry, really, and generally in life. It’s been a very emotional moment for me. I found myself coming in and out of a conversation and how I can pay attention to the conversation because I found myself going in and out because it was a lot. I hadn’t realized just how much it was affecting me and I had to control myself and breathe when there was too much information coming in. There’s been life to distract me and to keep me busy and during this time it’s really gutted me at points in ways where it was too much. When that occurred I got off Facebook, I got off online, and put the phone down as I couldn’t take it anymore. It was starting to affect my mental health. What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? Have you been participating, or will you participate in any online streaming productions soon? I have very mixed feelings about this. I understand it. And we’re doing what we can because we don’t have very many options and people want to continue to work and we want people to have content to look at. I appreciate streaming that is done in the most creative way we can. With this pandemic, it has become an onslaught of watching through boxes all the time with people staring into a camera, and it gets to be tiresome to look at. But I understand this is avenue that we need to reach people in their homes. That being said, you can never replace a live performance. The reason why I love live theatre so much – there is an actual exchange of energy in the room between the actors and the audience, the musicians, or whatever it is. There’s a spontaneity taking place, hearing the silence together, hearing the breaths together, feeling those moments together is what it’s about and that can never be replaced by a screen to me. You cannot put a screen there and satisfy me. The screen will pacify us for a time. It’ll do what it does for a while, but I just want to get back to being in the room. That’s why we do this. Streaming can be difficult because there’s so much grey area with what the rights are, what is permitted, not permitted, and how much money is going to be paid to Equity scale. It’s a very complicated time because there are so many unusual performances. There’s still a lot to figure out there with streaming. What is it about performing you still love given all the change, the confusion, and the drama surrounding our world now? The energy exchange is intoxicating but beyond that, performance has power. It has such incredible power and some of the greatest movements were fuelled by performance. Performance has the power to change people, to impact people in ways that we don’t even realize. Given all the craziness going on right now, the irony is we now need performance more than ever. There are so many stories that can be told. It’s a healing thing. Going to a good performance is a healing experience for everyone involved and that’s what I really love about it. I’ll never forget sitting and hearing a performance, or even in a church where you hear someone sing and it was like they were channeling something else. And with that being transmitted from them to me sitting there and tears welling up because I feel extreme excitement in that way, I love it. And if I can do that in performance to someone else, I love it. 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? Reconciliation. I like the sound of the word, I like the way it rolls off the tongue. I like the meaning behind the word. b. What is your least favourite word? No. Don’t tell me No. I don’t like it. I want to be able to do whatever I want to do it. c. What turns you on? Compassion and empathy, and open-mindedness is a big one. Humility – These are really sexy words, and I want you, Joe, to put that statement in my profile (Kyle says with a laugh). d. What turns you off? Willful ignorance and a lack of compassion. e. What sound or noise do you love? I love the sound of a pencil writing on a single leaf of lined paper. I don’t know what it has to be lined directly on the desk, not in a binder. It has to be one sheet, on the desk, with a pencil, and writing across. I love that sound and I don’t know why. f. What sound or noise bothers you? A cat purring. It weirds me out. Also paired with the vibration of the sound coming from inside them. I know, it’s weird, but it’s the sound of purring that weirds me out. I do like cats, but when they purr it gives me the shivers. My sister pointed that out to me when I was younger and I couldn’t recognize it then. g. What is your favourite curse word? Bomboclaat – it’s Jamaican. It’s just a curse word. It’s hard to translate, almost like the ‘f’ bomb. What is your least favourite curse word? That is a good one…that’s a tough one because I’m generally a fan of curse words. Any word that is derogatory to any race, gender, identity, I don’t particularly like. There are some boring swear words like shit, asshole, I like to get creative. h. What profession, other than your own, would you have liked to attempt? I always was interested in surgery. We used to watch surgeries in my home. My mom used to put them on. Some people would be grossed out by it, but I wasn’t. I could be eating dinner and watching an operation happen and I wasn’t fazed by that. I was told by my Grade 11 Biology teacher whom you know, Joe, that I should never be a surgeon because I had terrible technique. I’m also obsessed with space – astrophysics. If I could be an astronaut, I’d go. i. What profession would you not like to do? President, politics. I would never want to be president. I would never want to work in politics or in that realm. I understand activism, I understand the importance of politics, I respect it. But it’s just a whole other thing that I don’t connect with there. And there’s too many games, back doors. It’s a tough job. We need someone to run the country, but I don’t have any interest in doing it. My ego is different. It’s more about importance. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Let’s party. Just turn up. Here’s some music. Let’s have a good time. Relax. Breathe.” To follow Kyle, visit his Instagram: @thekyleofkyles. Previous Next

Back Chilina Kennedy Moving Forward (from Chilina's Twitter account) Joe Szekeres Chilina Kennedy certainly has a lot going on in her life right now as you will see from her answers below. With a five-year-old son who is the pride and joy in her life right now, I am grateful she was able to take a few minutes from her schedule to check in with me as she moves forward into a new way of living. Along with her work as one of the Co-Artistic producers of Eclipse Theatre, Chilina is a top-notch and dynamic performer. I’ve seen her work as Mary Magdalene in Jesus Christ, Superstar at The Stratford Festival. I hadn’t heard the music from ‘The Band’s Visit’ so when I attended the opening night performance through the Mirvish series I wasn’t sure what to expect. I did like the story, and one of the reasons why was her performance. The one role I will always remember her was in ‘Beautiful: The Carole King Story’. I had taken m sister as my guest when I reviewed the opening night production. My sister, Kathy, even remarked how I put my pen down as I didn’t want to write any notes but simply enjoy what was presented before me. It was glorious. Thank you again, Chilina, for taking the time from your schedule: It appears that after five exceptionally long months we are slowly, very slowly, emerging to a pre-pandemic lifestyle. How has your daily life and routine along with your family’s life and routine been changed? Well, it’s interesting that you asked me at this point because I’m in quarantine with my five-year-old son. I didn’t want to lose our green cards so we had to go back to the US for three nights just for the while we re-applied for the entry permits so we could stay in Canada for the next two years. Once you come back, you have to quarantine and they’re very strict about it as they should be. It’s been very interesting. He still continues with at home learning. He had a drum lesson this morning and we’re about to go into a home school situation with three or four other kids. We’re going to take turns as each family is going to teach on a different day. It’s been fascinating, but unfortunately for people in our business there has been virtually a 100% unemployment rate in the terms of performing artists at least. People are able to continue doing all other sorts of things which is great, but at least in terms of the performing arts film and tv are starting to come back and that’s been great as I’ve had lots of auditions for that kind of stuff. But everybody job that I had has been cancelled which is disappointing. Were you involved or being considered for any projects before everything was shut down? I was supposed to be playing Fantine in ‘Les Miserables’ right now. That’s a disappointment as I’ve always wanted to play that role, and I figured it was my opportunity to do that role now. I don’t know if I’ll get that chance to do it again. I just had a fitting for it when the pandemic hit. A lot of things are now shooting in Canada so they’re looking to fill a lot of Canadian quotas, the American companies are, and there are a lot of Canadian companies that are too. That’s good news plus the online concerts. What has been the most challenging element or moment of the isolation period for you. Solitude is not something I’m afraid of even with my five-year-old son. I quite like it. I like the peace of mind it brings. It’s a positive thing really. The hardest part for me initially was not seeing my parents for the first couple of months until we decided to bubble with them. It was tricky because we came from New York, so we were really worried that we were carriers of the virus. The last thing I wanted to do was to spread it to anybody, particularly my aging parents. That was hard with the panic of what to do. And the panic of what to do with my apartment in New York. That still remains a challenge but at least I’ve got somebody in there right now. Life as we know has kind of died. It’s a bit tricky because I’m never going back to that apartment in New York as I’m going to let it go. Everything has just changed. I don’t know if Broadway will ever be the same again. In some ways, that’s a good thing because we’re learning a lot of lessons in this time. It’s challenging, that’s for sure. I agree with the comment that Lucie Arnaz also made about Broadway not coming back until the fall of 2021. I think it will be at least that. People are very creative and there are lots of interesting ways of getting around things. As you know, I’m the Co-Artistic Producer of Eclipse Theatre here in Toronto along with a bunch of other people. The company is trying to follow suit and do some of the things we want to do at a distance, but it’s challenging. Our systems have not really been tested yet, so we don’t know yet what we’re doing. What had you been doing to keep yourself busy during this time of lockdown? To be honest with you, there has been a lot to do, running the household and keeping my five-year-old entertained. I want to make sure he’s stimulated so we have a lot of projects happening. I’ve been re-doing my basement, cooking a lot, and I’ve had tons of auditions which has been great for film and tv so that’s been helping me to get my chops back up. We’ve been setting up an Education Department at Eclipse which has been great. There have been some online classes and I’ve been teaching a little bit. Most importantly, I’ve been remembering how to relax, gardening and doing things like that. I’ve also been trying to open my eyes and educate myself on what’s been going on in the world. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of Covid-19? What advice would you give to new theatre graduates about this time? Oh, that’s a very good question. In fact, I’ve just offered some words to artists at York University who are about to start school next week. My advice, and you can take it with a grain of salt, “I hope that people don’t feel discouraged.” I know it’s a challenging time but theatre is going to survive, it’s never going to die. We’ve been through wars, through pandemics and all sorts of things and theatre has always survived. I think it’s going to look a little different on the other side, but I think we’re going to get through it so I hope the next generation of artists are training as hard as ever because they’ve got to be ready when we ARE ready to come back. This is a pause button and an opportunity to reflect. It’s a time of great change so if we can learn something from this time and move forward with new voices and new stories and exciting material coming out of this time, we’ll be all the better for it and have a stronger arts community. A lot of the great artists wrote their masterpieces during times of great suffering and trial – ‘King Lear’ was supposedly written during the Great Plague. Do you see anything positive stemming from this pandemic? If we take the bull by the horns, I see a lot of positive change. I also see a lot of possibilities to revert back to the way we were, and I don’t think that’s a very good solution. There’s a lot of push and pull – there are a lot of people who do want lasting change, and I think there are a lot of people who have a stake in the way things used to be and want things to go back to the way they were. And I understand both as there is a comfort and familiarity in going back to the old ways. We’ve got to strive ahead in a much better fashion than we were before. I feel encouraged for the environment, for diversity in representation. In your opinion, can you see Broadway, the Toronto, regional and North American professional performing arts scene somehow being changed on account of the coronavirus? I sure hope there is diversity in representation with the BIPOC voices and communities. I hope there is a lot of change. I think there should be change. There should be more listening happening, much more diversity and inclusion in terms of stories that we’re telling, and who’s telling, and who’s creating them and the way we collaborate. I think we have this great opportunity to enter a new phase of how we create art and how we tell it. What are your thoughts about streaming of live productions? Will it become part of the performing arts scene in your opinion? Have you participated or will you participate in any online streaming soon? Well, I’m probably going to misquote somebody. I’ve heard somebody say there is a name for acting on camera and it’s called film and tv. I don’t think live performance is meant to be Zoomed. It’s weird. Frankly, I’m not a huge fan but if that’s all we have well I think we’ll find creative ways to present it in a fresh capacity. To be honest, isn’t there a term – I think we’re all getting a bit Zoomed out? People are just aching to be back together again in the theatre. There’s something about gathering that is so unique to what we do for a living, breathing the same air, and the heart beating at the same time as we wait for the production to begin. Indeed, it’s a shared experience. It’s so important and those live emotions that are shared with each other do not exist through a screen. It’s only a percentage of the experience. Obviously, artists have to be compensated appropriately if streaming is the only possible option if any kind of profit is made. Despite all the change, the confusion and drama surrounding this time of re-emergence and recovery, what is about performing you still love? I love creating new work as that is probably my greatest love. One of the things I have been continuing to work on is a new musical that I’ve written with Eric Holmes who’s one of the writers on ‘The Good Fight’. He was one of the writers on ‘Smash’. He’s a fantastic guy, very talented and he and I have been working on this new musical for a couple of years. We’ve been continuing to bash away at it. It’s wonderful because I do have a piano in my house, guitars and ukuleles and all sorts of instruments around the house. My son and I make music together. I continue writing my show. There are ways to keep at it. I was sitting in an outdoor gathering with a bunch of wonderful women, friends of mine and colleagues and we were all sitting at a distance around this fire. We were talking about singing, not for the pay cheque, but just for the fact we love to sing and that’s something I think so many of us have forgotten. Now this chance, this quiet opportunity has made many of us so aware that we miss singing simply for the joy of it. We started singing in this circle with all of us getting involved not because we were getting paid or people were watching, no job at stake. It was just for the simple fact we love it. We were just feeling that live vibration in that space and right in that particular moment, in that outdoor space. And I think that to me, “Oh, wow”, I think back to when I was a kid just starting out. And it’s the whole reason why I do what I do. That’s why I love it. Previous Next

Back Michelle Bouey (Patsy Cline) and Rob Kempson (Director) from 'A Closer Walk with Patsy Cline' at Port Hope's Capitol Theatre Moving Forward Sam Moffatt Joe Szekeres A conversation with Rob Kempson (Director) and Michelle Bouey (Patsy Cline) and ‘A Closer Walk with Patsy Cline’ If you haven’t made the trip to Port Hope’s Capitol Theatre to see ‘A Closer Walk with Patsy Cline’, I encourage you all to do so. It was a lovely evening at the theatre and a smart choice to stage this play and begin welcoming audiences back after two years. But why ‘A Closer Walk with Patsy Cline’ to re-open the Capitol summer season? Artistic Producer and Director of the show Rob Kempson was happy to explain his reason why this show was apropos to begin. He wanted to start the season with this show because he has loved Patsy Cline’s music for a long time. As the first BIPOC artist to essay the role of the country music songstress, Michelle Bouey is such a talent that Rob couldn’t even imagine doing the show without her. But in his new role at the Capitol, Rob had to also think of the larger picture – how to introduce himself artistically to the community plus how to bring people together through all ages and demographics. For Rob, very few musicals, artists and plays have that cross-generational appeal as Patsy Cline’s music does. ‘Closer Walk’ is cross-generational. There are many Patsy Cline fans in the audiences who have never seen a performance like the one Michelle Bouey delivers. That was intentional as Rob wanted to make sure that, as Artistic Producer, he was delivering the familiar alongside the unfamiliar. Yes, it’s important to ensure the Capitol’s legacy supporters are welcomed back plus it is also important to bring a whole new generation of audiences into the theatre. Kempson shared two stories as proof of this crossover. He recalled an older gentleman who has been a long-time supporter of the Capitol who said: “You make sure you go back and tell Michelle that she’s even better than Patsy Cline herself, and I saw Patsy Cline perform when she was alive.” The other? One performance had many of the workers from the local brewery attend who had a great time and were loving the show and had no idea the Capitol existed. These are signs changes have already begun as Rob continues to look for ways to invite audiences back to the theatre, but he is keenly aware they will have their own terms. As Artistic Producer, he’s looking for where he can find other crossovers in live entertainment and have people sit beside people who are totally different from each other and yet have a shared artistic experience. Thus the reason for selecting ‘Closer Walk’ and Dolly Parton’s musical ‘9 to 5’ to be staged later this summer. When rehearsals and initial preparation on her own began for ‘Closer Walk’, Michelle Bouey says she didn’t know a lot about the singer when she first began working on the show but is “so glad she was introduced to Cline’s world because her catalogue of songs and her legacy is one that is so truly incredible in that it all happened before the age of thirty.” What is it about Cline’s music that speaks to Michelle? It’s the vocals and passion that spoke first to her when she heard Cline’s music for the first time. Whether it was an up-tempo piece or a soaring ballad, Bouey felt transported and stated she felt exactly what Cline was feeling at that moment. Bouey reiterated further that if you’ve never heard of Cline before, it is her music and the stories told through songs that are touching to hear, plus the bonus of being able to hear the songs live in a theatre instead of a recording. Michelle loves singing the songs for which Cline is known like ‘Always’ and ‘Crazy’, but there are some lesser-known musical numbers that pack an even greater punch. As director of the show, did Rob wonder about the mammoth task at hand to mount the production or did everything fall into place for him? He said it fell somewhere between these two parameters. Rob has directed other historical productions and has always felt inspired by the history of real-life people rather than being bound by the history. This connection is interesting as he further reitrerated: “Patsy Cline didn’t dance around the stage. She stood at the microphone and sang because she wasn’t wirelessly microphoned.” In other words, Cline lets the song tell the story. Although we are watching this show in 2022, Kempson praises the work of the entire crew and the band in all of their fringes and tassels. He recognizes the fun in using history as the inspiration from which to jump off rather than mimic it or pretend to do something. Rob completes a lot of research even before rehearsals begin because he asks the question: “As artists, how can we interpret and imagine the world of Patsy Cline through a 2022 lens rather than impose it?” The historical research for him becomes a launching pad rather than a definitive endpoint. This historical launching pad for the production makes complete sense. For me, Bouey hit all the vocal emotional chords within me. The entire look of the production was constructed uniquely and solely for this production alone. If audiences see ‘A Closer Walk’ somewhere else, they will probably end up seeing a new vision. Both Michelle and Rob speak glowingly about the incredible joy they experienced in working with seasoned actor Tyler Murree who plays DJ Little Big Man. Bouey is in awe of Tyler. She says he was so kind and supportive to her. She was intrigued in watching him develop all of the various characters he plays and how he switches characters in performance so effortlessly. Rob has worked with Tyler before and knew he performed this role of the DJ. Kempson was not asking for a replica of Tyler’s previous performance but take on a new version of it. And he did just that. Kempson echoed what Michelle said about Murree. He is a constant professional and such a joy to have in the room because he is a beautiful collaborator, open, and risk-taker who makes people smile at every single turn. Once again, I appreciated Rob’s candour very much. When he puts together a team he has a pretty strict ‘no asshole’ rule. For Kempson, it’s more than just if an actor can do the job; instead, it becomes ‘are you the right personality for this group of people’. And how are Rob and Michelle feeling about the theatre, the trajectory of Canadian theatre going forward, and the health protocols? Both agree the Canadian theatre scene has been forever altered moving forward. Kempson recognizes there are positive and negative changes Nevertheless, what really hit home for him was the sad reality many amazing artists in the industry have chosen not to return. These artists left to find other work and are staying in that other work because it is less precarious than the theatre industry. The positive reality moving forward – Rob believes artists and arts organizations are far more attuned to taking care of people and those within the community, and this makes for a far more beautiful collaboration. Although Rob had never worked with Michelle before, he strongly felt the importance of creating a space for her during rehearsals and performances where she felt welcome, cared for and safe both at the theatre and where she is billeted. Michelle remains grateful that Rob and the entire Capitol company have continued to ensure the safety of everyone involved in all the shows remains a top priority. She considers herself lucky because she chose to go back home to Prince Edward Island in 2020 to be with her family. The east coast provinces had strict entrance and quarantine requirements. Because of these strict requirements, the east coast provinces could continue performing and putting on shows, so Michelle could continue doing what she loved. She continues to feel safe in her work at the Capitol. As our time on Zoom wound down, I know I put Rob and Michelle on the spot to ask them the following question: “If Patsy Cline were sitting in on this Zoom call with us, what would you say to her?” There were a few seconds of awkward silence. Were they panicking? uncomfortable because they might not articulate what they wanted to say. Rob was the first to break this pregnant pause. He said it might not be satisfying but: “I’d want to jam with her. Can we get off Zoom and go hang out in a room somewhere and play some music together?” Everything Rob read about Cline, he learned she was a collaborator and loved to work with people. She also had strong opinions of what she likes and doesn’t like and Kempson is fine with that in any person. And Michelle Bouey: “Wow! My first instinct because I’m an emotional, cheesy gal, I would probably cry my eyes out and she would be so weirded out. And in my emotional state and tears, I would thank her so much because she is such a gift to this world of music. Your talent touches me more than you’ll ever know. And then I’d do what Rob said. I’d want to hang out with her and get to know her. She was a trailblazer, a feminist and ‘a badass bitch’. Patsy just seemed so cool and collected but still had this fire within her. I think it’s rare to have both things.” ‘A Closer Walk with Patsy Cline’ continues to June 26 at the Capitol Theatre, Mainstage, 20 Queen Street, Port Hope. For tickets, call 905-885-1071 or visit capitoltheatre.com. Covid protocols and masks remain in effect at the theatre as of the writing and publishing of this article. One of Rob Kempson’s responsibilities is to ensure the safety of his artists, crews and audience members because as he told me in the interview: “At the end of the day, we just wanna keep doing plays.” Previous Next

Back 31 by Kaeja d'Dance ('TouchX' and 'I am the Child of') Performed at Harbourfront Centre Drew Berry Guest reviewer Geoffrey Coulter, actor, director, arts educator I haven’t been to a modern dance performance in a very long time. This art form reminds me of the power of storytelling through its seemingly free-form and apparently improvised movement. Modern media technology has been seamlessly infused into many live performances with both exhilarating and thought-provoking results. Kaeja d’Dance’s double world premiere of two original modern dances, “Touch X” and “I am the Child of…” elevates the art but the technology does little to enhance it. As part of Harbourfront Centre’s Torque International Contemporary Dance Series 2022, Toronto-based Kaeja d’Dance celebrates 31 years with the premiere of two new, original works by Artistic Directors Allen and Karen Kaeja. Presented in their own acts, Karen’s “Touch X” and Allen’s “I am the Child of…” investigate the complexity of our lived experiences, sense of community, perspective, human resiliency, and fragility, performed with deep emotion and expression by a cadre of uber-talented dance artists. On these levels, both pieces delivered. The problem was the layering of the interactive augmented reality technology on Allen’s piece which, although intended to generate evocative worlds, only served to confuse, frustrate and distract to the point that it was ultimately abandoned by the audience. Overall, I couldn’t see the purpose of this “experiment”. I marvel at modern dance. Tracing its roots back to the late 19th century as a protest against interpretive dance traditions of the time, it presents a highly expressive style that challenges the structured technique of classical ballet with a focus on expression, not specific postures. Ironically, despite it seeming devoid of traditional technique, a dancer needs to be highly skilled in traditional technique to dance it successfully. Each performer showed clear evidence of this skill and artistry. In Act One, “TouchX” reveals a billowing curtain of plastic packing material hanging upstage. We see human forms in seated and standing positions under a canopy of similar translucent packing sheets. Much of the choreography in this 40-minute performance happens under this fine membrane which is ultimately whisked away but returns repeatedly in the form of props, clothing, backdrops and metaphysical wraiths. Tinfoil and plastic wrap are also incorporated into the storytelling as allegorical depictions of the trials and tribulations of our human existence. Thanks to the amalgam of creatives Karen Kaeja and Sonja Rainey, I’ve never witnessed such creative use of packing and wrapping materials in a dance performance. The cast of eight wonderful artists (Michael Caldwell, Brayden Cairns, Nickeisha Garrick, Jessica Germano, David Norsworthy, Mio Sakamoto, Yui Ugai, Irma Villafuerte) are each given their moments to shine in solo and duet, supplemented by 30 members of “everyday community folk”, inhabited their stories of experiencing the presence and absence of touch. A complex world of fantasy and connection. Special mention to the wonderful duet work and soloists Irma Villafuerte, Nickeshia Garrick and Mio Sakamoto for their respective bellicose, guttural and elegant depictions of humanity in turmoil and rebirth. Choreographer Karen’s inspired staging makes full use of the studio theatre with its balconies and side entrances. It’s not a large space but when 30-plus community members joined the core cast for their own intricate movements, it never felt crowded or cramped. Costumes by Sonja Rainey reminded me of casual summer attire - simple capris, sleeveless shirts, and shorts all in muted colours. Kudos to an incredibly effective lighting design by Simon Rossiter. His use of moving, patterned gobos, projected squares on the stage and side lights created both ethereal images of freedom and hard edges of confinement. A fabulous, original score by composer Gregory Harrison heightened the mood with his eclectic mix of up-tempo, drums, hard-hitting and pastoral instrumentation with chilling choral refrains from the community members. A celebration of the creativity of artists and technicians alike. Bravo! Act 2 presented us with another wonderfully choreographed original work, a collaboration between Kaeja Dance and Vertical City Performance, “I am the Child of…”co-directed by Allen Kaeja and Bruce Barton. Another profound modern interpretation accentuating and embodying personal childhood memories performed by an enormously talented young cast of dancers (Michael Caldwell, Rodney Diverlus, Aria Evans, Nickeshia Garrick, Karen Kaeja, Ethan Kim, Geanderson Mello, Mio Sakamoto). This was an exploration about what shaped these performers in their formative years. Appropriate juvenile costuming was provided by Cara Johnson, mood-enhancing lighting again provided by Simon Rossiter and an evocative original score and vocal recordings by Edgardo Moreno. This dance had a twist. It added interactive augmented reality technology and multiple cameras (cast members acting as camera operators holding their smartphones on stage) to create different perspectives and perceptions in a work that, according to co-director Kaeja, “creates an unpredictable experience within every performance”. Unpredictable indeed. At intermission, lobby ushers with iPads provided a QR code we scanned with our smartphones or tablets. This divided the screen into quadrants, each providing different camera angles tied in via Wi-Fi to the phones being used by various cast members during the performance. At selected moments, we could add “virtual” cast members to the screen, joining the live cast members in ghostly composite (Augmented Reality and Digital Content provided by Toasterlab – Ian Garrett, Justine Garrett, Andrew Sempre, Raechel Kula). For me, this just didn’t work – in concept and execution. Was this live theatre or live TV? Watching various camera angles and adding virtual cast members on my phone while simultaneously watching a live performance on the stage seemed counter intuitive. Too much fussing with my phone kept me from enjoying the benefits of both mediums. Insurmountable technical issues (poor Wi-Fi connection, frozen screens, links not working) made this experiment an exercise in frustration and confusion. Ten minutes into the performance the audience realized they were so busy trying to figure it all that they were missing the dance. Phones disappeared into pockets and purses for what was left of the 30-minute performance. Even without the technical issues, I can’t help but ask, why? The concept of adding pre-recorded video elements and other media to a live performance is nothing new but this seemed to put a TV production unit with camera angles and greenscreen effects into the hands of patrons while hoping they don’t miss what’s happening on stage. Who knows? Perhaps Kaeja d’Dance is on to something and augmented reality is the evolution of live theatre. I hope that day doesn’t come too soon. This troupe’s work deserves your undivided attention! Previous Next

Back shaniqua in abstraction Presented by Crow's Theatre in association with paul watson productions & Obsidian Theatre. Now onstage in the Studio Theatre at Crow's. Roya DelSol Joe Szekeres ‘A compelling, complex, and carefully nuanced experience. bahia watson becomes one of our country’s finest storytellers.” I have always been fascinated by the titles of plays and novels. When I’m in a bookstore (how many of those are left?), I always pick up the text if the title fascinates me. The title of bahia watson’s solo performance, ‘shaniqua in abstraction, ' immediately stands out. Its unique use of lowercase letters and the word 'abstraction' sparked my curiosity. Press material describes the one-woman show as ‘defiantly pushing back the boundaries defining Black womanhood.' I’ve always been intrigued by watson’s use of lowercase letters in her name. Is this her signature trademark? If so, it makes me pay attention whenever I see her name listed in show credits. She’s a charismatic force on stage, as evidenced by her role as Sonya in ‘Uncle Vanya’, which she played last year at Crow’s and this year at Mirvish. I’ve seen watson’s work on stage, and she becomes a tremendous force in bringing characters to life, which is remarkable to watch as an audience member. watson is shaniqua, an actor who has come for a casting call and (according to the press release) slips into a musing multiverse of narrative stories. The intermission-less, one-woman 90-minute sharing of perspectives ultimately leads the audience to a kaleidoscopic explosion that spins into a big black hole called shaniqua. Sabryn Rock directs the production with controlled precision. She allows watson to leave her indelible impression as shaniqua. The result of all this? watson delivers a compelling, complex, and carefully nuanced performance of many varied characters. One is an enjoyable highlight which sets the titular character as a comic television show host of SISTAHOOD. The word ‘abstraction’ caught my eye when I knew I would be at the theatre. I rarely see that word today, so I researched online like a good student to ensure I knew what it meant. Collins defines it: “Abstraction: the act of taking away or separating; withdrawal.” A lot is going on here that challenges me, and that’s what good theatre is supposed to do. It challenges audiences to think. And ‘shaniqua’ does just that. For one, as a male, I greatly appreciate women's uniqueness. But can only women honestly know what makes them unique compared to men? I haven’t made up my mind about this question yet. As a white male, do I or can I truly understand the boundaries of defining Black womanhood to which watson defiantly pushes back? I haven’t experienced that in my life at all. There are moments in Bahia’s characterizations where I can sense this understanding of Black womanhood could explode – loudly. Thirdly, watson (the artist) is in the process of removing and separating herself from the white gaze of producers who are considering her for roles on the stage or in film. The varied characters she creates on stage become the performance's integral focus. Echo Zhou (Set), Kimberly Purtell (Lighting), Thomas Ryder Payne (Sound), and Laura Warren (Video) seamlessly combine a visual look and sound that strongly accentuates watson’s varied characters. Costume Consultant Des’ree Gray has selected an orange jumpsuit and pink blazer for bahia to keep the audience’s focus on her physicality. At the same time, she strides and glides around the stage courtesy of Jaz Fairy J’s sharp choreographed movement. And Another Thought: ‘shaniqua’ becomes a vital character study of an assertive woman who begins to understand her place. shaniqua is not just one woman. She is connected to assertive women who want to mark their place in the world even though the voice in the theatre tells her to stick to the script presented to her. The production becomes coarse, gritty, and rough at times; however, when such personal feelings are explored with genuine truth and in the capable hands of bahia watson, then the live experience becomes worth it. Running time: approximately 90 minutes with no interval/intermission. ‘shaniqua in abstraction’ runs until April 28 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. Call the Box Office at (647) 341-7390 or visit crowstheatre.com for tickets. CROW’S THEATRE, in association with paul watson productions & Obsidian Theatre, present shaniqua in abstraction, written and performed by bahia watson Directed by Sabryn Rock Set Designer: Echo Zhou Lighting Designer: Kimberly Purtell Video Designer: Laura Warren Choreographer: Jaz Fairy J Stage Manager: Loralie Pollard Previous Next BACK TO TOP

Back Tango In the Dark at Fleck Dance Theatre, Toronto's Harbourfront Centre Toronto Fringe's Next Stage Theatre Festival Toronto Fringe Joe Szekeres A sensually divine dance of life and breath Please note I hold no background, education, or training in the art of dance. For this review, I will comment on the theatricality of the presentation. I think it’s safe to say that if we saw a couple dance the tango, just by the music alone with specific choreographed movements, we would know what they are doing. I really didn’t know the history of the tango, so I thought I’d better do a quick bit of online research. I discovered the tango is a partner and social dance originating in the 1880s along the Rio de la Plata in the impoverished areas of Argentina and Uruguay which had predominantly African descendants. The tango was frequently practiced in the brothels and bars of ports, where business owners employed bands to entertain their patrons with music. The tango then spread to the rest of the world. Many variations of this dance currently exist around the world. Just from this superficially brief definition, it appears the tango came from the dust, dirt and grime and, when it spread to the rest of the world, the dance became something exciting and exhilarating whether through participation or just watching. The release for 'Tango in the Dark' states this film “lights the way through the shadows and mysteries of Buenos Aires and tells a story of two dancers moving to the rhythms of the city night.” Jacob Marsh’s lusciously gorgeous cinematography becomes a strong feature of this film. He juxtaposes between the dullness of black and white and sharp vivid colours which become hypnotically enhanced through the exquisite sounding music of the Payadora Tango ensemble members of Rebekah Wolkstein, Drew Jurecka, Robert Horvath, and Joseph Phillips. Alexander Richardson held a mammoth task in both directing, choreographing, and dancing in this film. Let me just say it’s extraordinary to watch he and his dance partner Erin Scott-Kafadar. ‘Tango in the Dark’ takes place in several locales where Alexander and Scott-Kafadar sometimes represent the shady and unwholesome beginnings from where the tango came up to the present moment where the dance is a stunning work to view. Final Comments: ‘Tango in the Dark’ is sultry and sexy. At times it becomes a wild entity. At other times, Scott-Kafadar and Alexander breathe an intimate synergy of a heightened and life-giving sensuality of passionate connection. Worth a look. ‘Tango in the Dark’ presented by Pointe Tango in collaboration with Payadora Tango Ensemble Directed and Choreographed by Alexander Richardson Cinematography by Jacob Marsh Featuring Erin Scott-Kafadar and Alexander Richardson Previous Next

Back Petrina Bromley Moving Forward ... Joe Szekeres To know when Canadians have made it to Broadway to showcase their talent is something to celebrate all the time. When one can go to Manhattan to see Canadians in a Broadway production and see them perform is another excitement in itself. That’s why it was exciting for me to see ‘Come from Away’ in New York when East Coast artist Petrina Bromley was in the show (along with Toronto artist Astrid van Wieren whom I interviewed earlier). Petrina is an actor, director, musical director, and composer from St. John's, Newfoundland who has worked with Artistic Fraud of Newfoundland since its inception, having participated in ten of the company's original works. A bit of online research discovery that Petrina also made an appearance in one all time favourite CBC shows I watched religiously each week: ‘Republic of Doyle’. We shared our conversation via Zoom: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are things in Newfoundland? How are you feeling about this? Will we ever emerge to some kind of new normal? We’ve been very, very fortunate. The provincial government has been diligent. The benefit we have over everyone else is the physical location (of Newfoundland) and the fact it’s an island. You have to make an effort to come to Newfoundland. No one is flying and the ferries were reduced. There were less people travelling anyway and they actually closed the borders for awhile provincially as well. Now we’re in an expanded bubble but it’s just with the Atlantic provinces. You still can’t even come here from Ontario and Quebec. They’re being very, very strict about all this stuff so I think it’s good. When I first came home in March, we (Broadway production of COME FROM AWAY) shut down March 12 and I hopped on a plane the next day and came home. That first week I was home which was around St. Patrick’s Day, over the weekend there had been at a funeral home two wakes happening and someone came home to bereave a loved one and brought Covid with them and didn’t realize it, and out of that one person, 150 people got sick. At least one person died. Because that happened immediately, everybody really took it seriously. You became so aware suddenly of how contagious it was and how quickly it spread and how sick you could get. It’s put the fear of God into everybody, and people have been taking it pretty seriously since then. We’ve been slowly, slowly coming back to some things. We had a pedestrian mall downtown this summer on the main drag where restaurants had outdoor service. They closed it to traffic and that was a huge success. The kids have gone back to school last week and so far, that seems to be going okay. We’re very lucky that we don’t have any community transmission. Anytime anyone has been sick, it’s been quickly traced, and it’s usually connected to someone flying. A lot of it has been people who have been away and trying to return home. Because of the rules and the isolating, it’s been under control. Cross my fingers and knock wood, we’re in a really good place with it so far. We’ve been fortunate enough that I actually went to a live performance the other day, a socially distanced piece of theatre. The main theatres here in the Arts and Cultural Centre which are a series of large theatres across the province all operated provincially have officially re-opened and have their social distancing, masks, sanitizing rules in place that are now opened to houses of about 100 which is a start. I think there will be some sort of new normal. We have been warned for so many years that superbugs are on their way, and it’s a question of when. I think masks are just going to be a part of our future in general, particularly during the cold and flu season. And hopefully we’re all going to wash our hands a lot more often. And just be aware of how much contact we do have with people. I hope it makes us more aware and more grateful for the physical contacts that we have, being able to be in the same place with others, being communally together and developing a greater appreciation for that. I know it’s made me aware of how much I miss being in a room with other people. And for performing arts in general, I’m now teaching a university course online. It’s a singing course and it’s almost impossible to connect because technology doesn’t really exist to facilitate it. It’s made me very aware that I can’t wait to sing in an ensemble again, a true ensemble, not “I take my part, and you take your part and we stitch them together with an editor, but I’m looking forward to when we make sound together.” It’s made me realize how important this is in my life. How have you been faring personally and professionally? As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Again, I’ve been very, very lucky and fortunate that I own a home in Newfoundland. All of my family have been good. Knocking on wood again, I haven’t add anyone adversely affected by it all. It has been something that has been happening elsewhere. It’s more something that you see on tv since I haven’t had anyone in my life who has been sick. Professionally, the biggest is teaching this course online as I’m stretching all of my skills and learning new ones every moment of every day. I also think the other challenge that performers, particularly theatre performers and musicians are a little bit better equipped to deal with something like a shutdown because we go through long periods of time of “I don’t have a gig”. There are periods of non creative output in terms of jobs. It’s gone on so long that doesn’t stand anymore. Theatre performers are deeply affected because our industry is in question itself in terms of what will come back, how it will come back, and how we manage to make it work. I have no doubt we’ll be back no doubt as we all need that storytelling. There’s something in our lizard brain, from cave people that we need to sit in a group and be told a story together. We will find a way to make it happen again. It’ll just look a little different and feel a little different, but I think we’ll be back to it. But this is what I found hard, the uncertainty of it has been challenging. For the first six months, they kept pushing with faint hope that the Broadway League kept pushing the dates and that Broadway would come back. It was always a guestimate and still is, really, but every time it got moved, there was a feeling of “Ugh, it’s being moved again.” That has been hard, wondering. The research that was also coming out saying that singing was a no no was also disheartening. It really did make me feel that our industry doesn’t exist anymore and won’t. Times are changing and this is such a fluid situation. There’s flux in this Covid situation, but we will find ways as we’re hard wired to find them. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I wasn’t personally in any kind of planning. I was very content to be where I was. It’s been the best gig ever and I couldn’t imagine leaving it. Besides the university teaching, what have you been doing to keep yourself busy during this time? You know, I’m actually surprisingly busy which is a great complaint. It’s because I’m back home in Newfoundland and it has given me the opportunity to work with people I’ve worked with before and to re-kindle old work relationships. That’s been great. I’m involved in a workshop that’s coming up in a little while. Now there are two television productions shooting here and I got a couple of days on one of those. I’m supposed to be writing my own show as well. I’m busier than I should be in normal times let alone in Covid times. Any words of wisdom or sage 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? Oh, I don’t know. ‘Hang in there’ is about all I can say. You have to be kind to yourself. You have to be able to give yourself the room to feel whatever you’re feeling at the time. There’s general anxiety, upset and depression given the times that we’re in right now because the whole world has changed. It’s a huge tectonic shift for anyone to go through, and we’re all going through it together. I think we all need to be a little more generous to the people around us in terms of understanding that we’re all going through it. Everyone is having a bad day just about every day, maybe not every moment but there will be those times where it’s going to feel bad. To the new theatre grads, yes, be kind to each other, be gentle with each other but hang in there is the best thing I can say to them. I would always tell people before all this that the road to where you want to get might be longer than it needs to be. It took me my entire professional life to get to Broadway. It happened eventually and happened when I did not expect that it would happen, very, very unlooked for and unexpected for me. But as I look back on it, everything happened as it should have happened, and I can’t imagine having gone sooner in my life because it would have been a terrible experience and ruined it for myself. Knowing me and knowing how I would have treated it when I was younger, I would have just blown it. Sometimes the path you go down takes a lot of twists and turns before it fits in where you want it to go, but every one of those twists and turns will have value, maybe not until later but it will. Do you see anything positive stemming from Covid 19? Oh, definitely. There’s tons of positive stuff happening because we’re so focused or we’re forced to be especially during the lockdown, a little less now that we’re getting back to some sense of normal life. People were so focused on everything that was happening on screens in front of them because there was nothing else. That really facilitated the focus on the ‘Black Lives Matter’ social movement and all those things that sprouted from that. Theatre companies and institutions were being called to task for their response to the Black Lives Matter movement. Also again, I hope, that it’s going to make us appreciate communities so much more, physical community being with other people, and experiencing things with other people because there has been such a movement to have everything be on line. Even before everything went on line with Covid, we were doing a lot more virtually, through video, and through conversations on tablets and phones, and I hope having this moment will remind us just how important it is to hang out and just see people be together. A lot of that can be seen when they reopened the bars and the reports came out there were too many people and they were too close together. I think we are really, really just hungry for it to be around each other again. Do you think Covid 19 will have some lasting impact on the Broadway/Canadian/North American performing arts scene? Again, there’s a lot coming out of the Black Lives Matter movement. This focus is changing the world of theatre all over the world. It’s shining a light on that and allowing and opportunity for us to take stock of that, well more than take stock, to really give the attention that it deserves. I think we’re really going to see the affects of that. Hopefully there will be a focus on the technical side of things, a focus on some of the older theatres around being properly ventilated. Some rehearsal practices that might encourage some proper physical things as well, just handwashing. It’s very easy for a bad cold and flu to go through an entire cast, let alone something like Covid. We’re all going to be mindful of these things. If it does come to a place where masks are more common, then that might help that as well. There’s ton of more things that we’ll eventually look back and say, “You know what, that started after Covid.” The first couple of times seeing audiences wearing masks might be little jarring, but the thing about New York is New York is full of individuals. Everyone there is an absolute individual so you would run into different people all the time like subways or in the stores who are already wearing masks a year ago. That wasn’t uncommon to see in New York back then. During the show close to the shut down, we would see one or two people wearing masks in the audience and that was when it was startling. I think it’ll feel natural now because it’s all over the place now, but who knows? Going back to New York, it might seem startling not to see masks. 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? It’s great. It is definitely a double-edged sword because it depends on whether or not an individual artist is able to support himself or herself by putting their stuff up online. The arts is not a hobby, it’s a job. I always call it a calling. I always tell people don’t get into this industry if there is anything else you can see yourself doing. If this is a compulsive behaviour for you to be in the arts, then you might make it because it’s so challenging, so difficult and demands so much of you. As long as people are managing to turn streaming into something that gives them a viable living, I think it’s fantastic. There was a lot at first as people kept thinking, “Oh, we have to keep doing something” and so much was poured out. We’ve come to a place now where there should be limited access and pay thresholds as a product because it is as people do need to support themselves. Again, the irony of it all – when something goes wrong in the world and someone wants to have a benefit for something, the first people who are called upon and step up are performing artists, visual artists and artists in general who say, “I can help”. I think this happened when Covid hit as people just wanted to help out in some way and so they just started posting things to make people feel better, things to look at and to focus on. Where it has come to now is good with the talk of pay thresholds, paid performances and having limited access to something so that it’s not out there on the internet forever. Despite all this fraught tension, confusion, and uncertainty, what is it about the performing arts that Covid will never destroy for you? Our need, absolutely, that goes back to what I was saying earlier about our compulsion with people. If you’re a performer and this is how you identify yourself that you have to do it. Being unable to do it is challenging enough but just being not allowed to do it is a different thing altogether. Everyone has had a moment as stage performers where you’ve had an injury or illness and that has prevented you from performing. I had some voice trouble once and it was a long period of time where I couldn’t sing and during that time it kept running in my mind, “Who am I if I can’t sing?” What do I have to offer and who am I as a person. That’s one thing. But now with Covid and it’s the feeling of “No, you’re not allowed to sing” is so much harder because it’s hard to make those reasons realistic to yourself. They seem like someone is imposing something on you. Again, everybody started putting up these videos right away speaks to the compulsion that the performing artist needs to create. It’s who we are as a human being and how we get through this world. So I don’t think that can be taken away from us at all and people’s need to experience that can’t be taken away either. At least I really hope. Previous Next

Back Firebringer Presented by Spark Call Productions Credit: Jenn Downey Aaron Kropf “Anticipating what Spark Call Productions will bring to Saint John next time.” Presented by Spark Call Productions, a new Saint John theatre company, Firebringer is a fun, campy, stone age musical about the discovery of fire created. First performed by StarKid Productions (best known for the Harry Potter parody A Very Potter Musical), ‘Firebringer’ is a collaboration with Nick Lang, Matt Land, and Brian Holden, credited for the Book; Meredith Stepien and Mark Swidersk, credited for music and lyrics and arrangement by Clark Baxtresser and Pierce Siebers. ‘Firebringer’ takes place at the dawn of the Stone Age, where we see the power struggle between the new tribe leader Jamilla (Jen Downey) and Zazzalil (Celeigh Lynne), a tribe member who wants more from life than work all day. Throughout the show, Jamilla leaves the tribe, leaving them to Zazzalil’s lackadaisical leadership. In true musical theatre fashion, Jamilla is called back to the tribe to help save the day, but it can only be done when she and Zazzalil work together to defeat Snarl. All of this is told to the audience by the former leader Molag (Meghan McCracken). One quibble. From where I was sitting in the house, it was difficult to see McCracken throughout much of the production as she stood on the floor far too much. This female-dominated production allowed many wonderful women performers in Saint John and the surrounding area to showcase the incredible talent we have in our backyard. It’s a light and fluffy production, yet there are some staging issues that could be examined again in future. They aren’t a huge distraction and shouldn’t stop anyone from going to see this first show. However, with so many involved, the creative team could have done some trimming as there are moments making the show outstay its welcome. The show has several songs that help move the story forward, but few are all that memorable. The notable numbers include ‘We Got Work To Do," one of the first memes to spread across the internet during the early days of social media. “Just a Taste” is a lovely duet between Emberly (Andrea Paddock) and Grunt (Dino Andriani). ‘Chorn’ is a Celine Dion-style song wonderfully performed by Meredith Ferris as Chorn. A few standouts are Jen Downey as Jemilla, Celeigh Lynne as Zazzalil and Meredith Ferris as Chorn (whose final number near the show's end was marvellous). Don’t miss the last opportunity to see the show on Saturday, February 24. It’s an entertaining evening for anyone over the age of 16; there is a lot of language that doesn’t make Firebringer a family show. Final performance at the Sanctuary Theatre, 228 Germain Street. Previous Next

Back Ma-Anne Dionisio Looking Ahead Leon Le Joe Szekeres I have been trying to track down Ma-Anne Dionisio for quite some time to profile her work as an artist. I first saw Ma-Anne’s performance in the original Canadian production of ‘Miss Saigon’ which opened Toronto’s Princess of Wales Theatre. Since then, I have seen her performance as Maria in ‘West Side Story’ at Ontario’s Stratford Festival. I’ve also seen online that she and other artists have given concerts as our world slowly makes its way out of the pandemic. I was so thankful when she agreed to be profiled for this series as she is one busy lady in preparation for an upcoming production in May. Originally studying in the Sciences either to become a doctor or a dentist, Ma-Anne was invited into the world of the performing arts. She has three children and homeschools them during this time of the pandemic. Ma-Anne sees her purpose in life as healer and provider so the science mind within her was highly cognizant of the constant flow of varied conflicting information we were all receiving as a collective race during Covid. She is a self-assured, confident lady who opened up quite a bit about what she called the ‘loaded question’ of year three of the worldwide pandemic and how she and her family have been doing. She candidly spoke how she feels she has heightened and deeper intuitions and has learned to trust them especially when it comes to the safety of her loved ones. Ma-Anne continues to work on her personal well being because the situation of Covid in which we now find ourselves, we put our loved ones first. Ma-Anne spoke about the challenges she has faced during the pandemic, but she also says this time was a blessing for her. With gratitude, she acknowledges several of her family members who are front line workers and with sadness she has also experienced several familial losses during this time both from Covid and other reasons. Personally, this time has given her the opportunity to be with her immediate family members and those close to her, and to look inward where she honoured and made use of that time in the first year to get connected with herself and the planet. She made a definite choice not to perform for that first year. Ma-Anne knew that a lot of artists panicked where they felt they had to move towards virtual performances because they needed to do so. She respects and honours those who felt this way and made that choice because it was a challenging time. She chose not to do this. Instead, in her own words, she said: “Let’s honour the quiet, be quiet and do nothing because why not?” This time away was a real gift for Ma-Anne to honour. She is quite humble in that she doesn’t like to talk about herself so much or to be the centre of attention. She doesn’t consider herself a stereotypical performer and actor. For her, she is grateful to be able to use the theatre to connect with people and to heal both herself and whoever is present. She clarifies the work comes ‘through’ her and it is never about her. I found this latter statement interesting. But as a single mother, whenever Ma-Anne signs on to a project, she is mindful of the fact her children rely on her as caregiver and provider. It is a big decision now to come inside a theatre for everyone because there is a risk involved, but it’s even bigger than before the pandemic. She cannot afford to put herself in a situation where she endangers herself and therefore her children, so the project has to be worth it to make that decision to get involved. It was only last year where she decided to take on a couple of projects. The first production was ‘Follies’ a two-evening concert at Koerner Hall directed by Richard Ouzounian back in October. The second project is the upcoming ‘Lesson in Forgetting’ in May with Andrew Moodie through Pleaides Theatre at the Young Centre in the Distillery District. Ma-Anne took this project on as she learned Pleaides would sell 50% capacity for the run of the production, and that is for the safety of those attending plus the performers. How true, Ma-Anne, especially for all of us who have a keen interest in the live arts. We have seen how things can turn so quickly so we must take things day by day especially when we look to the Broadway theatre scene. What drew her to want to get involved with ‘Lesson in Forgetting’: “Once in awhile in this business you come across certain pieces that are just beautiful. Hopefully we are successful in delivering the intent of this piece and what it has in its very core in this story. The play is a wonderful observation of humanity and devotion." And how is Ma-Anne feeling at this point in the value of rehearsals as she, Andrew and the company approach opening night? Before she answered this question, Ma-Anne reiterated once again the value of work is always in progress. For her, the beauty of theatre is that it is a living, breathing piece, and because it is living it constantly changes in an instant. Rehearsals are still a work in progress for Ma-Anne as she continues to become comfortable with the material in the moment and learn about the character so that, in the end, she can move out of the way so that whatever needs to be delivered through her and the piece can come through. And what does she hope audiences will leave with after seeing ‘Lesson in Forgetting’: “This piece is so beautifully written about the vulnerability and fragility of the human mind and heart, and the human spirit. It’s a wonderful observation of what goes on when your own idea of what love should look like is being challenged.” What’s next for Ma-Anne Dionisio once ‘Lesson in Forgetting’ is completed? She laughed and said there’s a lot happening simultaneously right now for her, and she said that’s the thing about this business because when it rains, it pours. Personally, she is a work in progress all the time. Professionally, Ma-Anne is developing a new musical with a writer from New York and a Canadian co-writer, so a writer/director team from there. Her limited series she shot last year with Apple is coming out soon. Her other series ‘Astrid and Lilly Save the World’ both on Crave and Sy Fy. Andrey Tarasiuk, Artistic Producer of Pleiades Theatre, announces the English language world premiere of ‘Lesson in Forgetting’ by Emma Haché, commissioned by Pleiades and translated by Taliesin McEnaney with John Van Burek, runs live on stage from May 3 to 22 at the Young Centre for the Performing Arts in Toronto’s historic Distillery District. For tickets visit www. https://tickets.youngcentre.ca . To learn more about Pleaides Theatre, visit www.pleiadestheatre.org . Previous Next

Back 'The Good Thief' by Conor McPherson Produced by Fly on the Wall Theatre Allison Bjerkseth Joe Szekeres A gutsy and visceral in-your-face dramatic monologue presentation. The name ‘Fly on the Wall Theatre’ piqued my curiosity. How often have we all wished we could be a fly on the wall in a conversation that we had no right to hear? That proverbial fly on the wall also indicates we are unseen and unheard witnesses to an immediate connection between two or more people. Now add that to Fly on the Wall’s mandate which specializes in plays that: “grab our attention or rarely produced or fallen off the map or seldom seen” and I believe that is the start of an artist establishing an intimate connection and contact with an audience. This is what I call edgy theatre. And placing Conor McPherson’s attention-grabbing ‘The Good Thief’ at Noonan’s on the Danforth, nonetheless, amped the impact as the pub was an intimate hall where I could see what was going on in all corners of the room. I couldn’t think of a more appropriate place to set this gutsy and visceral in-your-face dramatic monologue presentation. The press release stated ‘The Good Thief’ is a return production from 2019 named one of Toronto’s Top 10 productions by Christopher Hoile of Stage Door. I didn’t see it then. I can understand though why Hoile named it one of his Top 10. Under Rod Ceballos’ carefully nuanced direction, David Mackett’s Narrator remains astoundingly engrossing throughout Conor McPherson’s tightly packed scripted story of someone who according to the Director’s Note is “haunted by an unforgiving past that lets in the rays of light, of hope, of peace to a lonely and troubled soul.” There’s an internal fiery intensity about Mackett. His demeanour and posture make it appear as if he is ready to bolt out the door of Noonan’s if given the opportunity. Absolutely engaging to watch him move about the room with continued precision and controlled purpose. The play opens with the Narrator (read thug or hit man in here if you like) standing in the middle of the pub with a beer in his hand. He recounts to the audience about his job. He has been hired by an Irish mobster to frighten people and make them pay up if they are late or delinquent or might be on the lam. Sometimes he might have to kill them if they haven’t paid up at all. We also learn about Greta who was the Narrator’s girlfriend at one point and who is now the girlfriend of his boss. The boss does not treat Greta right and this does not sit well with the Narrator. An incident that should have been routine was botched and the Narrator finds himself on the run across Ireland accompanied by the wife of one of the men who died in the incident plus her daughter. It appears as if perhaps the tables have been turned on the Narrator as he’s on the lam. The plot turns quickly at the end. I’ve thought about it for a couple of days and it does make sense, but to share it here would be a disservice to the fine work Mackett delivers. One must experience it live at Noonan’s. The title ‘The Good Thief’ puzzles and intrigues me simultaneously. First, the Irish Catholic background tells us the Good Thief is the one who was crucified along with Christ on Calvary. Jesus states that on his death, the Good Thief will be in Paradise. This is a core belief of Catholicism where we believe death is not the end and we will see loved ones again. Just who is ‘The Good Thief’ in this play? Is it the Narrator? There are moments where the Narrator’s ‘goodness’ shines through, but I don’t know if he can be considered good especially in knowing what he does for a living. This is the moment where I wished there might or could have been a talkback after the performance OR that I had attended the production with someone where we could have talked about the meaning after. Even though I’m still stumped by the title, the reason to see this return of ‘The Good Thief’ is David Mackett. He becomes a riveting raconteur of passion, poignancy, regret and, somehow, hope. He moves around telling the story and stands at the bar or sits on the makeshift stage with reliable credibility. Listening to and watching Mackett narrate the tale becomes another master class in acting I’ve had the privilege to experience this fall. ‘The Good Thief’ is a definite must-see this fall. Running time: approximately 70 minutes with no intermission. ‘The Good Thief’ runs October 19 at 7 pm, October 22 and 23 at 2 pm and October 25 at 7 pm at Noonan’s Pub, 141 Danforth Avenue. Tickets may be purchased at the door (cash only) or https://www.flyonthewalltheatre.ca/upcoming---the-good-thief-2022.html THE GOOD THIEF by Conor McPherson Production staged by Fly on the Wall Theatre Directed by Rod Ceballos Production Assistant: Valerie Molloy Performer: David Mackett Previous Next

Back Duff MacDonald Canadian Chat Grant Landry Joe Szekeres I’ve seen Duff MacDonald’s name over the last few years in theatre programmes and through some of the social media websites. His name sounded familiar to me, and I soon figured out where I recognized it. I saw him play in the first Canadian company of ‘Les Misérables’ at Toronto’s Royal Alexandra. Duff was also part of the first National Touring production of ‘Les Mis’ in 1989-1990. Duff also played "Eamon" in the recent Grand Theatre (London ON) and RMTC (Winnipeg) productions of ONCE. According to his bio, Duff proudly hails from the Saskatchewan prairie land. He has recorded albums and sang in many venues across Canada and the United States ranging from coffee houses to large auditorium venues. He is proud of the training he has received. He obtained a full scholarship to go to North Dakota State University to study opera. He also studied at Vancouver’s Gastown Actor’s Studio and private studies in Acting with June Whittaker, Linda Darlow and Uta Hagen. Duff has also completed voice-over work in commercials. He has been seen in film and television roles like the recent LOCKE AND KEY (Netflix), CARTER (CTV Drama Channel), GOOD WITCH, TITANS (Netflix), CLAWS OF THE RED DRAGON, Incorporated (SyFy), Tru Love (Winner of 35 Worldwide Film Fest Awards), Cinderella Man, Foolproof, The Music Man and most recently in the nation-wide spot for AMERICAN EXPRESS/AEROPLAN and BOSTON PIZZA as the gold Professional Sports Trophy Model. We conducted our conversation via Zoom as Duff lives in St. John’s Newfoundland, at this moment. Thank you so much for the great conversation and laughter, Duff: Since we’ve just celebrated Thanksgiving, tell me about one teacher or mentor in your life for whom you are thankful and who brought you to this point in your life as a performing artist. I am very grateful for a number of people in my life who brought me to this point in my life as an artist. In the beginning, in my small town of Watson Saskatchewan, there was this lady named Jean, and she played the piano. She took me on. She was best friends with my mother and father for years. Both my mother and Jean were teachers. I just remember going over to Jean’s house and her teaching me a lot about music and singing and singing some old classic tunes. She was always the woman who was coaching me through all of that early stuff. Later on, I became part of ‘Saskatchewan Express’, a teen talent competition and I won and became part of this group of performers similar to “Up with People’. We toured all over Saskatchewan and I learned so much in the early 80s when I was 16 from all of those musicians. We had a 12-piece band behind us, and we had dancers; it was a big production sponsored by the lotteries. The woman who ran that, Carol Gay Belle, who worked for the CBC, she was also a huge influence on me as a kid in my teen years. I’m trying to think positively that we have, fingers crossed, moved forward in dealing with Covid. How have you been able to move forward from these last 18 eighteen months on a personal level? How have you been changed or transformed on a personal level? Oh boy, that’s a big one. Initially, it was a shock as it was with everyone. I was just about to go away and do a show. Personally, I did a full pivot turn. We performers spend a lot of time on our own, and as a writer and painter, I have a lot of different creative outlets. So, right away, the first thing I did was turn to my creative side and that really saved me during most of Covid until I ran out of projects. I produced a web series with a friend (check it out on Duff’s personal web page), two of them actually, a comedy series and another web series where I was interviewing people from all over the world. That brought me a lot of joy and peace in checking in with people around the globe and gaining a global perspective on what was exactly happening in our country and other countries. This really helped me to check in because the media was going crazy, but when you talk with other people in other countries, one on one, it really changed my whole view of everything and cut out all the crap the media was feeding us. I became grateful personally. I had my own apartment; I was in seclusion. I didn’t have a family; I wasn’t attending school. Everything just stopped for me, and I turned into a creative monster (and Duff says this with a good laugh). How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? Well, they’re synonymous for me as an artist because I’m self-employed so everything is melded together. As an artist, it encompassed so many things for a lot of us. The rug was pulled out from all of us, but as artists, we’re very dependent on the community, the audience. That’s our living. When that disappeared, it really affected me but I used that artistic talent as a way of survival and it changed everything and started to focus on that. Also, my technical skills and my game went up about ten notches because artists were all forced to audition in our own homes, with our own lighting and our own camera. Luckily, I had done my comedy web series called ‘The Duff Show’ and learned so much about filming myself with green screen. So when auditions were coming up where they were doing live one on one Zoom calls, it didn’t shock me as much as some. My technical and voice-over side that all went up. My agent didn’t worry about me technically because he knew that I had seemed to have everything in order. Tell me further about ‘No Change in the Weather’ opening in St. John’s shortly. Are you hoping to bring it to Toronto after St. John’s? ‘No Change in the Weather’ …(and then Duff stopped for a moment to catch his breath and continued). I’m almost going to cry because it has been such a gift. The past couple of months were really, really hard even with the creative projects I had. After a while for me I kept wondering when I was going to get a job. I’d be so close to getting national commercials. I was starting to really doubt myself. I was away camping and got a call to audition for ‘No Change in the Weather’. I started looking into it and reading the script and doing some research as the play had been done previously. I saw there were some Ron Hynes music in the production. Ron is a Canadian institution on the East Coast, especially in Newfoundland. ‘No Change’ just came along out of nowhere and I got the job. Again, I put together a self tape, had all my equipment together. I had clips that I professionally recorded at the time. Everything just lined up and I had sung ‘Sonny’s Dream’ which is a Ron Hynes song in another show before, and I was auditioning for the character of Sonny. So it was a really sympatico moment where it all happened really fast as they were only looking for a few people. I’m part Irish, and Newfoundland has deep Irish roots here. ‘No Change in the Weather’ is the story of a family that comes home for their mother’s wake and to celebrate her loss and her life. They all come together on an island called God’s Pocket. The family doesn’t want the wake to be a downer so they’re trying to celebrate their mother. And then I show up as Sonny, and I haven’t seen anyone in 20 years as Sonny works for the government. There is a connection to the Churchill Falls political incident and blunder. I represent the political side of the show, and everyone has a lot of disdain for my character. It’s a beautiful story of this family coming together and finding a place of peace amongst all the craziness. It’s funny, it has some great Newfoundland tunes, some Alan Doyle and Ron Hynes music, some really classic Irish music. It’s full of heart and laughter. It really has been a gift for me and for the company. There are beautiful voices, and the talent in the production. The production is different from ‘Come from Away’ as this is Newfoundland people. It’s quite a bit different from ‘Come from Away’ as ‘No Change’ deals with the political slant, and it’s got some real Newfoundland heart. Bob Hallett, one of the members of Great Big Sea is Executive Producer of the show. Our director is Brad Hodder who is going to be in the Mirvish production of Harry Potter when it opens next year in Toronto. Steve Ross, who has completed 18 seasons at Stratford, is in the show with me. (Note: a profile of Steve Ross can be found through OnStage). These are only a few heavy hitter artists in the show as there’s more in the cast and it’s going to be a good show. It runs at the CAA Theatre in Toronto on Yonge Street and blow everyone away. We’re just performing ‘No Change in the Weather’ in St. John’s Newfoundland from November 12-14 as a tester and we come to Toronto November 19-27, 2021. In your opinion, do you see the global landscape of the professional Canadian live theatre scene changing at all as a result of these last 18 months? I really do. There were some theatres that took the proverbial ‘bull by the horns’ and embraced this challenge and clicked in right away to continue connection to audiences. Some went virtual right away. I have a friend who lives in Texas who filmed a whole play virtually. The actors were not all in the same place. They were filmed separately and edited together to look like they were all in the same room. $20 was charged for the link to see the show, and they made some cash. That theatre wasn’t waiting around waiting for things to start up. The theatre scene has changed and I hope it doesn’t stay this way at half capacity. Ontario just went full capacity so fingers crossed, but what has happened is that theatres realized they can make money virtually: ‘Diana: The Musical’, ‘Hamilton’ and ‘Come from Away’ are the first three examples that come to mind. I think theatres are realizing that some want theatres to be live for them and as you and I know, Joe, there is nothing like that in the world. Nothing beats live. But, there’s also that clientele who can’t attend live theatre and can afford $200.00 tickets. Filmed productions of live musicals are getting pretty good, and there are those who would like to see it as well but can’t afford to go live. I hope it doesn’t go back to zero capacity but theatres are thinking things through. Look at Stratford with the outdoor tents. I think theatres will be a little more prepared for things now that we are slowly emerging from Covid. What excites/intrigues/fascinates/interests Duff MacDonald post Covid? Oh, wow! (and Duff and I have a good laugh at his initial response) Well, I’m fascinated by the human condition and how people operate under the conditions we’ve been under and how we’ve adjusted and not adjusted. I’m also fascinated by the strength of the human spirit. So many things happened during the pandemic – Black Lives Matter, Juneteenth, attack on the U.S. Capitol, but we persevered through it all and learned some important lessons. Things won’t be the same ever again, but I’m fascinated by how things have to be taken to the extreme in order for humans to learn. It’s incredible how hard we have to fight to get what we want and get to where we want – and we’re still doing this, really Saskatchewan? really, Alberta (Duff is making reference to the Covid numbers in both provinces) What excites me are the possibilities of what we can do. What disappoints/unnerves/upsets Duff MacDonald post Covid? Stupidity (and Duff and I share a good laugh again) and no lack of logic. Where does Duff MacDonald, the artist, see himself going next? Like I said, I’ve been really trying to up my game. I see myself being better. I want to be as good as I can possibly be. As every audition come through, I want to do my best. If I don’t get the job, at least I know I did my best. Everything else is out of my control. I believe that’s the mantra of my industry. Where does Duff MacDonald, the person, see himself going next? Uh….(and Duff starts to laugh again) it’s so hard to separate the Duff artist and the Duff person. It’s so hard…as a person I’d love to care less MORE. (and Duff laughs again.) I’m in my 50s (almost 55), so when you hit your 50s, it’s I don’t give a shit, I don’t give a fuck. I wanna care less about what people think MORE. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I give credit to the late James Lipton and The Actors’ Studio for this idea: If you could say one thing to one of your mentors or favourite teachers who encouraged you to get to this point as an artist, what would it be? Well, that’s kinda obvious. “Thank you.” If you could say something to any of the naysayers in your career who didn’t think you would make it as an artist, what would that be? (Duff laughs) “Fuck you.” It’s part of my performing artist mantra in not giving a shit. What’s your favourite swear word? (And another good laugh from Duff) Actually, I like, and it’s a bad one…by the way, Joe, are you able to print these words? Okay, here it is. It’s a strange thing, but I always say, “Cock!” I ended up on a tv show and that was a line we had to say. The other character had to say, “Cock and balls!” But for me, for some reason, it’s “Cock!” What is a word you love to hear yourself say? It’s actually an Italian word, and when Italians pick up the phone and say (And Duff, in his best Italian on the spot, says): “Pronto!” I don’t know why, I just love saying the word: “Pronto”. What is a word you don’t like to hear yourself say? Well, it’s two words: “I can’t” What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? “Hang on, it’s gonna be a bumpy ride” (and Duff says it again this time in an on-the-spot Bette Davis with an imaginary cigarette between his fingers). And then make sure your readers know they can watch my comedy show live, “The Duff Show” and see me do it live. With the professional life experience you’ve gained over the years as an artist, what would you now tell the upcoming Duff MacDonald from years ago who was just in the throes of beginning a career? Oh… take more dance classes and study more. Study music more extensively. What is one thing you still wish to accomplish both personally and professionally? Professionally, I’m also a writer and would love to have one of my scripts produced. Personally, I would like to be independently wealthy. (and another laugh from Duff) Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. Hmmm…one moment…I would have probably stayed in ‘Les Misérables’ another year. The show was on its way back to Toronto after touring. I was offered another year and I said, “No”. Because I was a cocky 22-year-old. Can you imagine I said that? Who says “No” to another year of full-time work in “Les Mis”? Little idiot, me. What will Duff MacDonald not take for granted ever again? Oh, boy, it just hit me (and I could tell Duff was tearing up). My parents. Yep. Would Duff MacDonald do it all again if given the same opportunities? No. Completely, I call it divine order. Everything that happened, happened for a reason and put me where I am. I totally believe good and bad it all brought me to this place, and I’m talking to you, Joe. To follow Duff at Facebook: @duffmacdonaldmusic, Twitter: @DuffMacDonald and Instagram: @duffmacdonald To learn more about Duff, visit his webpage: duffmacdonald.com Previous Next

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

Back Jayme Armstrong Theatre Conversation in a Covid World Kevin Clark Studios Joe Szekeres I felt it was time after a month to continue discussion with professional theatre and performing artists to see how they’re doing. It’s now getting turbulent in Ontario and it has been the arts community so far that has helped us endure the emotional volatility of the pandemic. So I thought of a new title to begin new conversations. But who to ask first? When I reviewed Calgary’s Storybook Theatre production of ‘Annie’, I thought why not ask Director Jayme Armstrong to see if she would be interested and available to share her thoughts. And I was pleased she agreed. Jayme’s zeal, enthusiasm, and love for and of the theatre industry was highly infectious, and that’s something I wish all of us would catch from her. She and I had a good laugh when I told her I remember her from her work on CBC’s ‘How Do You Solve A Problem Like Maria?’ where she made it to the top three finalists to play Maria in the Mirvish/Sir Andrew Lloyd Webber production of ‘The Sound of Music’ at Toronto’s Princess of Wales over ten years ago. But enough living in the past for me. Jayme has been one extremely busy lady as you will see from our Zoom conversation. She is a staple performer at Ontario’s Drayton Entertainment plus she has just received her master’s degree in Arts and Cultural Management. She and I both agreed that the production of live theatre, both at the professional and non-professional/community theatre is going to look so different when we emerge from Covid. Thank you so much for the good conversation, Jayme: In a couple of months, we will be coming up on one year where the doors of theatre have been shut. How have you been faring during this time? Your immediate family? I will say that it has been a journey. As theatre artists we’re used to almost over functioning because we’re self-employed. Our level of busy generally exceeds what the average person’s level of busy is. Going from that to absolutely nothing was shocking. It was totally shocking almost to the point where a lot of artists didn’t know how to function. One of the beautiful things that happened and that we saw, and I expected, were the artists who stepped up during this time. They were the first to step up online and provide the content, free classes, things to do. So many theatre creators and artists do so many other things. They wear many hats in order to sustain themselves as yoga, dance and art teachers. They draw on their bag of tricks to see what they can offer in times of peril. I was really moved by all this because this is humanity to me. In times of struggle, we always see artists who step up. It is the most beautiful thing about the industry in which I work and, for me, it is one of the most addictive things about the industry. There are so many challenges about the industry and some things that work against my personality as I crave stability and consistency. The theatre industry can be a bit tricky because you never know where your next job is coming from. Having that faith it will come, that it will be there and you’ll come across people who will see things the way you do can be tricky. The initial challenge of Covid was the unknown. When will it come back and what will it look like? And ironically here we are, approaching a year later, and we still have the same questions. My immediate family has been doing well. As someone who is used to being incredibly busy I’ve had a lot of extra time to spend with my immediate family. My father has had a varied health existence over the last while. I lost my mom to cancer when I was 26 years old. The focus on family for me has been huge because as I’ve gotten older I’ve realized just how fast time passes. Covid has put a new influence in my life to focus on that which is important. Really, we’re so quick to overprioritize our work and our commitments and so many things going on in our lives. Simply put, the thing that we really missed were the people. The other stuff can go and the things that mattered were nearest and dearest to our heart. I’m incredibly grateful to re-focus on the other aspects of my life that perhaps I’ve ignored in the quest for this career I’ve chosen and the sometimes-all-consuming thing I’m doing. Scarlett, my dog, is doing better, thank you for asking, Joe, and for supporting. It’s so hard with animals because they can’t tell us what’s going on and what’s hurting or bothering them. They hide their pain from us because they don’t want us to feel it. How have you been spending your time since the theatre industry has been locked up tight as a drum? Well, I’ve directed a production of ‘Annie’ for Storybook Theatre in Calgary. One of the things I did very quickly was pivot my side business. My side business is ‘Enchanted Entertainment’ and we do characters for birthday parties and children’s events. It’s my labour of love. I started ‘Enchanted’ because of my mom. She was an incredibly charitable person. When I really started starting to get busy in my career in my mid twenties, I found that I needed another outlet, something that wasn’t consuming me in the way the theatre world can consume artists. The theatre world can become innately obsessive as it’s something we really have to put ourselves into. And yes, at times, the theatre industry can be a little toxic for ourselves if we’re not careful and taking on self criticism and all of the doubt and uncertainty. I needed an artistic outlet that wasn’t that. I needed something that was happy and that had an opportunity to give back to others in the way I had been so lucky to receive. The first thing I did when Covid started was I immediately pivoted and shifted things online. Not for the purpose of our benefit as our tiny company, it was for charity. What I knew would probably happen was that families would be struggling for so many reasons. Yes, we saw the effect on the elderly and senior citizens, but I also saw the effect Covid would have on the kids. With the kids, they’re at such an influential point in their lives to be without any artistic influence potentially for two years PLUS that is enormous. I thought in my own little way, this was my way to give back. I partnered with companies like Hospital for Sick Children and Make a Wish Foundation to grant wishes to kids that weren’t able to have their Disney trips. With children who were terminally ill, we were able to do a Zoom call for them with their favourite character. My wish was to bring some joy to the kids in a very dark time. Getting to watch not only the kids but watch the parents seeing their child have that moment of happiness in this bleak, grey time, my life is forever changed. If I’m truly being honest with myself, why I did this was simply for the reason I didn’t know what else to do. I didn’t know what to do with myself with the loss of everything in my life. It was my way of coping. As Covid went on and summer approached, things started shifting and there was a lot going on with Black Lives Matter here in Canada and the US. Everyone was thinking “I need to go to my own bubble and close the window for the summer and get outside”. We pared back for a bit in the summer as we got tired online and so was everyone else involved. I’ve never experienced anything such as what we did for the kids. It filled my heart in a way that nothing else can. I’ve never experienced anything like it. Doing this totally for free, voluntary, and to see the expressions on the kids’ faces was far more important in that moment. It was a privilege what we do. 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? (Jamie chuckled and then stated) This is such a loaded question. Theatre is often described as an escape. That’s our job in the theatre – ‘to provide escape for people’. In terms of Covid, it’s had periods of time as being as escape for me because life has looked so entirely different. However, the state of the world we’ve experienced during Covid, I don’t know if I would describe that as an escape. There are so many things in the world right now that have come crashing into our existence. I honestly believe for myself was Mother Nature’s way of correcting what was happening in the world – some of the selfishness, some of the unkindness, it’s been a chance for the whole world to stop and have things taken out of their everyday reality and examine the hardships all over the world. We needed to look beyond ourselves and the end of our own little nose. Covid doesn’t discriminate. No one is immune. So, in terms of the escapism, yes, for me personally, I can recognize even as a self-employed artist (sort of the bottom of the barrel) that I lead an incredibly privileged life. I’ve been incredibly lucky. I’ve living a beautiful career; I’m one of the few artists I know who owns my own home, on my own. I can recognize in many ways as a Canadian, how privileged I am to live in this country, just to be born here. The fact that I was born here, into my family, my ability, my intelligence, my heart makes me privileged. In terms of escapism, I can only say there’s been periods as the world has come crashing in at a few points. There has been some beautiful movement in my life in learning to relax, in learning to accept that as an over achiever, over worker and over thinker, I cannot control the outcome. It doesn’t matter what I do right now, I can’t make my industry come back. I can’t go back to work the way I want to. I just have to wait and be patient and there’s nothing I can do about that. 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 will say that this is a very fair and accurate prediction that we won’t be back full tilt until at least 2022 for a number of reasons. It will depend on the roll out of the vaccine. From an arts administrative perspective, Alex Mustakas (one of my mentors from Drayton Entertainment), always says it is called ‘show business’ not ‘show fun’. Yes, it is fun and a privilege, but you cannot continue to do it unless you are making money doing it. That is how we sustain productions and produce and create more and satisfy our audiences while growing them. Realistically it’s more like three to five years before theatre will come back. The majority of these theatre companies will produce less shows, smaller shows, less rehearsal time. They’ll be looking to pare down their costs because many of these companies are not supported by the government or external funding. They still have to continue paying their overhead and their staff to run so many areas. The unfortunate reality for arts organizations is that they are suffering, bleeding and they are going to continue to do so until they can get back to a place where they are producing. That also is impacted by people’s expendable entertainment dollars. In terms of live performance, we’re in the fortunate situation that people will be ready to get out and do things and return to experiences that feed their heart. I do believe that live theatre is a totally unique experience for that. Although I enjoyed directing Annie that I knew would be transferred to film, it’s not the same as live theatre. There’s an energy and magic at live theatre that you cannot replicate on film. 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? The one thing that I was always taught growing up – if you want to remain in the theatre industry, you have to be a lifelong learner. There is always going to be somebody younger, prettier, more talented coming up behind you. And that can instill a huge sense of fear in you or it can light a little fire under your butt moving forward. Keep growing and changing. Finding my way to Drayton put me in a situation where Alex Mustakas sees no limits in what you can do. In an industry where you’re often typecast into certain types and performers, Alex sees ability and then trusts the person and the ability. There’s no limits. As a result, I haven’t been typecast into anything. I now play such a huge variety and it’s challenged me to grow. In playing such a variety of characters, now that I’m transitioning into directing, I’m now more in tune with what it’s like to play a variety of characters and to explain it to people, let alone the transition to directing which is difficult to begin. How do you convince somebody to trust you with their multiple thousands of dollars, and you arrive at that first rehearsal in a group of friends who now you are in charge of to ensure the show goes forward. What I ended up learning was the only way to be myself. I wasn’t any different and my duty was not to try and be anything else. It was to just give everything in my heart that I was lucky enough to be a part of. 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 do agree in a sense about feeling danger in the work, but my phrasing would be a little bit different. Danger equates a fear-based mentality, and I really do my best not to lead through fear. There is enough fear generally in my industry to really put themselves out there and to remain incredibly vulnerable. I do my best not to equate things from a fear perspective. Danger does equate to fear so that’s the first part to this question. Fear challenges us to function outside of our comfort zone, and that is something I am for. When we function outside of our comfort zone, it challenges us to change and adapt and that makes us grow as people, as performers and as creators. On top of that great theatre should inspire great change in the world. That’s why we produce theatre to inspire change. It’s an interesting thing right now in terms of what’s happening in the world in general. We’re working hard as a society to correct and right some of the injustices, things that are wrong. But if we go back and change our entire theatre history, how do we know how far we’ve grown? Isn’t great theatre also saying, ‘Wow, isn’t that something from 40 years ago?’ Have we come far enough? I get concerned sometimes that we just take things that no longer serves us and say that doesn’t exist anymore. But that’s a great barometer for change and whether we’ve come far enough. The truth is we can always do more, we can always do better. So, I do agree with Ms. Caldwell’s statement, but I would phrase it differently. 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 speak a lot about vulnerability now because the truth of it for myself is that I’ve discovered that I’ve had an enormous fear of vulnerability. That is the truth. I wouldn’t be vulnerable as a performer. Eventually, through circumstances in my own life, I’ve learned that your greatest power is your vulnerability. As an artist, it is essential to be vulnerable. I would not have been able to make this transition to director if I did not discover my vulnerability as a performer. It is an enormous gift and power to share your vulnerability. It is not weakness. Sometimes we are taught through the industry and other means that expressing vulnerability makes us appear weak. As female leaders, that’s definitely something we are shown – don’t be vulnerable, sensitive, weak. My greatest power is potentially (and I’m discovering it in real time) learning to lead through female energy NOT through male energy. To become the best leader and arts creator I can be, I need to trust in my vulnerability because that’s going to make me the best female leader that I can be. 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 interest 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? We talked earlier about the trajectory of theatre and when it will possibly be coming back and realistically what it will look like. It’s another unknown. I’m proud of the way my industry has adjusted given what Covid threw at it with limited number of resources. The curiosity I found in myself was through my experience in directing ‘Annie’ for Storybook Theatre, completing my Master’s in Arts and Cultural Management and discovering this art administrative perspective that I’m very interested in discovering. This time has been very transformative in discovering these things for myself. Nothing is the same. The theatre industry is not the same. When it comes back, it will innately look different because it will have to. And the way we produce. Will we go back to the way we produced things before? I doubt it because are used to being in their homes and having things accessible at their fingertips. There will be more variety made available online whether or not I personally view it that way or not. I’m a purist when it comes to theatre innately, but to touch and reach people we’re going to have to figure out how to do that and what it looks like. I’m really inspired by the growth I’ve seen in the short time. I know this will continue. I have a new interest and curiosity in how to produce live theatre in sustainable ways to reach more people. Producing theatre is expensive and do people really realize this. You can stream Netflix or buy a $35 + for a ticket to a professional show. So why would people want to purchase such a high-ticket price? Yes, there is magic in the theatre and it’s not for everybody. But that’s why the ticket price is a tad higher than Netflix. In order for the industry to move forward, what I see coming out of Covid is that we are going to have to get very good at sharing resources and I’m curious how do we go about doing this. I tagged up with Storybook Theatre because I was curious in working with young people to ensure they don’t go without the arts in their lives for at least 2+ years now. Yes, we realize that our seniors are our die-hard supporters of the theatre, but what are we doing tor ensure young people become supporters and subscribers as the seniors are? The seniors may be fearful upon returning and I’m curious how we accomplish to make the seniors feel safe plus ensure we begin to appeal to a younger audience. Jayme welcomes connection to her social media accounts through Facebook: Jayme Armstrong and Instagram: jayme_and_scarlett Previous Next

Back 'Counter Offence' by Rahul Varma Onstage at Montreal's Segal Centre for the Performing Arts Courtesy of Teesri Duniya Theatre's Facebook page. L-R: Arash Ebrahimi, Oliver Price and Howard Rosenstein Joe Szekeres A highly complex drama of integrity and grit. It is the mid-nineties in Québec. ‘Counter Offence’ follows the story of Shazia (Amanda Silveira), an Indo-Québec woman caught in an abusive marriage with Shapoor (Arash Ebrahimi), an Iranian man who deals with parental problems and immigration concerns. Shazia’s mother, Shafiqa (Ambica Sharma) and father Murad (Andrew Joseph Richardson) are at their daughter’s side during her ordeal. Shapoor is arrested on domestic violence charges by Sgt. Galliard (Oliver Price), a Québec police officer. Galliard shows his true colours in how he feels about what Shapoor has done. Moolchand (Aladeen Tawfeek) a lawyer/activist comes to Shapoor’s defence by accusing Galliard of racism. Clarinda Keith (Sophie-Thérèse Stone-Richards), a social worker, defends Galliard even though the Québec police are noticeably racist against people of colour to support the voices of vulnerable women. Ultimately a dramatic turn of events occurs which changes the lives of these characters. There was a talkback after the show, and I stayed because I wanted to hear both what the playwright had to say and what the other audience members were thinking. The audience sits on opposite ends of the auditorium with the action taking place in the centre. The stage is divided into smaller playing spaces from Gilles Prougault’s office to Shapoor’s holding/prison cell to Clarinda Keith’s office. The play is set in the mid-nineties as there is a reference to then Québec premier Jacques Parizeau’s racist incendiary comment of the reason why the 1995 provincial referendum did not sway on account of the ethnic vote. As the play moves forward, the actors sometimes will sit on stage left in chairs. Playwright Rahul Varma’s script is part courtroom drama. At times, the transition seemed clearly obvious. At others, I wanted to see a bit more of the personal drama playing out first. Periodically, the characters break the fourth wall and speak to the audience as if they are in a courtroom. It appears as if the audience becomes the jury trying to make sense of and get to the truth of what happened. The audience sits on opposite sides of the auditorium with the story’s action taking place in the centre. Marie-Ève Fortier has nicely designed the front of where the audience sits as the jury box. Aurora Torok’s lighting design effectively spotlights those individual scenes with a clear focus. Since the play takes place in the mid-nineties, Diana Uribe has selected appropriate contemporary clothing of the time period. Playwright Rahul Varma has written a highly charged edge-of-the-seat drama that kept me focused to the end. Murdoch Schon’s direction remains assuredly clear throughout. The tight-knit ensemble cast offers uniformly solid and believable performances. The topic of racism not only in Québec but in any province is a complex and troubling one for other underlying associated issues. Schon points this out in the Director’s Note when Schon stated: “Counter Offence is not a single-issue play [as it cannot be reduced]…to shrink the enormity of what [the play] grapples with. Varma writes in his Programme Note the play: “addresses the struggle for justice at the intersection of race, gender and culture simultaneously.” Indeed, with this background, it becomes extremely important to keep our eyes and ears always open and try to get as clear of a picture as we can. It’s not easy to always do this during the performance because the language gets nasty and hurtful. Arash Ebrahimi is a tortured Shapoor who credibly showed he wants to make amends with Shazia, but can he be trusted? Amanda Silveira’s performance singlehandedly made that clear to me he can’t, and I bought it. Anytime a man raises his hand to a woman is the last time he will raise a hand to her, and I was pleased both Andrew Joseph Richardson and Ambica Sharma supported this in their performances as the parents. Sophie-Thérèse Stone-Richards quietly assumes her strength of character as Clarinda in her interactions with Shazia and Guy Galliard. Oliver Price’s Guy is a hard-hitting and in-your-face brutal police officer. Yes, Guy’s heart is in the right place when he believes violence against any woman is wrong; however, to hear the language he uses when speaking to someone from another race is difficult and awful to hear. I persevered nevertheless and let him tell me what he wanted to say. Howard Rosenstein is a tough-as-nails Gilles Prougault who does his best to ensure he can keep Guy from losing his job. Aladeeen Tawfeek delivers a trustworthy performance as Moolchand. I truly believed he wants to help Shapoor at all costs. Even when Shapoor declares he shouldn’t have behaved as he did with Shazia, Tawfeek’s Moolchand becomes that strong parental figure Shapoor so desperately craves that is lacking from his own life. The surprise at the end of the play certainly made me do a double-take. That’s why I wanted to stay and hear what Rahul Varma had to say. Final Comments: The production closes on April 2. Go see it for the strong ensemble work. Running time: approximately 90 minutes with no intermission. The production runs until April 2 in the Studio Theatre at Montréal’s Segal Centre for the Performing Arts, 5170 de la cote Ste. Catherine, Montréal, Québec. For tickets, call (514) 739-7944. TEESRI DUNIYA THEATRE presents COUNTER OFFENCE by Rahul Varma Director: Murdoch Schon Stage Manager: Ava Bishop, Set Designer: Marie-Ève Fortier Costume Designer: Diana Uribe Lighting Designer: Aurora Torok Sound Designer: Violette Kay Performers: Arash Ebrahimi, Oliver Price, AndrewJoseph Richardson, Howard Rosenstein, Ambica Sharma, Amanda Silveira Sophie-Thérèse Stone-Richards, Aladeen Tawfeek Previous Next

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

Back Jonathan Wilson Moving Forward ​ Joe Szekeres It was great fun to reconnect with Jonathan Wilson once again after I had profiled him over two years ago. If you wish to read the first time he and I spoke, please go here: www.ourtheatrevoice.com/items/jonathan-wilson We both agreed on how important it was to try to remain positive in the changes once again regarding Covid. Jonathan's doing all right these last two years and adds: “Life is good. You’re always reinventing yourself even when you think you’ve finished the work. It’s always a new challenge. The other day I was speaking with someone about starting at zero periodically. That’s not meant to sound negative in any way, but it’s a reminder we’re always learning and always moving forward.” For the first time in forty years, Jonathan doesn’t have an agent. The agency changed and moved on, and he thought this was a good time to self-represent, really go solo and really create his own work in a way that has been “fantastic and very empowering”. During these last two-plus years, Wilson says the positive side was concentrating on solo writing as a self-creator. Back in his Second City days, he learned that as a writer he could hire himself. Additionally, Studio 180 has also assisted him in developing a new solo piece entitled ‘A Public Display of Affection’ that was filmed and, just this past spring, there was a public screening of it at Toronto’s Paradise Cinema on Bloor. Wilson says the lockdown has provided new learning opportunities for himself and his craft regarding digital capture of a theatre performance without an audience. He recently re-visited The Rivoli on Queen Street, one of his old haunts, where he did sketch comedy and improv. He got to perform a section of his upcoming show in front of a live audience, and he was thrilled he had the chance to do that. With the upcoming production of ‘Gay for Pay with Blake and Clay’, Wilson is looking forward to having a live audience in front once again. A press release stated the following about the upcoming production: “Every actor knows there is nothing more prestigious than bravely playing gay. But is your pesky heterosexuality getting in the way of booking a one-way ticket to award season? Join Blake and Clay, two seasoned gay actors, as they teach you to play gay and make LGBTQ about YOU. Go from straight to straight-up booked! Let their lived experience get your acting career off life support! Because representation matters, but their representation hasn't called in ages.” The Toronto Fringe sellout of ‘Gay for Pay’ won the 2022 Second City Award for Outstanding Comedy and Patron’s Pick. It opens on November 16 and runs to November 27 at Crow’s Theatre. Wilson worked with co-creator/performer and actor Daniel Krolik seven years ago on a Studio 180 piece for the PanAm Games. They became friends and Daniel encouraged Wilson to continue writing and self-producing. This past spring, Daniel was writing a Fringe show with co-creator Curtis Campbell and approached Jonathan to ask him if he would ever consider doing a Fringe show. They produced some online material. Jonathan saw the online material and it made him laugh. Curtis does a character named Alanis Percocet (and I had a good laugh over that). Jonathan started his career in Fringe shows. He only had to think for what he calls two seconds to agree to do the show. According to Wilson, Krolik and Campbell went away and wrote the show, a fake fun acting class. The premise? Two theatre performers have found an assigned gig and are teaching straight actors how to play gay. When he read the script, Wilson said he laughed so much and considers the rehearsal process and performance a real gift as an actor. He has a chance to continue honing his comedic skills as an actor. There’s improv in the show as well. There’s a community group effort with a lot of give and take with the audience in responses only. Wilson says: “It’s been a lot of fun and a reminder that in the theatre world comedy is overlooked. If anything, we need laughter right now.” Jonathan reassures that audience members will not be pulled up or ‘picked on’ to participate in the action of the production. As an audience member, he doesn’t like when that happens, and he doesn’t think it’s right for him to do that to an audience. At the Fringe, ‘Gay for Pay’ was sold out every night and Jonathan had a fantastic time doing it then. He credits and thanks Crow’s Artistic Director Chris Abraham for opening the door once again to perform it in the east end. Was there a reason the title does not use the names of the actors? Jonathan was looking for significance when he got the script wondering why the two characters are called Blake and Clay. Co-creators Curtis and Daniel said they both thought it sounded funny. Jonathan plays Clay so he wondered if he is supposed to be able to be moulded like clay in helping the students in this class take new forms. Director of the production, Curtis Campbell, told Jonathan: ‘Whatever! If that works for you, Jon, go ahead.” Jonathan then jokingly poked fun at himself by saying to give actors some seed and off they go to grow in whatever form they want. He’s having a great time with the production. Performances of ‘Gay for Pay with Blake and Clay’ run to November 27 at Streetcar Crow’s Theatre, 345 Carlaw Avenue (Toronto) in the Studio Theatre. Running time is approximately one hour with no intermission. For tickets, visit crowstheatre.com, click the WHAT’S ON tab and purchase tickets online. You can also call the Box Office at (647) 341-7390. I’ll be reviewing the production this week. Look for my review to follow shortly thereafter. Previous Next

Back Beatriz Pizano Looking Ahead Tanja Tiziana Joe Szekeres Near the conclusion of our conversation, Beatriz Pizano talked about the passion she recognizes in emerging artists and how important it is to nurture it, especially as we look ahead and move forward out of this pandemic. I must say that Beatriz herself is one deeply passionate lady about her work and craft. I highly respect learning more about her and the work she has accomplished over the past twenty years through Aluna Theatre. Beatriz Pizano (Actor/ Director/Playwright) is the founder and Artistic Director of Aluna Theatre. Over the last twenty years, she has built Aluna into an international company recognized for its unique approach to creation, its daring political work, and its experimentation with multiple language productions. Her bold performances, in English and Spanish, are marked by a distinct theatrical language drawing from the heritages, cultures, and languages from across the Americas. Aluna’s original productions have earned them 29 Dora Mavor Moore nominations and 11 wins. She has received a number of prestigious awards including the John Hirsch Prize, the Chalmers Fellowship, K.M. Hunter award, 100 Colombianos and Colombiano Estrella. She is the first Colombian actress to win the Toronto Critics award and a Dora for her performance in Blood Wedding. She has been recognized twice by the Colombian government (President Santos and President Duque) for her work as a promoter and a mentor to the Latinx artists living and working in Canada. In 2019 she was named of TD Bank’s 10 Most Influential Hispanic Canadians. We conducted our conversation via Zoom. Thank you so much for adding your distinct voice to the conversation, Bea: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. Well, to tell you the truth, Covid has been difficult in some things but at other levels for me, I was craving a pause. I haven’t had a rest. After running a company for 20 years, I needed to think where we are going now. There are changes that needed to happen. We struggled so hard as a diverse company. I was exhausted because as a tiny company we don’t ever get the funding needed to run. For example, I only have one full time person in twenty years, which is me, to run the entire company. The rest are all contract workers. That instability because with me just running Aluna and having to do everything for the company was challenging. I was working seven days a week and I was very tired. Before the pandemic, I was very lucky to get one of the Canada Council Grants, the New Chapter Grants, which was a large amount. I’ve never seen that amount of money before to fulfil my dream of working in a piece called ‘The Solitudes’ inspired by ‘One Hundred Years of Solitude’ by Gabriel Garcia Marquez. It was the first time I fulfilled my dream of working with a collective of women for an extended period of time. We worked over two years, working several times a year for a month, then another three weeks in building that beauty of process. So, after this experience, I felt like I couldn’t go back to a period of three weeks and go, go, go again. So, for me, it was a much-needed time of reflection personally. I love being home. I have a garden and working in it. I’ve made gigantic personal changes in my life, so I needed time to just sit. I also travel a lot with the Festivals as a presenter. I travel six months of the year and was always going, going. So, suddenly, for someone like me who has a personality of constantly being on the quick move all the time, I was at home. It was great at the beginning, but for me it has been an important time of reflection personally on who I want to be as an artist, and where do I want to go from now as a more mature artist. I’ve done all these things, and now success and all those things do not matter to me in the same way. I’m looking for a deeper soul now, what do I want to speak about now. I want to now move into the art of living. I’ve written so many plays about things that were important to me. I’ve started a new project, but I don’t know what it is I want to say yet so I’m going slowly. For me, the pandemic has given me this opportunity to reflect on how to implement these changes, how they are going to manifest, and how will Aluna deal with these changes. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? Theatre will never disappear, but it needs to adapt and speak to the times. Digital theatre will never be going away, but how is it going to evolve moving forward? As theatre artists we have to be in the here and now. Technology is the world of the new generation coming forward. These digital tools will not go away. If something is introduced, it will become part of the medium that we know. Soheil Parsa is directing ‘The House of Bernarda Alba’ next year, fingers crossed (and I’m crossing my fingers too because I want to see this production). When we look at this piece, this Lorca piece is so deep and profound as it’s about intergenerational trauma among the women. We’re not doing the ‘Bernarda Alba’ that everyone does. The company was very important because it coincided with the cries for social change and equity and being a part of that conversation in seeing how we move forward from now on. When I began the company there were five of us who are Latinx artists no more than 10 and now there is a beautiful community of artists who are very strong and emerging. I’m thinking now as I move forward, and I begin to think of whoever wants to take over the company. I accepted the role of Artistic Director when I took over the company 20 years ago, and now when it’s time for me to move forward, I’m now thinking about strong Latinx artists who can take over. I want to leave a home of strong artists, that was my dream. I want to leave a world full of strong opportunities in this company for a community of artists. As a small company, Aluna does not always think in terms of ticket sales. Instead, we see the audience as part of the process and in communion with the actor. That is so important. I’m known to give tickets away to those who cannot afford to see theatre because it’s important to introduce as many as possible to the theatre. Sometimes it’s hard to separate the artistry from the personal side because my work for 20 years was focused on Aluna. I was once asked if I had any hobbies, and I couldn’t state that I had hobbies. Everything I did was my art, and I wasn’t able to separate between the two. At times, it’s hard to separate the two. As a professional artist, what are you missing the most about the live theatre industry? Rehearsing in person. I’m about process. I work in a style of process, improvisation and discovering until you find things and throwing myself in the room. I’m a very physical actor. To embody the human body with the text is so critical in the process. It’s not the same on Zoom to feel and to connect with another actor. I need to be in the room with others. We were in rehearsal for ‘Bernarda Alba’, but I was turning the character into a stereotype because I was not in my body. It’s so hard to make that connection with another actor through Zoom. I never abuse the moment when the actor is in communion with the audience or with another actor. If you as actor can make the audience breathe with you, that is magical. I miss breathing in the same room with other actors and audience. Oh my God, I miss a lot of things. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? People. Artists need to be paid well and people need to be compensated really well. After Equity removes fees etc, sometimes actors are left with $12, $13, $14/an hour and I’m thinking, “Seriously?” There are actors who have been working for 20, 30 years and they’re earning below minimum wage? This doesn’t make sense. This is inhumane. This has to stop. Let’s compensate people well. I don’t know who created this system we currently have in place in the theatre. Over the years, we work people to the bones for opening night. When the actors leave, the director, crew and designers stay. Creation is such an act of opening the soul and I don’t understand why people are staying around when the actors leave. That can’t be justified anymore. For instance, some companies have implemented there must be at least two weeks of technical rehearsal in the theatre. When I work with Soheil, he has at one week before previews of tech in the theatre. When you don’t have a lot of money as many smaller theatres may not, you cannot do that. At Aluna we give at least one week of tech in the theatre because it moves the play faster and better for the actors. For me, I don’t know how I’m going to do it as a producer, but that practice of working people to the bone must end. Let’s compensate people adequately and fairly. Throughout this pandemic we have been paying people way above scale. People need to be paid daily rates because they work so hard. Describe one element you hope has changed concerning the live theatre industry. I don’t think it has changed, but there must be an awareness that the system we have been working with was not working for a lot of people. The work ahead is really hard. It will also be very exciting because there is a beauty in the multiplicity of artists and voices that we will soon hear. It’ll be hard because there is the unknown ahead, but with this multiplicity and diversity of voices, Canada will become an exciting artistic place. Canada already is because I’ve travelled to other places, but we need to come out of these boxes. Theatre has become a business on behalf of this illogical thinking because for some people it’s not a business. For some, theatre may be a social movement so we cannot put it under the same thing because it is looked at differently by many people. The conversation is changing but we have a lot of work to do. I don’t believe anything has changed yet. This is a process. Explain what specifically you believe you must still accomplish within the industry. Oh my God! I don’t know why you’re making me so emotional, Joe. (and Bea and I share a laugh) So many things. On a personal level, I’m still striving for so many things as an artist, and that’s making sure I have the time to prepare and to put it in my process. In this urgency to get things done, I don’t take short cuts, and I don’t respect the sanctity of the art form if I did that. It requires time through dedication through playwrighting and acting. I also want to learn so much more about directing, about playwrighting, about acting. The only way you learn is by doing it with opportunities. What I want to do is make sure I can create those opportunities for others as well, especially in the diverse and marginalized communities that have had very little opportunity to work. You don’t get better if you don’t work at it. That’s the reality. With every project I take on, I have this saying: “All I knew today. Tomorrow I will know more things.” If I can go to sleep at night and say, “Yes, Bea, you did everything you knew today. The reason why I didn’t do anything different is because I didn’t know it yet.” But tomorrow after completing that project, I will know more because I will have learned more. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I’m actually avoiding anything that talks about Covid. No. I don’t want to write about Covid at all. I think what people will crave is truth and connection as audiences. I do think works have to be very truthful. There may be pieces that go against the conventions as people love these interactive pieces today. My desire is the opportunity for theatre to return to truth and not fabricate stories. People want connection. Have the guts to go and perform in a park without the comforts and lights. That is breaking things down. Audiences will be demanding a lot from the artists when we return, and I think that’s great. The industry has to remember and allow that it’s not about tickets. We may have to do theatre in very unconventional places as we, the audiences and artists, return and emerge into this new understanding of the world. I’m looking forward to be challenged as an artist and audience member. So no, I will NOT go and see anything that deals with Covid. As an artist, what specifically is it about your work that you want future audiences to remember about you? That I believed deeply in everything I did to the bones. I cannot do something that I did not believe in. Hopefully people will recognize my complete commitment with every cell in my body what I’m doing, how can I pretend for others to join me on the journey. To learn more about Aluna Theatre, visit www.alunatheatre.ca ; Facebook: @AlunaTheatre; Twitter: @AlunaTheatre. Previous Next

Back 'Women of the Fur Trade' by Frances Koncan The Studio Theatre at The Stratford Festival The Studio Theatre at The Stratford Festival Geoffrey Coulter, Guest writer, actor and arts educator ‘Women of the Fur Trade’ is a silly, sometimes dizzy examination of a period in our country’s history…it’s a wildly entertaining, giddy and thought-provoking lesson. I would never have considered Louis Riel and the pre-Confederation days of the fur trade and the Red River rebellion stuff of sarcasm and satire! But then I witnessed an extraordinary and offbeat history lesson told by three women from this country’s turbulent past. A Métis fan-girl pines over the “gorgeous” but unkempt Riel while another sells furs and decries John A. Macdonald as a misogynistic colonizer with a hate-on for the Indigenous population. At the same time, a married settler woman has her eye firmly planted on Riel’s assistant, Thomas Scott. They sit on their rocking chairs, drinking and spilling tea, working, gossiping, and writing letters to the objects of their affection with hilarious results! “Women of the Fur Trade” is equal parts rom-com, farce, theatre of the absurd (zipline mail delivery) and magic realism (radio-controlled toy trucks and letters dropping from above!). It’s a creative, engrossing, campy, and whimsical look at Manitoba’s turbulent history. Set in a frontier fort near the “Reddish” River during the "18-somethings”, the play follows three women stuck in a single room. A battle rages outside, harkening to the beginnings of a new province. Although it’s not clear why this trio is together, one thing is sure, they can’t leave (or can they?), so they dish on Indigenous-settler relations, which side of the Métis resistance they stand on, and what this all means concerning their futures and friendships. Métis Marie-Angelique (Kathleen MacLean) has been sent to the fort by her mother for a better life and wants her heartthrob Riel to be part of it; Eugenia (Joelle Peters) is a scrappy Ojibway trapper from northern Manitoba who can more than look after herself. Cecelia (Jenna-Lee Hyde) is a settler woman waiting for her husband to return home. When heartthrobs Louis Riel (Keith Barker) and Thomas Scott (Nathan Howe) finally appear, they don't quite live up to Marie-Angelique’s hype. Riel is the self-absorbed man Eugenia warns the other women about while Thomas Scott hides a secret. Though dressed in authentic and culturally appropriate garb by costume designer Jeff Chief, this narrative is not a pioneer tale. It’s told in modern slang and references many of today’s pop culture icons like Britney Spears, Keanu Reeves, and even Tyra Banks. An ingenious device to engage a modern audience! Playwright Frances Koncan (of Anishinaabe and Slovene descent) affirms that the many Indigenous issues from our past are still relevant today. Her characters take us beyond the history books with palpable tales of being Indigenous, white, and women, all under the watchful eye of the imperious patriarchy. This refreshingly different play trades the traditional colonial male’s perspective for that of Indigenous women. Each character is clearly defined and recognizable from the outset, thanks to the fine acting talents of each company member. Their impeccable comedic timing and engaging, often hilarious, portrayals make singling out any one the 5-member cast a trifling and unfair exercise. Theirs is a masterclass in ensemble work. Director Yvette Nolan deftly handles some of the dark history of this country. She tackles the themes of misogyny, racial tensions, and cultural appropriation without it feeling preachy or politically aggrandizing. She heightens the pace while effectively engaging the audience by continuously moving her actors inside the small thrust space of the Studio Theatre; no one faces any one direction for very long. Samantha McCue’s wood-slat walls and planked stage feature a constantly flickering campfire where teacups and twigs magically appear from the earth around it. Suspended portraits of modern and historical men of fame and power (Rob Lowe, Oscar Wilde, Jean Chretien, even William Shakespeare) are strikingly incongruous as they peer down at the stage and the audience. Michelle Ramsay’s lantern-like lighting design transports us with aplomb between the fort and the forest. It’s clear where each scene takes place in such a small space. “Women of the Fur Trade” is comedy genius. It’s a silly, sometimes dizzy examination of a period in our country’s history that most of us don’t know anything about. But it’s a wildly entertaining, giddy, and thought-provoking history class. The production runs until July 30 in the Studio Theatre at the Stratford Festival. Previous Next

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

Back Gugun Deep Singh Self Isolated Artist Cylla von Tiedemann Joe Szekeres Gugun Deep Singh’s name periodically appeared liking some of the profiles I had compiled. When I saw his picture, I kept wondering where have I seen this man before. And once again it dawned on me. Gugun was part of a solid ensemble cast of ‘Men in White’ staged at Factory Theatre and directed by Philip Akin. His resume is impressive. Gugun was born in Toronto, raised in Mississauga but moved to Los Angeles with his family when he was in Grade 12. He graduated from high school in LA and attended university out there. Medicine was his sole goal at that time but theatre was his elective so he changed majors. Gugun spent a year discovering many new ways to fail while attending the Theatre School at DePaul University in Chicago. He took a year off, then moved to New York City. He completed the musical program at Circle in the Square Theatre School followed by a fellowship with the Shakespeare Lab at the Public Theatre. He has bee working as a professional actor ever since. Notable film credits include the ‘Pirates of the Caribbean’ films and the forthcoming ‘Scrapper’. On television, he has appeared in ‘Nurses’, ‘The Expanse’ and ‘The Detectives’. Our interview was conducted via a Zoom conference call and boy, oh boy did I ever have a good time asking him these questions and seeing sometimes his facial features when he answered. What struck me as very respectful after some of the questions was the way in which he paused to think before he spoke. Thanks for doing that, Gugun. I wish more people would be like that: 1. It has been the almost three-month mark since we’ve all been in isolation? How have you been doing? How has your immediate family been doing during this time? My parents live in California on the west side of Los Angeles. I’ve been ok. Some days are tougher than others. I’ll admit that I do consume a fair amount of media. It’s not always just television. I get a lot of energy from interacting with folks. I had just returned from the US before Covid-19 hit. They didn’t even have a name for it. I had gone a week ahead before my partner joined me the week after. We had a great trip visiting family, but to come back and feel the shift was very interesting. Some days are tougher than others, but it’s great to have purpose. Being disciplined to institute some structure. I look at the days as opportunities to do things rather than trying to structure the day. It’s been a complex time as well because I’m thinking about my parents and not being able to see them. They’re in their seventies so there is that possible threat to their health from Covid. On top of that, the cultural and social tumult has been on my mind and the issues coming to the forefront. Isn’t it interesting that we are now living through some chapter in a history book for future readers? I rarely leave the house without wearing the mask, carrying the hand sanitizer and practicing the distancing. No one in recent history in the western world has placed this much attention. Everything is covered. Gosh, this is one hell of an answer, isn’t it? To sum it up, I’ve been managing to keep positive, sustain my energy, remain curious remain healthy, check in on friends and family and maintain healthy practices. I’m maintaining these connections and encourage them to do the best they can because we all have a lot on our minds today from the threat of Covid. 2. As a performer, what has been the most difficult and challenging for you professionally and personally? In this time, I’ll caveat this by saying I moved back to Canada to be in Canada, to work in Canada as a Canadian, and to a lesser extent as a Canadian of colour. I wanted to be up here, to return home, and to check in on my peers. I have a lot of friends who work in film, television and theatre in Los Angeles and New York as that’s where I went to school and I do consider it my second home. I’ve been thankful for the opportunities in LA and New York as it has been a privilege. The creative market of film, television, and theatre in Canada and in the Toronto area is wonderful. I don’t have the relationships yet even though I have the experience. In the time of Covid, this has been rough to be in Canada in wanting to connect with others. Big time. I was looking forward to seeing with a freshness who was building work and where I wanted to work in the summer. Last summer I worked on a show in a park with ‘Shakespeare in Action’ in Weston. I’m very keen to collaborate with new artists to build relationships and longevity as a performer/actor and possibly diversify as writer, producer, and director perhaps. So, the loss of connection and the distance that Covid has brought with my peers in trying to achieve this goal has been difficult and getting the wind knocked out of me has been tough. The other challenge might be getting right to the point and returning to brevity in answering the question and carrying on. 3. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I was not currently contracted on anything. There were projects to which I was attached. I have some small things I’m developing myself, planning, putting notes together and having more time to work on it. I have the time, but I don’t know if I have the inspiration as other things take your energy. I have a couple of days to finish up on this indie feature. I want to remain on people’s periphery for my talents as an actor. To be hired because producers think I’m the one for the role. It’s going to be exciting to return with new conversations with new and established companies who might want to do things a different way. 4. What have you been doing to keep yourself busy during this time? Well, I’m trying to improve my culinary skills. That’s been a nice change of pace. I’m grateful for the time. I’ve pivoted a bit in learning other things I’m keeping in touch with family and friends. I’m in a writer’s boot camp learning about writing and producing of children’s television. John May has been running this workshop. I was invited to audit and now the nature of the health crisis has allowed me to focus on the writing camp. My partner and I are spending more time together which has been wonderful. I’m still approaching things as a performer first, but I’m also learning how to improve my producing and directing skills. I see this transition as an archipelago. I figure I’ll get to that island as long as I’ve come through the other islands. I remain excited for the day I can go back to work. 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? It’s okay not to be okay. That’s a bigger lesson as our ever-increasing understanding of mental health is key and how taxing it can be. There is no cookie cutter approach. In this time there are opportunities still opening up, but you’re going to have to re learn certain things. For example, a self tape. “Take a breath. What is it you want to say?” These are words I would also say to theater graduates. Theatre grads have received a certain group of opinions. Those opinions might be great training. Training is not any substitute for experience and the wisdom that comes from the experience. I would tell theatre graduates – “Get ready to apply your wisdom. Learn, read, invest as it’s the experience which is far more useful in the business.” Invest in who you are and distill what it is you want to say. We don’t get an opportunity to pause like this so take advantage of this opportunity to learn instead of receiving as you would have done when you were at school. 6. Do you see anything positive stemming from Covid 19? It’s slowed everybody down. And that’s good. Running at a breakneck pace is tough. It wears you out. Learning how adaptable, flexible and resilient you can be is important. This takes time and it’s okay that things take time. We also need to find the stillness, to breathe and to consider. The lessons coming out of the crisis – the crisis was already in our head and heart. If we’re speaking, we’re not listening. Turn it around. We need to listen more. 7. Do you think Covid 19 will have some lasting impact on the Canadian/North American performing arts scene? There’s an estimate that it might take ten years for the greater economy to recover. I’m trying to focus on something I learned in school - When on stage, distance can give you strength and perspective. If the distance will help give us perspective, then the nature of how endangered arts and culture has been will become apparent. I have no idea when we will come back. There’s a culture here in Canada of how we secure the grant and the money for arts and culture. I think ‘drive in theatre’ might become a thing. Old school skills with vocal training will come in handy; learning how to sustain the voice in an in the round space that doesn’t maintain the sound. Revisiting the Greeks and how they presented their plays will probably come back. Resources will be lean, but the collaborative spirit of communication and community will survive from the Indigenous community to the LGBTQD2 spectrum. The business will suffer a bit, but the arts will survive because the ingenuity is there. The rallies being reported around the world will have a far greater impact on us. The lasting impact will be the conscientiousness coming out of it. The awareness is there. The door is now open, and we have to step through it. The arts will remember this. We’ve had this awakening and the arts will continue to remind us to keep moving forward. There will be positive change and shifts in the arts as we move forward and become available. 8. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? Streaming has become part of our reality. The entities that are most greatly invested in the business have realized the opportunity of streaming for the need to survive. Not all the entities need it to survive. It will be necessitated in certain live streams of performances. People have adapted how to adapt and film a work where you feel like you are right there in the audience. It’s film making but how to adapt the energy of the moment in the play and how to bring it to life. I like the union has adapted so the artist continues to get paid. Residuals and buy outs are now on the table but it’s important the union brings this forward in this new reality. Presenting a play is different from a film and theatre. The theatre actor will have to become aware of the streaming. It will become part of the business. You Tube and streaming are not going away. 9. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Performing is human, especially as a theatre artist. That’s just my belief. Covid can’t take away the imperfections of the human, which becomes perfection for the theatre artist. Covid created distance but I can use that distance to create connection from distance. Remember, the plague didn’t destroy William Shakespeare and the theatre. He wrote about life which is messy. That’s life. Covid will not destroy the spirit of human imperfections of life. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton here are the ten questions he used to ask his guests: 1. What is your favourite word? It’s a Punjabi word – RUDG-KAY. It’s an inside joke. It means ‘with enthusiasm’/ ‘with gusto’. 2. What is your least favourite word? ‘Um’ – I say ‘Um’ a lot. It’s a place holder, just a sound. It’s filler. It’s a non word. It’s onomatopoeia. 3. What turns you on? Audacity/courage/authenticity (I feel like I’ve contacted these) 4. What turns you off? Cruelty 5. What sound or noise do you love? The bullfrogs at night by my partner’s cottage. 6. What sound or noise bothers you? Hesitation (it may be silent, but it remains very noisy) 7. What is your favourite curse word? Horseshit. It’s specificity, makes someone pause and it’s just waste. 8. Other than your own, what other career profession could you see yourself doing? I’d want to help people. Something where I’m caring for others where I could take pain away and help others. I have moments where I wonder if I did complete my medical training as a doctor or nurse. 9. What career choice could you not see yourself doing? Whatever anything repetitive, monotonous, uncreative. It doesn’t matter the field – ‘life in a cubicle’. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? I would want God to wrap me up in a big hug, look into the centre of me, and ask ‘Are you at peace?’ I would like very much to be able to meet that gaze and nod my head.” You can follow him on both Twitter and Instagram: @gugundeepsingh. Previous Next

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

Back 'Women of the Fur Trade' by Frances Končan Now onstage at the Aki Studio in Toronto's Daniels Spectrum Kate Dalton L-R: Kelsey Kanatan Wavey, Cheri Maracle, Lisa Nasson Joe Szekeres “A 21st-century Canadian history lesson that hooks its audience initially with humour in its quest to begin recognizing the truth of what actually happened. Strong performances marked by an assured and confident direction.” The time is eighteen hundred and something something. The setting is on the banks of a Reddish River in Treaty One Territory, Winnipeg, Manitoba today. At first glance, playwright Frances Končan’s ‘Women of the Fur Trade’ is hilarious. Set inside a fort, three uniquely distinct women of voice and character use twenty-first-century slang to share their views of life, love, and the ‘beefcake’ hottie of the day, Louis Riel (Jonathan Fisher). The married European settler Cecilia (Cheri Maracle) sits in a rocking chair in the centre. Cecilia sometimes becomes a referee between the other two in their discussions. She sometimes exudes a maternal instinct between the two and harbours an attraction to Thomas Scott (Jesse Gervais), Riel’s assistant. Métis Marie-Angelique (Kelsey Kanatan Wavey) sits in her rocking chair to Cecilia’ s right. Marie-Angelique is Riel’s number-one fan. She becomes smitten with him and will do anything to meet her heroic idol. Ojibwe Eugenia (Lisa Nasson) sits in her rocking chair to Cecilia’s left. When we first meet her, Eugenia is sullen; she struggles to understand why men behave as they do. Eugenia wears her heart on her sleeve. Her facial reactions usually indicate her internal feelings throughout most of the story, but that all changes as the story continues. Through a series of misguided letter correspondence and people pretending to be someone they’re not, ‘Women of the Fur Trade’ becomes an opportunity for Toronto audiences to see a Canadian historical satire of survival and cultural inheritance shift perspective. Končan’s script utilizes humour nicely to propel the story forward. This is smart because the modern vernacular dialogue hooks the audience into listening to what these women tell us. Some wonderfully staged moments also bring laughter. Floating down from the flies are Canada post baskets into which the women place letters to be mailed. At one point, a FedEx basket floated down, which brought laughter. The women also use sock puppets, and there’s one with a noticeable male appendage. The mix-up in the letter correspondence provides the impetus to ponder the subtextual meaning. I did not see the Stratford summer/fall 2023 production under Yvette Nolan’s direction or the Ottawa January 2024 production under Renae Morriseau’s direction, so I don’t have any reference points as a comparison. At the talkback, we were told Morriseau was suddenly called away due to a family situation. Kevin Loring directed the Toronto production, and Joelle Peters was the assistant director. The play takes some poetic licence in its Canadian history lesson. I am the first to admit shamefully that I can’t recall much about Riel’s influence in Canadian history. Hence, I researched before and after the production to refresh my memory about this iconic figure. There’s a great deal to admire about this production. For one, the visual look remains top-notch courtesy of Vanessa Imeson’s colourful and distinct costumes for each of the five characters. When I sat down, Lauchlin Johnston’s scenic design, set on risers on wooden slats in a diamond shape, caught my eye. The units of ribbons along the back wall are striking. The black-and-white pictures of men on the back wall became a sharp and stark reminder of a truth that I am prepared to admit—our Canadian history has been seen and told from the perspective of white males. These individual photographs look genuinely realistic. These men could jump out of the picture frames and take over the fort—credit to Candelario Andrade for creating this stunning visual effect. A second glance at those pictures on the back wall reminds us that the men in these photos look privileged in their dress and comportment; this is another vital fact to remember about ‘Women.’ Kevin Loring directs the Toronto production with an assured hand. He doesn’t allow the comic moments to overshadow the simmering tension the women experience as they sit and wait in the fort for news of any kind, especially the planned Rebellion. Under Loring’s capable hands, Cheri Maracle, Kelsey Kanatan Wavey and Lisa Nasson actively and attentively listen to each other from their rocking chairs. There’s nothing static as these ladies speak to each other with genuine conviction. They’re entirely grounded in their belief systems and ensure that others know exactly where they stand on issues. As Louis Riel, Jonathan Fisher is a bit of a drippy jerk. His Riel is haughty, pompous, and arrogant. Jesse Gervais’s Thomas Scott becomes an appropriate foil to Fisher’s Riel. Gervais is fastidious and particular in his performance as Scott when he wants to ensure Riel’s fan mail has been answered. Gervais and Kanatan Wavey’s seduction is excellent fun, and they never overplay the moment. One theatrical highlight involves the black and white pictures hanging on the back wall. Not only is that moment handled carefully in its execution, but it also becomes an impressive visual image I can still picture in my mind two days later as I complete this article. The Toronto production of ‘Women of the Fur Trade’ is admirable, but the question remains—is it necessary for audiences to see it? Yes, it is for its solid theatrical presentation. But there’s more in this production. Frances Končan’s vital Canadian history lesson reminds us to continue listening, paying attention, and hearing the First Nations' stories while ensuring they are never forgotten. And Another Thought: During the talk-back session, I asked if there would be a student matinee performance of the production. There is one. I don’t know about others. As a retired secondary school teacher, I agree wholeheartedly that young people should see this production. Teachers and parents, be advised that some adult situations are involved. I’m not one for censorship, and I don’t believe Končan’s script should be doctored in any way for student matinées. Nevertheless, teachers and parents, prepare young people before they come to the theatre. Running time: approximately one hour and 50 minutes with no interval/intermission. ‘Women of the Fur Trade’ runs until April 21 in the Aki Studio at the Daniels Spectrum, 585 Dundas Street East. For tickets, visit www.nativeearth.ca or call (416) 531-1402. WOMEN OF THE FUR TRADE by Frances Končan Original Direction: Renae Morriseau Revival Director: Kevin Loring and Assistant Director: Joelle Peters Stage Manager: Jackie McCormick Lighting Designer: Jeff Harrison Scenic Designer: Lauchlin Johnston Projection Designer: Candelario Andrade Costume Designer: Vanessa Imeson Sound Designer/Composer: MJ Dandeneau Performers: Kelsey Kanatan Wavey, Cheri Maracle, Lisa Nasson, Jonathan Fisher, Jesse Gervais Previous Next

Back 'Jersey Boys' The Story of Frankie Valli & The Four Seasons Now onstage at Thousand Islands Playhouse, Gananoque Randy deKleine-Stimpson Joe Szekeres This ‘Jersey Boys’ refreshingly looks at the story of Frankie Valli and The Four Seasons with less New York glitz and glitter. Don’t need all that to tell a hell of a good story. This is the third time I’ve seen ‘Jersey Boys’. What’s that old saying – three times a charm? Well, Thousand Islands Playhouse Director & Choreographer Julie Tomaino and Music Director David Terriault have staged a terrific show that is not only charming but also downright entertaining. Plus, they’ve added a personal touch which I’ll speak about shortly. ‘Jersey Boys’ is the story of how blue-collar workers from the wrong side of town became one of the pop music sensations in America of all time. These guys wrote their own songs, invented their own sound, and sold gazillions of records pretty much before they were thirty. What made me appreciate seeing ‘Jersey Boys’ this time round was the comment made by Tommy DeVito at the top of the show: “You ask four guys how it all happened, you get four different versions.” And with these four different versions (like the four seasons we experience in our lives each year), we never know fully what to expect. But that’s the anticipatory excitement of re-visiting a story we think we know because there might just be something different. Tomaino and Terriault gave me a wonderful surprise with their unique staging that is different from the other two productions I saw directed by Des McAnuff and choreographed by Sergio Trujillo. Don’t need to spend big bucks to do something different. The first time I saw the show was the sit-down Toronto DANCAP production over ten years ago and was blown away by its scope and breadth. It had the New York glittery feel to it in the musical numbers and ‘twas marvellous to watch and to hear as the spark was ignited immediately to set the plot in motion. The Canadian tour at the Ed Mirvish Theatre a few years later lacked that spark. What I remember about that production was the cavernous stage and the set which was so far upstage that I was unable to feel that spark in connection to the story. I really had to work at it. This 1000 Islands Playhouse production beautifully strips away that glitz. It’s not needed here as the immediacy of the Springer stage drew me right into the heart of the action. Instead under Tomaino’s subtle nuanced direction and terrific choreography, and Terriault’s superfine musical direction, the focus shifts to the four ardently told stories of what happened to these guys. And I wanted to hear and to see what they had to say to each other and to us in the breaking of the fourth wall (or the Rashomon Effect as discussed in the programme). Brian Dudkiewicz’s split-level set design amply fills the Springer stage without ever appearing or feeling cramped. The awesome-sounding band members play just off-centre stages to right and left of the centre stage entrance and exit. Brandon Kleiman’s costume designs are a fitting re-creation of the era. Kudos to Sound Designer Steve Marsh as the sound balance between the band and the actors worked beautifully from where I sat. Jareth Li’s sharply focused lighting design helped to underscore those heightened dramatic moments. A highlight of this occurred in the second act where Tommy DeVito is forced to come clean about his financial woes and what they have done to the group. The cast remains uniformly real in their individual characterizations and delivers primo performances. Niko Combitsis is a boyishly charming and angelic Frankie Valli who dutifully and believably matures throughout the story when he must deal with so much heartache in his divorce from wife Mary Delgado (a tough-as-nails Kaleigh Gorka) and the fallout from there. My heart broke for Frankie and Mary in two places – first when they sang ‘My Eyes Adored You’ to each other after another fight when he returns home from a tour. He’s on the stage looking up at her while she is on the second level looking down at him. The second occurs in seeing the deterioration of the relationship between Frankie and his daughter, Francine (nice work from Zoe O’Connor), and I could just sense something horrible is going to occur. If you’ve seen the musical or know the story, the worst does occur. To open the story, Kale Penny’s rough-around-the-edges Tommy DeVito wants only what’s best for the group. Penny, however, goes just that one step further that makes his DeVito memorable. Underneath that gruff exterior lies a truly sad man who really didn’t know how to appreciate the gift that was given to them all. Trevor Patt is a strapping Bob Gaudio who truly understood the value of the contract handshake, and the symbiotic connection between him and Combitsis remained indelibly strong. Tyler Check’s Nick Massi is the relatively quiet one of the group who sometimes just sits back and observes what’s playing out in front of him. But there’s that adage: ‘Still waters run deep’. When Check’s Massi finally does reveal his internal narration, his acute anger and palpable frustration were also felt deep within my very being. When Nick says he’s had enough and wants to go home, Check heartfully convinced me and I didn’t blame him at all for his decision to leave. There are some standout supporting performances too. Stewart Adam McKensy is a slick and savvy ‘of a different nature’ Bob Crewe. As Frankie’s reporter girlfriend Lorraine, Maya Lacey nicely reinforces how Franki must continually deal with the separation of the performer versus the private man. Another of the highlights of this production is the ‘mini-concert’ at the end. The audience has witnessed that life as a performing artist is not all sunshine and autographs as I was once told. However, when this entire sensational company returns for this ‘mini-concert’, the roof is blown off the Springer auditorium. That sheer enjoyment of song and dance emanated from the stage right into my heart. Looking around at everyone else, it appeared the same happened to them. Final Comments: Great storytelling told by a likeable and knockout ensemble of players who deliver dynamite performances. Get to see this ‘Jersey Boys’ before it closes. Running time: approximately 2 hours and 35 minutes with one intermission. ‘Jersey Boys’ runs to October 30 in the Springer Theatre of the 1000 Islands Playhouse, 185 South Street, Gananoque. For tickets, call 613-382-7020 or visit www.1000islandsplayhouse.com . JERSEY BOYS The Story of Frankie Valli and The Four Seasons Produced by Thousand Islands Playhouse Book by Marshall Brickman and Rick Elice Music by Bob Gaudio and Lyrics by Bob Crewe Director and Choreographer: Julie Tomaino Music Director: David Terriault Set Designer: Brian Dudkiewicz Costume Designer: Brandon Kleiman Lighting Designer: Jareth Li Sound Designer: Steve Marsh Stage Manager: Rebecca Eamon Campbell Performers: Tyler Check, Niko Combitsis, Caleb Di Pomponio, Kaleigh Gorka, Maya Lacey, Stewart Adam McKensy, Zoe O’Connor, Trevor Patt, Kale Penny, Robbie Towns, Daniel Williston. Previous Next

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

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

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

Back Charlotte Dennis and Deborah Drakeford ARC's premiere production of MARTYR Courtesy of ARC Joe Szekeres In early December, I had the chance to profile mother and daughter Deborah Drakeford and Charlotte Dennis who are part of quite an impressive ensemble of cast and crew of ARC’s first production of 2023: MARTYR by Marius von Mayenburg (translated by Maja Zade) which is the North American premiere of the play to be directed by Rob Kempson, his first production with ARC. I first learned of ARC in early 2020 just before March of that year when the world changed as we know it and wanted to learn more about this company. On its website, ARC bills itself as: “an ensemble-based company that produces contemporary international theatre in a multinational city. We take a rigorous, bold, socially active, and highly collaborative approach to producing thought-provoking international works in their Canadian premiere. By collaborating with community stakeholders, non-governmental organizations, and our audience, we create this work to engage with relevant global conversations. Community engagement and social justice are at the core of who we are as theatre-makers.” Deborah and Charlotte’s evident enthusiasm for MARTYR certainly led me to engage with what they were telling me about the production. Both Deborah and Charlotte are still feeling somewhat nervous about returning to the theatre but are grateful for the implementation of ARC’s solid Covid policy. Everyone has been wearing masks during the entire rehearsal process and they won’t be without their masks until the tech/dress, and Deborah smiled saying that’s when they will all get a chance to see everyone’s faces again. Charlotte echoed Deborah’s sentiments by telling me: “It feels safer as this is my first show back after Covid.” I found it interesting that Deborah has performed in two faith-based plays back-to-back. In November, I saw her wonderful performance as Sister Aloysius in BNE’s riveting production of John Patrick Shanley’s ‘Doubt: A Parable’. Drakeford jokingly stated she has performed in one-word titles in the last few shows: GLORIA (another terrific production), DOUBT and now MARTYR. Although MARTYR might be considered a tale of religious extremism, Deborah states it’s “much more than that”: “It’s about loneliness. It’s about seeking community. It’s about a young man trying to find his identity and his way in the world. He latches on to religion which in turn affects his schooling, his friendships, and his family relationships. In his desire to seek community, he actually further isolates himself.” MARTYR is an exciting piece for Drakeford as it goes to crazy places and she’s looking forward to seeing how that sense of ‘craziness’ is going to be achieved on stage. For Dennis, in terms of the plot, she states: “We are at a very volatile time globally and MARTYR comes at the perfect moment because we know what isolation does to the human person since we’ve engaged in these many times these last two-plus years. We know what these feelings can do in the depths of depression and sometimes that kind of pain can lead to very hard-shelled anger. We’ve seen it around us…engines are hotter…tempers flare easily…there’s been a rise in violence [of all kinds] and religious extremism, and I believe this stems partly from the way we’ve been isolated from each other and our communities.” Charlotte then made a comment which made me think further: “MARTYR is very topical right now and it’s an important discussion to talk about the difference between religion and extremism because often in liberal media we place these two terms together. She was also keen to speak about Rob as director. At an October workshop regarding the play, Charlotte was excited and a tad nervous because this was her first time back in the theatre with Covid’s embrace still felt. Because MARTYR is such a volatile play and being in the room with Kempson, Dennis ran the gamut of emotions, wondering how rehearsals might proceed under Rob’s direction. According to Charlotte, Rob led: “a beautifully collaborative very curious deeply kind room that I felt completely safe throughout all of our discussions. It is a room I’m very excited to return to, and I thank Deborah for leading ARC and Rob in leading the room so generously and collaboratively.” What intrigues me the most about seeing MARTYR? It’s an important conversation starter about the difference between religion and extremism that Charlotte alluded to earlier. The play is neither Christian nor Catholic bashing. Charlotte says throughout the play the young male protagonist of the story cherry-picks and pieces portions of Biblical text together to back up his arguments and his own agenda. For Charlotte, that’s not talking about religion anymore. Because the play deals with issues that hit home to people of faith, those who may question elements of faith, will there be an opportunity for audiences to discuss, hear and listen to what other audience members are thinking? Deborah says the production team has planned for a couple of discussions with the audience after a performance, and she is really looking forward to that. She elaborated further: “We are all coming from such specific experiences and MARTYR just like DOUBT is going to hit people very particularly. So, to offer up a space where people can discuss and keep the conversation going is going to be really important. Plans have been put into place to allow for that feedback between actors and audience.” Audiences who want to discuss the show more in-depth should consider attending a Thursday performance with a Post Show Talkback where the cast will be joined by Jad El Tal of the Canadian Arab Institute on January 19 and Stephen Drakeford, an Anglican minister, on January 26th. This is a continuation of ARC’s signature Open Room initiative, a process of investigation featuring company members alongside Community Collaborators who help place unique and challenging plays in Canadian context before rehearsals begin. As our conversation concluded, I asked Deborah and Charlotte why audiences should see such a thought-provoking piece like MARTYR coming off the Christmas/holiday season. Deborah pointed out how ARC has a good track record for producing and delivering excellent and interesting performance pieces so that is one prime reason to see the production. I heartily concur on this account. Drakeford went one step further about why we must go to see the play: “That sense of isolation that we’ve all been feeling for so long. Now we are given an opportunity to be together in some kind of communion, to share an experience together and breathe together the vitality of theatre. But also to have this time and space to examine these potentially very tricky questions, and to have an opportunity to look around, to be curious and feel each other’s understanding and take on these questions and see things from another point of view. That’s vital, theatre is vital and that’s why I’m so glad she survived these last two plus years.” What’s next for Deborah and Charlotte once MARTYR concludes its run? Deborah considers herself to be a very fortunate actor. As soon as MARTYR opens, she will be in rehearsals for Amy-Lee Lavoie and Omari Newton’s ‘Redbone Coonhound’ which opens February 7 at Tarragon Theatre. In March 2023, Charlotte will appear in WHAT ROUGH BEAST with Théâtre Ouest End and Tantalus Theatre in Montréal. She considers this production an opportunity to visit ‘home’ as she studied in the city. The production is being staged by Theatre Ouest. Just like her mother, Charlotte is quite excited about this chance to go from one show to the next. The MARTYR cast features ARC Co-Artistic Producer and Resident Artist Deborah Drakeford and ARC Resident Artists Aviva Armour-Ostroff, Ryan Hollyman, and Nabil Traboulsi, with Ryan Allen, Richard Lee, and Adriano Reis in their ARC debuts. ARC Resident Artists Jackie Chau and Tamara Vuckovic will lead Set and Costume Design and Stage Management, respectively. The rest of the creative team includes Michelle Ramsay (Lighting Design), James Dallas Smith (Sound Design), Taija Shonée Chung (Assistant Director), Hannah MacMillan (Assistant Stage Manager), Za Hughes (Assistant Lighting Design), B.C. Batty (Technical Director), and Jack Rennie (Fight Director). Julia Dickson will be the Producer, with Patrick Lynn as Production Manager. LISTING INFORMATION The Canadian Premiere of MARTYR, an ARC Production Dates & Times: January 13 to 29, 2023. Opening night is January 14. 8:00 p.m. (Tuesday-Saturday) & 2:00 p.m. (Wednesday, Saturday & Sunday) Venue: Aki Studio Theatre, 585 Dundas St E, Toronto, ON M5A 2B7 Ticket Prices: Tickets from $20 (early bird) to $35; discounted tickets are available for seniors, students, groups, arts workers, and on Tuesdays. Ticket Link: https://www.nativeearth.ca/shows/martyr/ Website: Arcstage.com Twitter: @arcstage | Instagram: @arcstage | Facebook: ARC Previous Next

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

Back Matthew MacKenzie 'This was a Covid romance where my wife Mariya were able to get married and welcome our son into this world, against all odds.' Credit: Nastya Gooz. Matthew appears with his bride Mariya Joe Szekeres What an interesting name for a theatre – ‘Punctuate! Theatre’. This name caught my eye immediately and I wanted to find out more. And there is more. Recently I received a notice about Punctuate Theatre’s touring production of the world premiere of ‘First Métis Man of Odesa’ that will run in the Franco Boni Theatre at Toronto’s Theatre Centre. Punctuate bills the production as a ‘romantic comedy for an unpredictable world.” ‘First Métis Man of Odesa’ is now playing in Kamloops BC until March 25. The production then travels to Toronto at The Theatre Centre from March 30 – April 8. It will then travel to Edmonton’s Citadel Theatre from April 22 – May 13 with its final stop in Vancouver from May 25 – June 4, 2023. Written by Matthew MacKenzie and Mariya Khomutova and directed by Lianna Makuch, this world premiere according to Punctuate’s website is “based on actual events. This captivating real-life love story is set against the backdrop of the COVID pandemic and the Russian invasion of Ukraine. Award-winning playwright Matthew MacKenzie joins forces with his wife, award-winning Ukrainian actress Mariya Khomutova, to tell the story of their COVID courtship and share an intimate perspective on the personal impacts of the war in Ukraine.” I had the opportunity to conduct an interview via email with Matthew MacKenzie. He trained at Montréal’s National Theatre School in their Playwriting Program led by Brian Drader: The name ‘Punctuate! Theatre’ immediately captured my attention. Could you tell me about its genesis? "I was not with the company when it was founded, but my Managing Director Sheiny Satanove says “The name Punctuate! Theatre was a collaborative effort between the five founding members. In their initial meetings, they determined what type of theatre they were interested in making - subversive, relevant, and thought-provoking. It was important to them (and still is to the company today) to use our productions to give audiences something to think about, to ‘punctuate’ their thoughts. From there the name was born!” In your professional opinion, how have the changes from the worldwide pandemic affected where you see Punctuate! Theatre headed in future. "The changes forced us to stop touring our work for a couple of years, but we are happy to be touring the country again in ‘23 with ‘First Métis Man of Odesa’. One of the exciting things to come out of the pandemic is a virtual Indigenous playwriting unit we have formed with our partners: the Pemmican Collective. It went so well during the height of the pandemic that we decided we wanted to continue with it into the future. We are currently supporting the development of fifteen Indigenous projects through the unit." Tell me about the plot of ‘First Métis Man of Odesa’ to whet future audience appetite. "The play follows my partner Mariya Khomutova and my love story from a meeting during a theatre workshop in Ukraine, to Mariya visiting me in Toronto, to me returning to Ukraine, where I met Mariya’s parents in the magical city of Odesa. Two days after I flew back to Canada after that trip, Covid really hit, and countries closed their borders–so we suddenly didn’t know when we would be able to see one another again. A month after that trip, we learned that Mariya was pregnant. So I had to figure out how to fly across the world in the midst of the pandemic and sort of sneak into Ukraine. I was able to do this after we had been apart for four months and we married on a perfect summer morning in Odesa. Back in Canada, we had to jump through many bureaucratic hoops, with Mariya finally accessing healthcare shortly before the birth of our son, Ivan. We were just about to return to Odesa for our son to meet his grandparents there when the Russians launched their full-scale invasion. Since that time, when pretty much everyone my wife has ever known has had their lives turned upside down, we have welcomed my mother-in-law Olga and contended from afar with the horror Putin is unleashing on Ukraine." From the release I received, the play was presented as a radio play at Factory Theatre during the height of the lockdown in 2021. It was written by you and directed by Nina Lee Aquino. This March, 'First Métis Man of Odesa' makes its on-stage debut and offers a continuation of the initial story told in the radio play. Have you made any major changes from the radio play script to the one that will be presented this month? "The big difference is that Russia had not invaded Ukraine when we did the radio play, so the effects the invasion had on Mariya and I provided the inspiration, both dark and hopeful, for the second half of the play." It has been wonderful to return to the theatre even though we are still in Covid’s embrace. Again, in your professional opinion, why is it important for audiences to see ‘First Métis Man of Odesa’? "This was a Covid romance, where Mariya and I were able to get married and welcome our son into this world, against all odds. I think people will respond really positively to a good news story coming out of this terrible time. And much like Covid, the invasion has had a profound impact on our lives but has been something out of our control. I think seeing the human side of how the invasion has affected people will really resonate with folks." Once the run of the play has concluded at the Theatre Centre, what’s next for Matthew MacKenzie? "I’ll be travelling to South Africa to participate in a residency in Johannesburg at The Centre For The Less Good Idea, where I will be developing a new play titled Genital Posturing Of The Vervet Monkeys Of South Africa." To learn more about Punctuate Theatre, visit www.punctuatetheatre.com . To purchase tickets for the Toronto production at The Theatre Centre, call 416-538-0988 or visit www.theatrecentre.org . Previous Next

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

Back Rebecca Northan "Improvisation is completely alive, completely responsive. There's honesty, a sense of permission and relief." Both photos courtesy of Rebecca Northan Joe Szekeres At the height of the pandemic three years ago, I had the opportunity to Zoom with actor and improvisation artist Rebecca Northan. You can find our conversation link here: https://www.onstageblog.com/profiles/2021/1/31/theatre-conversation-in-a-covid-world-with-rebecca-northan. Fast forward three years and our conversation continued. She’s a busy lady but enjoying every second of it. Rebecca has just closed ‘The Applecart’ and ‘The Game of Love and Chance’ at the Shaw Festival. What else is coming up for her? Not in performance since the pandemic, ‘Blind Date’ returns to Regina’s Globe Theatre on October 18. ‘GOBLIN: MACBETH’ opens October 14 in the Studio Theatre at the Stratford Festival. She will write and direct JACK: A BEANSTALK PANTO this holiday season, which opens November 24 and runs to December 23 at the Capitol Theatre in Port Hope. Northan calls GOBLIN: MACBETH a very new show. It has never been performed in Ontario. It was developed in 2022 for The Shakespeare Company in Calgary and described on its website as: “[a] theatrical experience not soon to be forgotten. It is a three-hander, mash-up [whereby] audiences are brought to the edge of the seat for a ‘spontaneous theatre’ experience.” At Stratford, the show features musician Ellis Lalonde, Northan, and Bruce Horak, her creative partner, who have all performed the show out in western Canada. Northan and Horak have been making shows for over thirty years. What’s the ‘mini story’ behind ‘GOBLIN: MACBETH? These creatures have found a copy of ‘The Complete Works of William Shakespeare’ and have read it cover to cover. They wonder who this Shakespeare guy is as he knows a lot about witches, fairies, goblins, and monsters. If the Goblins try to do theatre (and they’re unconvinced it’s a good idea, but they’ll try), they may understand more about humans. They chose ‘Macbeth’ because it’s the shortest. Rebecca and I agreed the Scottish play is terrific for high school students as they seem to love the witches, blood, gore, and murder. She even goes as far as to call it one of our perfect plays: “It’s got everything. It’s dark, scary, sensational. There’s something watching the train wreck of blind ambition.” As a retired teacher, I know the importance of getting kids to like Shakespeare. What better way to do that than to take them to a live production? Rebecca stated that she, Horak and Lalonde have performed ‘GOBLIN’ for student matinees in Calgary and at Vancouver’s Bard on the Beach. She compares performing for students to a rock concert. Rebecca and Bruce adore Shakespeare and remain respectfully faithful to Macbeth’s text. However, the two come from an improvisation background. Along with Lalonde, according to Rebecca, the three of them have ‘an internal permission’ to break out of the text at any time if something occurs to them. They can do this if that improv moment highlights something in the play, is directly related to it, or what’s happening in the audience at any given time. As actors, they are responsive to what’s happening in the room. Young people at student matinees don’t know what to expect; however, combined with the appearance of the Goblins and all the ensuing hijinks that follow, the students all wonder what this play is they’re watching. “That’s how we won them over,” Rebecca stated with an accomplished tone. I’m sure what the three of them accomplish for the student shows also applies to the other performances. Three words came to mind when I saw the Bard on the Beach trailer for ‘GOBLIN’ – creepy, eerie, but fascinating. Northan loved these three descriptors and said they’re apt for the production. What caught my eye immediately in the trailer was the Goblin mask she, Lalonde and Horak wear. These single silicone headpieces, which fit snugly to the face, are made by ‘Composite Effects’ in the States. The picture above next to Northan's headshot shows the three actors in costume. There is some articulation for the three actors, and the masks move slightly. For Rebecca, these headpieces are: ‘wearable works of art. There are veins in the headpiece and depth to them. They’re quite remarkable.” What is it about improvisation in GOBLIN and in the upcoming holiday panto for Port Hope’s Capitol Theatre that makes for great theatre? “It’s completely alive, completely responsive. There’s honesty, a sense of permission and relief. Improv lets the audience know they’re seen. I think, especially after two years of the pandemic (which we say is over, but it’s not), of being disconnected to having an experience where the performers see you and connect with you is so essential. It is the thing that live theatre can offer that nothing on your laptop or streaming device can…this modern notion of improv being a separate practice has never made any sense to me because there’s been improvisation in the theatre as long as there has been theatre.” With a wink and a twinkle in her eye, Northan says misbehaviour and it being in the best way is the hallmark of the work she does constantly. Misbehaviour is something our world needs right now. Once ‘Goblin’ concludes its run at Stratford, Northan is off to Port Hope’s Capitol Theatre to write and direct the Christmas/holiday fairy tale panto. She’s always loved fairy tale storytelling and listening to many accounts. She mentioned she heard a CBC broadcast that the ‘Disneyfication’ of fairytales has done a disservice as they serve to warn listeners of the dangers out there in the world but not to shut ourselves from it. Rebecca is looking forward to the experience. Although she’s never performed at the Capitol, she has known the Artistic Director, Rob Kempson, for over 15 years and says he’s terrific. (Side note: I agree, too). She’s excited that Rob trusts her and gives her free reign to prepare. Kempson is also a wonderful dramaturg and has given her excellent notes on the script so far. She’s written the Naughty version already. The Family version will simply have the mature references removed. Kempson told Rebecca that tickets to the Naughty Panto outsell the family version. She is utterly fascinated by the fact there is this hunger for naughty fairy tales. She says it’s not dissimilar to GOBLIN in that audiences want something familiar with a twist on it. It does something for us as audiences. The first panto I saw at the Capitol was rather adult in nature. A cast member carried out a particular adult toy without going into specific details. Rebecca’s version will not be that ‘adult-naughty.’ She and Rob have had some conversations already. Rebecca proudly states she is a storyteller first and foremost. She has to make a good play that will tell the story of JACK AND THE BEANSTALK – a pretty thin narrative – so what can she do to augment it? Then the jokes can come. Northan is more interested in naughty, cheeky double-entendres than overt dirtiness for the sake of dirtiness. The latter is of no interest to her at all. She describes the adult text as ‘flirting with the line’ while still telling a story. There’s nothing more satisfying than great double entendres. The line can be very innocent, and what the audience brings to it makes the double entendres. That’s an extraordinary meeting between the playwright, performer, and audience. ‘Blind Date’s’ performance runs at the same time as at the Stratford Festival. Although Rebecca is delighted it’s back, the play is still dangerous. A stranger will be brought up on stage each night and made the star of the show with the hope this person does not have Covid since the setting is a small space. Because ‘Blind Date’ exists in the present moment, it’s growing and changing, and Rebecca is thrilled the script continues evolving. “As it should be,” she quickly adds. The play is always for sale anytime, and anyone can book it. What’s next for the artist after the panto concludes at the end of December? She and Bruce Horak have been commissioned to create GOBLIN: OEDIPUS for the High Performance Rodeo put on by One Yellow Rabbit in Calgary. That’s happening in January/February 2024. Northan and Horak are also waiting to hear about some grants if GOBLIN: MACBETH goes to Edmonton. She’s also directing Shakespeare’s ‘Comedy of Errors’ at Bard on the Beach in the summer of 2024. To learn more about GOBLIN: MACBETH, visit stratfordfestival.com. To learn more about Port Hope’s Capitol Theatre, visit capitoltheatre.com. To learn more about ‘Blind Date’ at Regina’s Globe Theatre, visit globletheatrelive.com. Previous Next

Back 'Tessel' Toronto's Fall for Dance North and Harbourfront Centre - short film Toronto's Fall for Dance North and Harbourfront Centre Photo of Yvon Soglo by Esie Mensah Creations. Joe Szekeres Disclaimer: Before I begin, I must once again state that I hold no background or specific training in the study of dance and movement. For this review of ‘Tessel’, I will comment on the production elements and storyline. Recently, I held a fascinating conversation with artist Esie Mensah: 'Looking Ahead' Theatre Talk with Esie Mensah — OnStage Blog on her journey as a Black artist where I learned she was in the final stages of preparing her short film, ‘Tessel’ which premieres June 1. Esie articulated strongly how she has had to change her story narrative as a Black Artist to continue moving forward in her career as in the Canadian canon and mosaic. I will honestly state that I had to watch ‘Tessel’ twice because there is so much hidden underneath the messages that we see presented. More on this in a moment. I had forgotten to ask Esie the meaning of ‘Tessel’ during our previous conversation, so I had to ask. ‘Tessel’ is a shortened version of the word ‘tessellation’ which means an arrangement of shapes closely fitted together, especially of polygons in a repeated pattern without gaps or overlapping. In this case, ‘Tessel’ refers to the editing of the film, how the artists’ work, while filmed independently, come together in the film to represent the interconnectedness and power of the collective as Black artists. Okay, this gave me a starting point and this definition is now clear to me in understanding the film. Esie calls her short film ‘a crucial conversation on what it means to be an artist in his historical unprecedented time.” There are fourteen black dancemakers from across Canada involved in the making of this important short film. Additionally, ‘Tessel’ is the one-year anniversary of ‘Blackout Tuesday’ where organizations around the globe publicly committed to institutional change to help the Black community. ‘Tessel’ begins with the sound of the calming effects of water as a dancer in silhouette moves in quiet solitude. We then see a variety of dancers, male and female, move and dance whether there is music playing in the background, whether there is silence or whether the artist hears the music cerebrally and then moves the body to coincide with the music that is possibly heard inside the head of the individual. There are at least two male artists in the film, so I thought that was an important distinction to notice. Along with the movement and dance of the artists involved, I heard many individual voices underscoring the dancers’ movements. I’m assuming these voices were from some of the dancers who we were watching. This overlaying dialogue of important conversations and deep questions focused on messages that have probably been demanded of and from these black artists as they have progressed through their careers at various stages. At my first viewing of ‘Tessel’ I didn’t want to write anything down except just sit back and see where the story would take me. And I was gripped intensely from the first moment of seeing the dancer/artist moving with the sunrise/sunset in the background. The time of day wasn’t made clear so I’m guessing that since it is the beginning of the film, and the dancer is moving at sunrise. Vibrant and lush colours are beautifully filmed and sharply captured from the landscape right down to the texture of some of the clothing the dancers wear. The song ‘Mami Watah’ resonated within me as I listened carefully to the vocals while admirably and silently applauding the individual stories the artists told me through their movements, sometimes restricted, sometimes freely, sometimes direct and deliberate while others were sinewy and gentle. Even though I hold no formal background in any kind of dance or movement training, I was captivated by the movements of the artists and watching their facial expressions at times focused with contentment and stillness with eyes that appeared to be mystical and spiritual. Some of the questions and statements I heard underscoring the dancers also caught my attention, two in particular: “When you hire me as a dancer, you hire all of me. You don’t just hire what you see visually.” AND “The beauty of dance, as one of the first forms of art and storytelling, is that we are able to connect in most ways people can’t.” How utterly true these statements of every performing artist whether as a dancer, an actor, a singer, or any combination of these. Final comments: Make sure you pay attention to the credits at the conclusion of the film as they also give some important information that highlights the significance of the one-year anniversary of Blackout Tuesday, and of the Black community in their quest to achieve equity, diversity, and inclusion in all elements of the arts. Four words appear at the end of the film: spirituality, humanity, care, and the principles of love. For me, this short film bravely captures these four elements in a symbiotic relationship to each other while wonderfully highlighting the solo work of the brief moment of each artist. Give ‘Tessel’ a look. Film streams free on June 1. ‘Tessel’ is a co-production with Fall for Dance North and Toronto’s Harbourfront Centre. For further information to access ‘Tessel’ for viewing, visit www.harbourfrontcentre.com . Artists: LIliona Quarmyne, Lisa La Touche, Kevin Fraser, Eugene “GeNie” Baffoe, Livona Ellis, Natasha Powell, Alexandra “Spicey” Lande, Ravyn Wngz, Lua Shayenne, Raoul Pillay, Yvon “Crazy Smooth” Soglo, Gabrielle Martin, Ronald A. Taylor, Esie Mensah. Producer: Wayne Burns Previous Next

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

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

Back 'The Master Plan' by Michael Healey. Based on SIDEWAYS: THE CITY GOOGLE COULDN'T BUY by Josh O'Kane Now onstage at Crow's Theatre, 345 Carlaw Avenue, Toronto Now onstage at Crow's Theatre, 345 Carlaw Avenue, Toronto Joe Szekeres Voice Choice ‘The Master Plan’ is why we go to the theatre. Glorious. Stellar. Happy Anniversary, Crow’s. And what a celebratory year ahead, which begins with the premiere of Michael Healey’s ‘The Master Plan.’ A jagged roller coaster ride of heated, intense dialogue of accusations and innuendos flung back and forth, Healey’s furious script is chock full of detailed information. It’s not only what is said but the implication behind the words that make this production one where you’ll have to pay close attention because it’s delivered at lightning speed. ‘The Master Plan’ becomes a biting satirical look at what was meant to become an innovative experiment in building a sustainable Toronto waterfront neighbourhood that would be called ‘Quayside’. The Crow’s press release calls it, ‘a messy affair between Sidewalks Labs and Waterfront Toronto’. The play is based on Globe and Mail journalist Josh O’Kane’s ‘Sideways: The City Google Couldn’t Buy’. America-based Sidewalk Labs (part of Google) funded just over $1 million dollars for: “the construction of this new model of inclusive urban development along Toronto’s eastern waterfront. This model would strive for the highest levels of sustainability, economic opportunity, housing affordability and new mobility.” (sidewalk labs.com) What comes to mind in knowing Sidewalk Labs is a subsidiary of Google and American-based? The money, of course. Who profits from this deal? Is it tech giant Google? Is the profit equitably shared? Additionally, where’s the Canadian control beyond merely setting this neighbourhood in Toronto? Even with Prime Minister Justin Trudeau’s approval in 2017, this project failed. Miserably. Why? Issues surrounding digital surveillance and privacy among those living in this development became of grave concern. Anyone could be pictured twenty-four hours a day, 365 days a year, without written or verbal consent. The often distraught and frantic boardroom discussions about the building of this waterfront become playwright Healey’s focus and concern. It’s a theatre in a round setting with Joshua Quinlan’s and Kimberly Purtell’s clever staging in full array. Quinlan has created a corporate boardroom environment, and tables smack dab in the middle. Purtell’s overhead lighting on top of the tables with its dusky overhead lights strongly resembles a boxing ring. The actors slowly appear on the stage about 20 minutes before the performance and chat as their characters with the audience. I went down to centre stage where actor Peter Fernandes discussed what had happened a few years ago at the waterfront. The other actors milled about chatting with audience members and gauging what they knew about this waterfront development a few years ago. Video Designer Amelia Scott projects news articles (The Globe and Mail, Forbes magazine) throughout the performance that reflect what was happening at the time. Chris Abraham directs the production with an assured hand. At times, Healey’s script is uproariously hilarious with its sometimes-vicious takes and quips. At the beginning of the play, we're told the events are fictitious. After intermission, the audience's laughter is released upon seeing the words ‘Still fictitious’ projected. The references to Frances Nunziata and Kathleen Wynne are two noteworthy, perfectly placed comic moments. Yanna McIntosh perfectly mimics John Tory’s horrible-sounding speaking of the French language. Green-clad Peter Fernandes’ Tree is a riot. At other times, a tremendous sense of dread envelopes the events. As Meg Davis (daughter of the late PC Ontario Premier Bill Davis), Philippa Domville’s breaking of pencils and then face-planting into a cake is at first initially funny. However, I felt an incredible sense of dread in watching her keep doing it. Davis was one of the individuals who fearlessly believed in this project. It’s alarming to think of how she must have felt with all the work done up to this point, and it comes crashing down in front of her. The ensemble cast remains extraordinarily stellar throughout. With a quick costume change, often within a matter of seconds, the actors become someone else. Another masterclass in acting performances from everyone. Mike Shara is a towering, blustery, vain Dan Doctoroff, American CEO of Sidewalks Lab. He struts vainly about the stage, cocksure that what he is doing is the right thing and the only way to do it. He bangs the table with incredible force to make his point and to get what he wants. He doesn’t. Sometimes narrator Peter Fernades provides much of the laughter needed throughout as Tree, especially when it becomes clear why he is called this name. As Waterfront Toronto CEO Will Fleissig, Ben Carlson provides as much fiery temper as Shara does. There are moments on Carlson’s face when the irritability of the situation desperately gets to Fleissig. However, Carlson’s turn as the Fire Chief, who at one point has eyes for an on-stage cake, effectively contrasts with the intensity of that of Fleissig. The final ‘monologue’ of the play delivered by Christopher Allen is delivered with natural credibility with the hope that perhaps the involved corporations might or could have some prominence going forward. Tara Nicodemo as Kristina Verner and Philippa Domville as Meg Davis leave an indelible impression near the end of the performance. As the Waterfront executives, these ladies are the two who seem to ‘pick up the pieces’ in their belief of this project even while Doctoroff is annoyed at the continual rewriting of the terms of the agreement for them. As I write this article the next day, I can still picture Nicodemo and Domville working away at their laptops as the lights come down. Final Comments: I was exhausted as I left the theatre after watching this intensely focused performance. I’m not a Torontonian (I only like to visit), but seeing this production makes me wonder about our future involvement with tech giants and what this could mean for all of us. Scary thought to consider, but damn it makes for good theatre. ‘The Master Plan’ is good theatre. I hear it’s been extended to October 8. Go see it. Running time: approximately two hours and twenty minutes with one intermission. ‘The Master Plan’ runs until October 8 at Streetcar/Crow’s Theatre in the Guloien Theatre, 345 Carlaw Avenue, Toronto. For tickets, call the Box Office at (647) 341-7390 or visit www.crowstheatre.com CROW’S THEATRE PRESENTS THE WORLD PREMIERE OF ‘THE MASTER PLAN’ by Michael Healey Based on ‘Sideways: The City Google Couldn’t Buy’ by Josh O’Kane Directed by Chris Abraham Sets and Props Designer: Joshua Quinlan Costume Designer: Ming Wong Lighting Designer: Kimberly Purtell Sound Designer: Thomas Ryder Payne Video Designer: Amelia Scott Stage Manager: Jennifer Parr Performers: Christophe Allen, Ben Carlson, Philippa Domville, Peter Fernandes, Tara Nicodermo, Yanna McIntosh, Mike Shara Previous Next

Back 'Rosencrantz and Guildenstern Are Dead' by Tom Stoppard The Neptune Theatre production now onstage at The CAA Theatre, Toronto The Neptune Theatre production now onstage at The CAA Theatre, Toronto Joe Szekeres “A Voice Choice." "Led by the glorious performances of Dominic Monaghan and Billy Boyd, ‘Rosencrantz & Guildenstern Are Dead’ becomes one of those productions a theatre lover must experience. Highly respected Canadian theatre artists in supporting roles accredit this master class in acting. Do not miss this one.” Tom Stoppard's sharp, thrust-and-dagger dialogue sounds oh-so-good in Halifax’s Neptune Theatre production of Rosencrantz & Guildenstern Are Dead. I never realized just how good it truly sounds. Avail yourselves of this opportunity. It’s the world of Shakespeare’s ‘Hamlet.’ Although you don’t have to be thoroughly familiar with the story, here’s a quick recap. Hamlet’s father has died under suspicious circumstances, possibly murder. The late king’s brother, Claudius (uncle to Hamlet), is now ruler and has married Hamlet’s mother, Gertrude. Hamlet is morosely sickened by what has happened and plans to ‘attack the conscience of the (new) king’ and entrap Claudius to confess the murder. Claudius asks Hamlet’s friends Rosencrantz and Guildenstern to follow Hamlet, speak with him, and then report on what has been said. In Stoppard’s play, the story is told from the perspectives of the central characters Rosencrantz (Dominic Monaghan) and Guildenstern (Billy Boyd), who, as the title indicates, end up dead. The script veers in and out of the ‘Hamlet’ tale when the central characters are not on stage. There’s an amusing, sometimes esoteric take on the Bard’s tale in Stoppard’s, at times, playfully absurdist script. For one, Rosencrantz and Guildenstern are trying to remain ahead of Stoppard’s Hamlet (Pasha Ebrahimi), and that becomes a task because the young man is cunning and intelligent. Additionally, Rosencrantz and Guildenstern playfully confuse their own identities and use the other’s name to identify themselves. Jeremy Webb's direction remains intelligent and astute because he ensures the characters are continuously grounded in their motivations and intentions. He always keeps the audience on its toes as we watch the machinations play out in front. Webb’s staging becomes a chessboard. Throughout the many discussions from all the characters on the meaning and understanding of reality, their existence, and life and death, the characters listen intently and move with purpose and reason because of what was just said. Set Designer Andrew Cull has captured a striking visual look on the CAA stage that is continually moving. Free-flowing curtains, a few furniture pieces and moveable designs of metal intertwining risers become reminders of where the story occurs, whether on board a ship or in a theatre. Deanna H. Choi’s sound design caught my ear during the pre-show. There’s a tremendous sense of unease with the eerie reverberation sound resonating throughout the auditorium. Kaelen MacDonald’s costumes are effective replicas of the era that caught my eye, especially when lit by Leigh Ann Vardy’s subtle lighting design of brightness and shadows. What was a nice touch? Along with the opulence of some clothes, I could see the dirt and tear, mostly Monaghan and Boyd's blue and green costumes. Performances become master classes in acting delivered by theatre artists who showcase their talent with enthusiasm and élan. That’s what makes this opening production a Voice Choice. Monaghan and Boyd remain in complete synchronicity with each other akin to the central characters from ‘Waiting for Godot.’ At times, Rosencrantz and Guildenstern are confused about who each of them is or how they got to the situation in which they find themselves. It is their reaction to this absurdity that provides laughter. Monaghan’s Rosencrantz is the more physical of the two, while Boyd’s Guildenstern is philosophical and chatty. The rapid rat-a-tat delivery of their dialogue remains continually at a breakneck speed. When they speak slower during heightened dramatic moments, the intensity becomes heightened. For example, at the top of the show, Monaghan and Boyd play a game of heads or tails with a coin. Watching the back-and-forth banter between them about statistics and probabilities of landing the coin in a specific pattern is terrific. Their reactions and intentions are impeccably timed for a particular effect, whether comic or dramatic. There’s more of that throughout the nearly three-hour running time, so sit back and relish two actors who know what they’re doing and do it well. Remarkable supporting performances by a gelled ensemble of renowned Canadian theatre artists play The Tragedians. Michael Blake is a towering Leading Player who participates in this same delicious back-and-forth banter with the central characters. Walter Borden becomes a regal and majestic Polonius. Raquel Duffy’s Queen Gertrude is snappy. Helen Belay’s Ophelia is sweetly confused. Pasha Ebrahimi effectively captures a brooding mystery about his Hamlet, one that veers very close to the edge of snapping but never crosses the line. And Another Thought: I’ve never seen the 1990 film, so it merits a look sometime soon. In his Programme Director’s Note, Jeremy Webb writes that Stoppard encourages every production of the play to approach it fresh and not treat it like a museum piece. That has been accomplished in this Neptune Theatre transfer. Magnificently. Gorgeously. Beautifully. With this stellar cast now onstage to April 6, please do anything you can to get tickets. It is a moment in the theatre not to be missed. Running time: approximately 175 minutes with two intervals. Photo credit: @stoometzphoto ‘Rosencrantz & Guildenstern Are Dead’ runs until April 6 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. David Mirvish presents the NEPTUNE THEATRE production of ROSENCRANTZ & GUILDENSTERN ARE DEAD by Tom Stoppard Directed by Jeremy Webb Set Designer: Andrew Cull Lighting Designer: Leigh Ann Vardy Sound Designer/Composer: Deanna H. Choi Costume Designer: Kaelen MacDonald Movement Director: Angela Gasparetto Stage Manager: Christine Oakey Performers: Dominic Monaghan, Billy Boyd, Mallory Amirault, Helen Belay, Michael Blake, Walter Borden, Drew Douris-O’Hara, Raquel Duffy, Pasha Ebrahimi, Jonathan Ellul, Santiago Guzmán, Jacob Sampson, Erin Tancock. Previous Next