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Back Ballet Edmonton’s “e-motion” tour presented by DanceWorks Guest reviewer Geoffrey Coulter, actor, director, arts educator Nanc Price ​ Toronto’s DanceWorks continues its diversely provocative season of dance with an exhilarating triple-bill program from Ballet Edmonton, a contemporary ballet company offering new and original works each season. This 90-minute performance featured eclectic storytelling by three outstanding choreographers interpreted by the bodies of 10 highly skilled and talented members of the company. Act One began with “Persistence of Memory” by award-winning Artistic Director Wen Wai Wang. This 25-minute piece, set on a bare stage and (somewhat under) lit by lighting designer Dorrie Deutschendorf, was conceived out of the pandemic of 2020, fueled by our deprivation of human contact. The company, wearing black suits in the first section, moved quickly about the stage in intricate formations. Sharp staccato movements contrasted with beautiful soft fluidity and unbelievable synchronicity. Wang utilizes the stage to the utmost, cleverly using space between his dancers to evoke separation and desire. Unfortunately, harsh spotlighting from above and behind the dancers kept their faces mainly in shadow, masking the full emotion of their performances. While this seemed an intentional decision, I felt it somewhat incongruous with the explicit physical emotions of the piece. The second part of the number featured 3 couples in pas-de-deux, each telling their own story of connection. With breathtaking fluidity, each couple entwined their bodies, not always making physical contact, yet still moving as one being. The last part of the piece brought the company together again with more finely executed, synchronous and hard-hitting contemporary moves. An enthusiastic and well-deserved ovation for this fabulous company of artists capped off a wonderful start to the show. After a 5-minute pause to re-set, the curtain opened on the second piece, “Black Moon” by Montreal choreographer Dorotea Saykaly. A single male dancer emerges in centre stage spotlight, performing vertical and horizontal contortions in slow motion, exhibiting mighty control, superhuman flexibility and phenomenally sensitive connection with the original score by Riku Mätinen. There’s definitely a mythical, sci-fi approach to this one, something post-apocalyptic even. Dressed in frayed and ripped grey togs, the performers writhe and gesture, elongating their backs, and legs in full extension. They come together in breathtaking unison, each performer an integral part of a larger, living unit. More sharp, distinct movements and provocative tableaus like bodies frozen in what appeared to be a running race, evoked powerful images of faith and desire. This piece showcased the immense condition of the dancer’s bodies as they seemed to effortlessly perform extreme core isolations while on relief for minutes at a time. Fantastic! After a 20-minute intermission Act 2 brought us “Valei-mei” by choreographer Diego Ramalho. Mr. Ramalho brought us a different narrative, exploring feelings of belonging and how music evokes an unconscious connection to a place. Dancing to traditional Brazilian folk music, the entire company once again impresses with stunning synchronous movement under the golden lighting simulating the hot Brazilian sun, once again from designer Dorrie Deutschendorf. This time we could see each emotion, hear each breath, see each drop of sweat. The women had their own exquisite small group section, making powerful and sensitive connections to each other while maintaining the compelling narrative of music and soul. Later, a male dancer entered carrying pales of water, eagerly received by three other male dancers. The water was intentionally sloshed and splashed onto the stage with several members pouring most of it onto themselves at the end of the piece. I wasn’t sure about this part of the narrative here, but it was fitting for the last piece of the evening. As a contemporary ballet company, Ballet Edmonton is breaking new ground. Its vision to explore new ideas with passion and curiosity is equalled only by its immensely talented ensemble of dancers and technicians. Their dedication to presenting thought-provoking works to the community through contemporary ballet while furthering the artistic development of its artists is both laudable and necessary. May they continue their journey to bring reflections of the world to stunning life through movement. Previous Next

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

Back Dennis Garnhum Self Isolated Artist Courtesy of Grand Theatre, London, Ontario Joe Szekeres The four years pursuing my undergraduate Arts Degree at King’s College, University of Western Ontario (now known as Western University) solidly shaped my personal and professional interests in the Arts. One of those areas where I still believe the city holds its appeal is in the performing arts sector. When I attended Western, Purple Patches was one of the central student theatre groups on campus which provided a creative outlet for likeminded individuals. I also remember the extraordinary Grand Theatre where I saw some wonderful productions nearly forty years ago. When I started reviewing for On Stage, I wanted to make sure the Grand was included. I have seen some terrific world class professional theatre there recently, and I am always grateful when the invitation has been extended to me to come to London to review their opening night performance The Current Covid pandemic has thrown the professional performing arts sector into a tailspin that has many, who hold a vested interest in it, still reeling from the devastating impact. It’s going to take an extraordinarily calm and clear-headed individual to sift through with a firm grasp and clear vision to move forward into an unknown and uncertain future. I spoke about this quality trait in an earlier profile regarding the Stratford Festival’s Director, Antoni Cimolino. I also place The Grand Theatre’s Artistic Director, Dennis Garnhum, in this same category with Mr. Cimolino. Mr. Garnhum became Artistic Director of the Grand in the fall of 2016. His credentials have been profoundly notable within the theatre community. Since his arrival and return home to London, Dennis has created several new programs with the Grand. He has also launched a new partnership with Sheridan College’s Canadian Music Theatre Program that now positions The Grand’s High School for its next phase of development. Across Canada, Dennis has directed many plays, musicals, and operas with a number of companies. At the Grand Theatre, he directed Timothy Findley’s ‘The Wars’, ‘Prom Queen’ and ‘Cabaret’. He was set to direct the premiere of ‘Grow’ before it was cancelled on account of the Covid pandemic. Dennis and I held our interview via email: 1. How have you and your family been keeping during this two-month isolation? We have found some creative ways to fill our days: I work for the Grand in the basement, my husband’s office and broadcast studio (he’s a journalist) is the bedroom, and our daughters bedroom doubles as her school room. We started tiny school: 4 kids, 5 parents all on zoom. One class a day taught by a different parent. I teach drama and art! 2. What has been most challenging and difficult for you and your family during this time? What have you all been doing to keep yourselves busy? The most difficult thing is to not be able to reach out and touch and play. Our daughter, Abby, is most affected by it. We always have a minimum hour of outdoor time daily and I have organized and reorganized the house a few times. 3. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts scene and on the city of London itself? We will refer to the time before and the time after COVID no doubt. Ultimately, I think the ultimate impact will be positive: streamlining, priorities and abundant passion. We will focus on doing less, better, and with more imagination and thrill. The City of London too will learn from these things, and I do believe prosper. People will discover London is a perfect city to live in: it has a lot more space than the larger cities, combined with great things to do: Population will rise. 4. Do you have any words of wisdom to build hope and faith in those performing artists and employees of The Grand who have been hit hard as a result of COVID 19? Any words of fatherly advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? First of all, I have great compassion for the loyal Grand team whose jobs and lives were interrupted with very little notice. People who work at the Grand live in London and make their lives mostly around being with us - so that is without doubt the most painful thing of this time - not being able to continue to make theatre. My hope is that we return to work sooner than later, that we will return to a company and a city willing to enjoy live theatre. The last thing we did was to have a staff breakfast on that fateful day (March 13) and one of the first things we will do will be to sit together and share a meal again. I miss these beautiful people. This past year the Grand Theatre’s production of GROW was workshopped at Sheridan College and at Goodspeed Opera House. Both events used incredibly talented graduating students. They are now out in the world - waiting. I can see their bright faces. My advice is just to be clear with one thought: We’ll return. You’ve lived this dream this long - keep it in your heart - don’t focus on the dark thoughts - and think how glorious it will be when you are able to be on our stages. And you will. 5. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? Only positive things. Everything will be reconsidered. The best part, I think, is how we will appreciate what we had to a greater extent. I think it will make for extraordinary conversations. 6. I’ve spoken with some individuals who believe that online streaming and You Tube presentations destroy the theatrical impact of those who have gathered with anticipation to watch a performance. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? I think online streaming was a brilliant first effort and reaction to a need. What do we have? Computers - and go! I think it’s usefulness is nearly done - and won’t play an important part in live theatre in the future. It’s film. I think it will speed up meetings and allow for some very creative shoutouts etc. But, live theatre is live theatre: people sharing stories in a room. 7. What is it about the Grand Theatre that you still adore in your role as Artistic Director? Well, I adore everything about this role. Everything. What I appreciate the most right now, is that it is a complete honour to be working at the Grand Theatre during this point in history - and I know my role is to be part of team who sees it through to bright, bright, better days. With a respectful acknowledgement to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: 1. What is your favourite word? Beautiful. 2. What is your least favourite word? No. 3. What turns you on? People. 4. What turns you off? Long lines. 5. What sound or noise do you love? My family laughing at the same time. 6. What sound or noise bothers you? Car horns. 7. What is your favourite curse word? Dang. 8. Other than your current profession now, what other profession would you have liked to attempt? Architect. 9. What profession could you not see yourself doing? Giving out parking tickets - too stressful. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “I have a Muskoka chair by the lake waiting.” To learn more about the Grand Theatre, visit www.grandtheatre.com . Previous Next

Back 'SUMMER: THE DONNA SUMMER MUSICAL' At The Princess of Wales Matthew Murphy for MurphyMade Joe Szekeres With a bemused expression on my face as my guest told me, I spotted some audience members wearing platform shoes, bell bottom pants, sparkly slacks, tops and tees, and the ‘big hair’ from the disco era which brought back some fond and embarrassing moments from my high school years at the opening night of ‘Summer: The Donna Summer Musical’. Just like I did with ‘Beautiful: The Carole King Story’ which also played at Mirvish, I did make strong connections to some of the characters and events from ‘Summer’. The plot deals with the Disco Queen (rumoured that Ms. Summer never liked this title) at three stages of her life. There’s Duckling Donna (played with such ease by Olivia Elease Hardy, and I’m looking forward to seeing her in future shows). Disco Donna (a sexy and seductive Alex Hairston) and Diva Donna (a glamourous Dan’yelle Williamson). What’s clever about this production is the use of Ms. Hardy as Mimi, one of Donna’s future children. Ms. Williamson also plays Donna’s mother, Mary Gaines. At times, the production reminded me of a glitzy Las Vegas show revue. Sergio Trujillo’s choreography sharply reflects the hip swiveling, finger pointing, dance moves of the seventies. When the three Donnas sing together, hot damn do they ever sound good especially in their rendition of ‘MacArthur Park’. Those ladies look terrific on stage backed by a company of a marvelously fit dancers who sometimes appear androgynous. There’s nothing wrong with this revue looking format since I love spending time in Vegas as I’m sure many of us do if we can go. Nevertheless, that glitter and glitz flee quickly away leaving me feeling distant from the emotional element surrounding Ms. Summer’s checkered past in a failed relationship with one of her many lovers. The reason I felt distant (and sorry about the spoiler alert here). Ms. Summer clocks said lover on the face with a coffee table book that has a picture of Barbra Streisand on it. Whether or not Ms. Streisand’s picture is intentional as a joke or comment, here is a point about two strong women in the music industry who have probably had their share of high ranking official men try to take advantage of them in one way or another. I had read many years ago there was tension between Streisand and Summer when they recorded ‘Enough is Enough’ and was hoping there was reference. Nope. There was also a vulgar insinuation of Ms. Summer getting down on her knees, not only for praying, which really bothered me especially since she is no longer with us. This one hour and forty-minute female empowered jukebox musical sans intermission isn’t a terrible show as there are some strong performances throughout. Much like ‘Beautiful’’s mini concert near the end, Ms. Summer’s iconic ‘Hot Stuff’ and ‘Last Dance’ brought the house down. Ms. Williamson’s rendition of ‘Friends Unknown’ brought a nearly minute and a half long audience applause which brought her to tears. Steven Grant Douglas’s performance as Summer’s second husband, Bruce Sudano, is good but I wished there was more character development for him to show that not all men are like the ones Ms. Summer had to deal with in her career. I couldn’t make out the object appearing down centre stage at the top of the show. When the performance began, and it was a stereo turntable with a Casablanca record label recording, I thought that was quite inventive to tweak my interest. The videos on the panels at the back worked fine for me in order to help establish the various locales. I quite liked the images of the paintings Ms. Summer had completed when she stepped back from her career to be with her family and her own personal health diagnosis. SUMMER: THE DONNA SUMMER MUSICAL Runs to March 22 at The Princess of Wales Theatre, 300 King Street West, Toronto. For tickets, call 1-416-872-1212 or visit www.mirvish.com . Songs by Donna Summer, Giorgio Moroder, Paul Jabara and others. Book by Colman Domingo, Robert Cary and Des McAnuff Music Supervision and Arrangements by Ron Melrose. Choreography by Sergio Trujillo Directed by Des McAnuff Previous Next

Back Cory O'Brien Theatre Conversation in a Covid World Tim Leyes Joe Szekeres I’ve stated it earlier in other profiles from the Toronto company’s profiles of ‘Come from Away’. We need this show now more than ever once it’s safe to return. Hopefully the Toronto company will return again SOON. Cory O’Brien is just one member of a tremendous ensemble of dynamite actors who make me want to see this production so much when it does finally return. Cory holds a BFA Acting from the University of Windsor. While there he studied vocal performance (singing) with Jeannette Dagger. Once he moved to Toronto, he largely studied with David Dunbar. He has completed seven seasons at the Stratford Festival; toured North America in ‘Mary Poppins’ and performed in theatres in Alberta, Quebec, New Brunswick and extensively all over Ontario. Cory was part of the original cast of ‘The Lord of the Rings’ with Mirvish. He appeared in ‘Cats’ at the Panasonic Theatre, performed in the Toronto Fringe Festival as well as the Next Stages Festival. Additional work with Toronto Operetta Theatre. We conducted our conversation via email. Thank you so much for taking the time and to add to the conversation, Cory: Many professional theatre artists I’ve profiled and interviewed have shared so much of themselves and how the pandemic has affected them from social implications from the Black Lives Matter and BIPOC movements to the staggering numbers of illnesses and deaths. Could you share with us and describe one element, either positive or negative, from this time that you believe will remain with you forever? This is a tough one. There are so many implications to this time in our lives (point in history really). I think we will continue to feel the vibrations for years to come before anyone will be able to say with any certainty what has ‘happened’ during this time. You mentioned Black Lives Matter and BIPOC movements... I would actually say that Black Lives Matter and BIPOC awareness has grown. And I hope that awareness never goes back to normal. The death of George Floyd happened early in the pandemic, at a point where most people’s lives were on hold. Where during normal times people could keep their heads in the sand and miss things that seem to be outside their daily experience, this happened while people were essentially holding their breath and watching events very closely. And what we witnessed was an undeniable case of racism, with horrifying consequences. In the broader sense I think (and hope) we are moving towards a time where society shrugs off the apathy and self-centred views that allow systemic racism, fringe political extremists etc. We need to stop only seeing things in our personal spheres. Indeed, this time has shown us there is only 1 sphere we need to be concerned with - This planet... and we’re all in it (or on it) together. I heard on the news yesterday that there was a police department in the GTA that has discovered, and been criticized for, systemic racism. The viewpoint seemed a little shocked. I think we need to switch that thinking up... we should be shocked if there WASN’T systemic racism. Accept it and let’s move forward making things better or everyone. Post COVID will be and should be a new reality. Have you learned anything about human nature from this time? Ha! Learned about human nature? The above kind of covers that. People have had a tendency to see the world through the lens of ‘what affects me?’ What a wake-up call to see ‘what affects the world affects me.... and what affects me affects the world’. I think people are generally good. And WANT to be good. During the pandemic I’ve seen it time and time again... from people helping with basic needs when their neighbours are quarantined to people taking more time to say hello and check on their neighbours (in a responsible and socially distanced way!). However,... I’m sadly still shocked from when we were able to actually go in stores to see so many completely ignoring the protocols in place regarding distance and masks. I thought at the beginning of the lockdowns that after 4 weeks the spread should be entirely stopped.... or at least to the point where the origin of new infections should be easily traced and managed. 1 random international flight here or there etc... Obviously, that hasn’t happened .... How has your immediate family been faring during this time? As a family, can you share with us how your lives have been changed and impacted by this time? On a personal family note... we have fared better than many during the pandemic. We’ve been lucky to be able to spend this time together. My wife and I have a daughter who just turned 2 yrs old. So this time is priceless. The sad part is that our daughter isn’t able to play with other kids. We can see how badly she wants to interact with other kids if we take her to the park or see them out for a walk. How do you explain this to a 2 yr old? And what is that impact going to look like on kids at different ages moving forward?? But certainly blessed to be together as a family unit all the time!! I know none of us can even begin to guess when professional theatre artists will be back to work. I’ve spoken with some who have said it might not be until 2022. Would you agree on this account? Have you ever though that you might have had to pivot and switch careers during this time? I’m hoping for theatre to come back this fall... but time will tell. As far as a pivot goes... I haven’t considered the type of pivot that would be everlasting. I still see myself in this business over the long haul. However - I have had to supplement with doing some construction work on the side. I’ve done lots of renovations over the years and this has merely made it a more regular part of weekly life. I’m hoping to have our own house finished by late spring!! My wife has pivoted by creating a meal delivery company specifically targeting those looking for options on the Keto diet. Ketochickcreations.com. Website isn’t live yet but should be within a week or so. How do you think your chosen career path and vocational calling will look once all of you return safely to the theatre? Do you feel confident that you can and will return safely? Do I feel confident that I can and will return safely to my career? Yes. How will it look? Not sure entirely.... but I think on the other side of this there will be a collective longing embrace of the arts/theatre/live performance. People are desperate for a sense of community right now, having felt so cut off from one another. It could be an exciting and ‘awakened’ time.... but there will also likely be some building back up through the rubble. This time of the worldwide pandemic has shaken all of us to our very core and being. According to author Margaret Atwood, she believes that Canadians are survivors no matter what is thrown in their path. Could you share what has helped you survive this time of uncertainty? In regard to Margaret Atwood’s comment.... I would imagine she has a much more worldly view as to how Canadians are different from others around the world than I have! I’ll take her word for it! For myself personally... I would say family family family... the biological kind and the chosen kind. With so many forces pulling us apart (distancing etc)... the bonds of family and community are proving how strong and supportive they are, and can be. Imagine in a perfect world that the professional theatre artist has been called back as it has been deemed safe for actors and audience members to return. The first show is complete and now you’re waiting backstage for your curtain call: Describe how you believe you’re probably going to react at that curtain call. JOY JOY JOY!!!! I’m one of those actors who generally doesn’t enjoy a curtain call. I prefer to share the life of ‘the character’ with the audience. In that sense I share and help facilitate the communal experience of the story, whereas as a curtain call feels more like I’m presenting myself to the audience. I had a director once say that the curtain call isn’t about you as an actor.... it’s about giving the audience the opportunity to show their appreciation for being a part of that communal experience I just mentioned. So, in that sense, the curtain call was about the audience and not me - that enabled me to be able to do curtain calls all these years without feeling awkward.... On the day we get back to theatre (and I strongly believe that I will be lucky enough to be back in ‘Come From Away’).... the curtain call won’t be about the audience or me... it’ll be about all of us! And I’ll get to participate in that!!! For the first time ever ... I can’t WAIT for the curtain call!!!! There is a crowd of people waiting to see you and your castmates at the stage door to greet all of you. Tell me what’s the first thing you will probably say to the first audience member: “Hi! Thanks for coming!” I’m tempted to insert a joke here such as “Yes I was in the show.” Or...”No I wasn’t in the band - you’re thinking of Jon Maharaj” but with ‘Come From Away’ I have been generally more recognized after the performance than previous shows I’ve done. I think perhaps my personal energy just seems very different than what people see onstage. That first night back in the theatre I can see the stage door actually turning into a bit of a celebration - wouldn’t that be nice actually?!? We should make that happen... Previous Next

Back 'Harper Lee's TO KILL A MOCKINGBIRD' by Aaron Sorkin The Touring Company Now onstage at Toronto's Ed Mirvish Theatre Julieta Cervantes. Pictured Richard Thomas and Melanie Moore Joe Szekeres “Ontario Boards of Education need to re-think their position on excluding Harper Lee’s ‘To Kill a Mockingbird’ from school curricula. This fine touring production of Aaron Sorkin’s new play of the ‘slice-of-life’ American classic still speaks volumes about racial inequalities and social justice. Some wonderful performances that are not to be missed.” Directed by Bartlett Sher with gentle compassion and empathetic kindness, Aaron Sorkin’s fresh perspective script of the iconic ‘slice-of-life’ small-town Americana in the southern United States rolls into Toronto for a short run until November 27. This touring production returns to Mirvish at the end of May/beginning of June 2024 for another run. Please get tickets for it. It’s a vital story that still speaks volumes about racial inequalities and social justice for twenty-first-century audiences. Parents, if your child’s school has removed the book from the curriculum for whatever reason, please take him/her/them to this production. Based on Miss Lee’s novel, Sorkin’s script is set in Maycomb, Alabama, in the early 1930s, just after the Depression began. Principal narrator Scout Finch (Melanie Moore), her older brother Jem/Jeremy Atticus (Justin Mark) and their childhood friend Dill/Charles Baker Harris (Steven Lee Johnson) break the fourth wall periodically and talk to the audience. At one point, Scout is an adult when she speaks to the audience. We learn of the childhood games the three youngsters played years ago. One of them was trying to make their unseen and scary neighbour Boo/Arthur Radley (Ian Bedford) come out of his house. The young characters refer to the time Jem broke his arm years ago on account of a horrific attack he and Scout endured. Scout, Jem, and Dill believe this incident and several others within the town stemmed from Tom Robinson’s (Yaegel T. Welch) unfair trial, where he was accused of rape by Mayella Ewell (Mariah Lee) and her father, Bob (Ted Koch). Scout and Jem’s father, lawyer Atticus Finch (Richard Thomas), is asked by Judge Taylor (Jeff Still) to defend Tom. Atticus is aware of Maycomb’s usual disease of prejudice that runs rampant throughout the town. Even though he knows Tom will be found guilty, Atticus takes the case and does his best for his client because it is the right thing to do. Taking on Tom’s case will also show Scout and Jem an essential message about courage – “it’s knowing when you’re licked before you begin, but you begin anyway and see it through, no matter what.” Sorkin’s new production does not follow the novel's linear presentation of plot events. Some have been altered for dramatic effect. I couldn’t help but connect to the terrific production of Christopher Sergel’s dramatization of the novel at the Stratford Festival a few years ago under Nigel Shawn Williams’ direction. That production also introduced Scout breaking the fourth wall and contained one of the most exciting, yet frightening moments captured live on stage – the night Scout and Jem were attacked on their way home from the pageant. What makes Sorkin’s new production of this classic story work if you did not see the Stratford version? Most importantly, is Sorkin’s script worth seeing and doing? To answer the former, the performances are the reason to see this fine play. To answer the latter, yes, Sorkin’s script is worth seeing and doing. Although the production clocks in at three hours, the pacing never seems to drag. The cast moves Scenic Designer Miriam Buether’s set pieces with fluidity and ease. Ann Roth’s costumes are faithful recreations of the Depression era and help delineate the social class structure within Maycomb. Jennifer Tipton’s lighting design assist in creating specific emotional effects especially when Boo/Arthur Radley (Ian Bedford) is introduced near the end of the story. Richard Thomas is remarkable as Atticus Finch. His final address to the jury (where we learn the significance of the title) before it goes to deliberate Tom’s fate still packs a wallop of a punch. Thomas gallantly delivers it with dignity and class. Those moments he shares with Melanie Moore as the young Scout are touching. Moore nicely captures an introspective precociousness of childhood innocence in her performance as Scout, as do Justin Mark and Steven Lee Johnson in their work as Jem and Dill. Jacqueline Williams as the Finch housekeeper, Calpurnia, and Yaegel T. Wilson as Tom Robinson deliver poignant work. Williams and Thomas remain in harmonious synchronicity and respect with each other as the adult role models within the Finch household. When she tells Scout she likes what she sees when she looks at her, the line is delivered with care and love that it brought tears to my eyes. Wilson’s first-rate work as the wronged man unjustly accused of a horrible crime remains one of the highlights. He delivers his courtroom testimony with genuine conviction that it is still hard to see how anyone could find this man guilty. As Bob and Mayella Ewell, Ted Koch and Mariah Lee thankfully do not appear as the story's proverbial ‘bad guys.’ Instead, as Atticus says, Koch and Lee carefully zero in on moments where they are to be pitied for what life has thrown at them. They both make their testimony credibly sound as if they have been rehearsed by their prosecuting and racist lawyer, Horace Gilmer (Christopher R. Ellis). However, that does not give the father and daughter the unforgivable right to do what they did in accusing a sympathetic and caring man of something he did not do. Another highlight of this performance and for this portion of the tour is seeing Mary Badham’s work as morphine addict, Mrs. Dubose. Badham was the original Scout nominated for an Academy Award in the film version of ‘Mockingbird’ opposite Gregory Peck. Badham utters some horrible things as the suffering woman that are extremely tough to hear in knowing her work from the film. Contextually, though, these words are grim reminders of a time when intolerant mentality prevailed in southern US society. The only thing I did wish from this production was Jem’s timed reading to Mrs. Dubose to help cure her addiction to the painkiller. That message about learning courage and knowing when, as Atticus says, “you’re licked before you begin, but you do anyway and see it through no matter what” is lost. Final Comments: Although I’m not one to make comments about latecomers to the theatre, this time I feel as if I must. Future audiences, the evening performances begin at 7:30 pm. Please check your tickets. Granted, I can accept if people are 5-10 minutes late on account of traffic. However, it was about 30 minutes into the show and I was paying careful attention to the performance when five people came to their seats. My guest and I had to stand up to allow these people in. What’s frustrating? Not only did we lose our concentration and attention for that brief moment, so did the audience members behind us when we had to stand and let these people in. There, rant over. I won’t mention it again. Please get tickets for this touring production of ‘To Kill a Mockingbird’. Call or check daily to see if rush tickets are available or if there are any cancellations. I may just return in May/ June to see it. Running time: approximately three hours with one intermission. The production runs until November 27, then returns May 28, and runs to June 2, 2024 at the Ed Mirvish Theatre, 244 Victoria Street. For tickets, visit mirvish.com. ‘HARPER LEE’S TO KILL A MOCKINGBIRD’ A New Play by Aaron Sorkin Directed by Bartlett Sher Scenic Designer: Miriam Buether Costume Designer: Ann Roth Lighting Designer: Jennifer Tipton Sound Designer: Scott Lehrer Music Director: Kimberly Grigsby Production Stage Manager: Eric H. Mayer Company Manager: Katie Cortez Performers: Richard Thomas, Melanie Moore, Jacqueline Williams, Justin Mark, Yaegel T. Welch, Steven Lee Johnson, Ted Koch, Jeff Still, Christopher R. Ellis, Melanie Lee, Travis Johns, Greg Wood, Anne-Marie Cusson, Ian Bedford, Lance Baker, Stephen Cefalu, Jr. Denise Cormier, Rae Gray, Greg Jackson, Joey Labrasca, David Andrew Morton, Andre Ozim, Dorcas Sowunmi and Mary Badham. Previous Next

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

Back Durae McFarlane Moving Forward Mark Binks Joe Szekeres A year ago, I had reviewed an outstanding production of what many in Toronto were calling ‘not to be missed’. Toronto’s Crows Theatre had staged Annie Baker’s ‘The Flick’ terrifically directed by Mitchell Cushman. I had never seen this production, but word on the street and from what I had researched online indicated this play was something that would be remembered for a long time. And to this day, I can still recall that specific production, that awesome set design, and the three powerhouse performers who literally took my breath away as I watched with keen fascination. One of those dynamos on stage for his debut professional performance was Durae McFarlane, and he is one we should all keep an eye on when it is safe to return to the theatre. Mr. McFarlane’s performance was stellar. Durae is an actor and writer originally from Mississauga, Ontario. He is a recent graduate of the University of Windsor’s BFA Program and also trained with Canada’s National Voice Intensive. We conducted our interview via email. Thank you for the conversation, Durae: It has been an exceptionally long seven months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? To be honest it is what I expected. There were always talks about a second wave and so the numbers raising is not surprising. What is a bit surprising is the way it is being handled by the government (at least in Ontario where I am). It is less than ideal. There was also a part of me that was holding on for some sort of miracle that things would continue to get better and that life would somehow resemble what it used to be in some ways, but that is more idealistic than anything. I think this is going to be our new way of living for a long time. Wearing masks, always washing our hands (which should have always been a thing), and social distancing. Now if we will ever not have to do these things, I’m not sure. I think at the beginning of the pandemic, I just thought that we just need a vaccine and then things will resume how they use to be. But, I don’t believe that anymore. I’m not super informed about what the release of the vaccine would look like, but after witnessing how many people are against even wearing a mask, I’m sure there will be a group of people who will be against getting a vaccine altogether. And I’m sure that will make things complicated. How have you been faring? How has your immediate family been doing during these last seven months? I’m been doing okay all things considering. I really spend a lot of the first couple of weeks watching tv shows and movies and distracting myself from what was happening because it was just too much information and stimulus all the time. I also stopped going on social media and listening to the news for a bit, which was new for me (not constantly going on my phone to go on Facebook or Instagram). And now I limit the amount of time I spend on social media. My family is doing good. I was staying with my grandmother when the pandemic first started, and she is doing good. She wasn’t really stressed or anything but was cautious and was always updated with what was going on, which was the complete opposite of what I was doing. So, if I wanted to know something, I would just talk to her about it. My mom works in a nursing home, so it was stressful for a bit, but she has thankfully been safe and everyone else has been working from home. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? The most challenging thing for me at the start of the pandemic, was that I was feeling really great after coming out of The Flick and, as that was my debut, I was really looking forward to capitalizing on that. But then I couldn’t audition for any theatre things. But I think people will remember things and roles that had an impact on them, and I think I will be okay. Personally, I really hated not having something to do, or something to work on. I’m someone who is always looking for a way to continue to grow and get better both as a person and as an artist. So, having so much time and not knowing what to do with it was challenging. There was the possibility of doing online things, but I also couldn’t afford to do a lot of the things I wanted to do. But then I found myself writing a lot which was something that I have been interested in but wasn’t necessarily my focus. But that’s kind of all I’ve been doing is writing and every couple of weeks it’s like there’s a new idea for a play or screenplay that comes to me. Way more ideas than I’m capable of writing. 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 in preparations or rehearsal for anything, I was just working a part time job in the food industry, so I was kind of grateful at the time for things to close because I was staying with my grandmother and I was very concerned about continuing to work while it started to seem more and more unsafe to do so. What have you been doing to keep yourself busy during this time? A couple of friends and I started this sort of web series back in the middle of March just as a way to stay creative, have some fun, and just have something to do. But that took a pause in June. And as we all started to go back to work, we haven’t continued it and don’t know if it will continue, but it was a good thing for me to do at the time. I also started meditating which has been such a great practice for me to start. It has really helped me feel less anxious in my day to day life and helped to bring awareness to my habitual thinking patterns and allowed me to tune in to what isn’t helpful to me. I’ve also been reading a lot and writing. I’m part of the Cahoots Theatre’s Hot House Lift Off Unit where I’m with a bunch of incredible artists as we all are writing our own plays. We’ve been meeting on Zoom pretty much since the beginning of the pandemic, and it’s been wonderful to have that space to chat with them all about all things theatre. 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 theatres and studios might be closed for 1 ½ - 2 years? Being such a new artist to this industry myself, I don’t think I’m in any position to give any advice to anyone, but I would just say to find the joy in whatever it is you’re doing. I think the world can seem very dark, so it’s important to find purposeful moments of joy when you can. Do you see anything positive stemming from Covid 19? Yes. I think because everyone was home and not doing much, it allowed certain people who maybe have not paid attention to issues of racial justice to really start listening once the murder of George Floyd was all over social media and the details of the murder of Breonna Taylor started to circulate the internet as well. It caused people to mobilize and fight the systems in place that are hurting BIPOC in a way that I haven’t seen happen before. I think being stuck at home forced people to really have to reflect about who they think they are vs who they actually are and made some of those people go “oh maybe I’m not doing things I need to be doing to align my idea of myself with the actions I take.” And I hope that now that a lot more people are back to work, it doesn’t also mean they go back to their old habits of not really caring or doing anything about these issues. It also allowed BIPOC people to feel more empowered to speak up and not let things slide by. I think we’ve been hearing people speak that haven’t simply been given the platform or space to speak about the issues they're facing and what people can do to help change things. I think I’m seeing a lot more space be given to those voices and that’s been something long overdue, but great to see. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? I hope with the sort of wake up with the racial inequities of the world, theatre will be more conscious of what it means to be an equitable space for all people. It really goes beyond just saying a bunch of nice things but implementing things in how they run their theatre companies and who makes up theatre companies. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I think if it works for the artist, do it! If it helps them stay enriched in some way, absolutely go for it. It’s something that I did for a little while and it definitely helped me feel more connected to other people and performing. I think at least for now, theatres have to utilize it in some ways. Some theatres have been. Sometimes I think it works great and sometimes I think it doesn’t, but it’s definitely new territory that places are learning to navigate and it’s not always going to be perfect and that’s okay. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Covid could never destroy the need for stories. During this time a lot of people turned to their computers/TVs to watch shows or movies or listen to music or read books. The need for stories will always be present to either distract people from their current situation for a little while or to illuminate something about themselves or the world. I think the need for stories will always be present and thus the need for storytellers. The way in which we tell stories and the medium we use may change and adapt but there will always be a need to Visit Durae’s Instagram: @duraemcfarlane Previous Next

Back Review: 'Jake's Women' by Neil Simon Now onstage at Scarborough Village Theatre and presented by the Scarborough Theatre Guild Photo of Will van der Zyl as Jake by Julie Adams Photography Joe Szekeres (Updated September 12) A good choice for Scarborough Theatre Guild to stage Neil Simon’s ‘Jake’s Women’. It certainly spoke to me given the Covid times in which we still find ourselves and the fractured relationships resulting from this uncertainty. But some choices made puzzled me. Some things to applaud the Guild. It was refreshing to see new faces on the stage that I haven’t seen before so thank you for that. I hadn’t realized how appropriate Neil Simon’s ‘Jake’s Women’ is for audiences given these challenging Covid times, and I applaud the Guild for its choice to stage the production as audiences return to the theatre. Just like the central character Jake finds himself in fractured relationships in his mind with the women in his life and wondering if he will be able to repair them, Covid and all its issues have certainly tested our relationship with others. If Jake and his current wife, Maggie, can try to repair their marriage, let’s hope that our world can heal from all the turmoil in which we now find ourselves. It is New York in the 1990s. Jake (Will van der Zyl) is a successful New York writer suffering from psychoses in his relationships with the women in his life. He faces a marital crisis with his current wife, Maggie (Marisa King) by daydreaming and talking with the women from his life. There is his first wife Julie (Carling Tedesco) whom he adored and with whom he had a daughter Molly. Jake has conversations in his mind with the young Molly (Abby Hamilton-Diabo) and the older Molly (Kaitlyn Coulter). Julie was killed years earlier in an accident. We also meet Jake’s bossy, controlling sister, Karen (Cindy Hirschberg-Schon), and his very openly opinionated analyst, Edith (Patricia Byrne). Jake’s current wife, successful corporate climber Maggie (Marisa King) has had an affair with another man and there is talk of her leaving Jake. Finally, we also meet Sheila (Julie Jarrett) a possible third wife for Jake, but a bit of a bubblehead. Still, Sheila wants a relationship with Jake, but she faces so many challenges and headaches with his indecisiveness. Director Larry Westlake has pared back a full-scale set and, instead, opted for certain key props and allows for the grandness of the space to take place within the audience’s minds. I’m all for allowing audiences to do that, but there were some design elements that confused me. I don’t think a man would have a chaise lounge/settee as the focal point within his living space – perhaps a comfortable-looking worn leather couch instead? I was also confused about the director’s chair and its placement. Perhaps some type of wing-tipped chair instead? Jake is also in the midst of writing his next book, and I didn' t see any indication of that. Perhaps a few more items to indicate we are in the home of a writer would be beneficial. Downstage is the present and upstage on risers become the moments where Jake speaks to the women in the past; however, what became confusing to me are the moments where the women move downstage from the past into the present while all in Jake’s mind. I had some challenges in deciding which of the women were being spoken to in the past and which were the ones Jake invites into the present within his mind. The lighting cues here would need to be a tad sharper. Andra Bradish’s colourful costumes are strongly reminiscent of the 1990s. Alan Maynes’ selection of pre-show music nicely reflected the theme of connection we have with each other. A couple of sound cues were mistimed momentarily so, hopefully, that can be rectified for future performances. As well, the voices Jake hears in the second act sound rather tinny and I couldn’t hear clearly what was being said. Director Larry Westlake wrote in his Director’s Note: ‘Agony is the root of comedy’ and this is an extremely important vision to notice and incorporate in Simon’s works. The key, nevertheless, is to imbue the production with agony without it ever going over the top and becoming so unbelievably campy that audiences would simply tune out and stop believing in the moment. Westlake would have had to maintain not necessarily a tightly reined control but never allow his actors to become histrionic to veer so out of control that it becomes laughable. He accomplished what he set out to do. An example of this as proof occurs where in Act 2 Maggie (who is in Jake’s mind) satirically imitates and mimics Sheila’s speech and body language in the present as she and Jack are having an extremely heated conversation about their relationship. As Jake, Will van der Zyl has the daunting task of never leaving the stage for the most part (except for a scripted bathroom break in Act 2). Van der Zyl believably remains completely focused and in the moment with each of the women. There was a moment in Act 2 where I thought fatigue might have been setting in for him, but that’s understandable since he and the entire cast and crew have just come off the opening week. He logically builds Jake’s many qualities of petulance, anxiety, frustration, woes, ambition, and desires without ever upstaging the women in his conversations with them. In fact, on the second performance night I attended, there were some bona fide slices of real-life human connection that were subtly captured and made me smile because what I just saw was truly real. This occurred near the end of Act One where Jake sits with the younger and older Molly on the bench. To me, there just appeared to be this inherent sense where the three of them were zoned into the moment, listening and responding in a way that parents and children do with each other. So good to watch that scene as it became an effective image in my mind just before the intermission. The women offer securely grounded performances for the most part. As Julie, Jake’s first wife who was killed in an accident, Carling Tedesco’s supposed conversation with their older daughter Molly in the present was very touching. As younger and older Molly, Abby Hamilton-Diabo and Kaitlyn Coulter intently listened and realistically responded to comments directed at them. Kaitlyn’s scene with Tedesco was very touching. As Sheila in the present, Julie Jarrett sharply captured the humour of the moment in the dance she does with Maggie. As Jake’s sister Karen and analyst Edith, I felt there was a forced performance delivery from Cindy Hirschberg-Schon and Patricia Byrne. Hopefully, as performances continue, these ladies can settle into the characters and allow the words and context of the moment to speak for themselves. Marisa King has a formidable task ahead in revealing Maggie’s complete character arc in seeing a woman’s angst and agony in not being heard to hopefully becoming an individual who can communicate to her husband how important it is they both listen, hear and understand in their relationship with each other. (Spoiler alert) King and van der Zyl securely do just this at the end of the production and I was left with the feeling that yes both Jake and Maggie will do just what it takes to make the relationship work. Running Time approximately 2 hours and 40 minutes with one intermission. ‘Jake’s Women’ runs September 15, 16, 17, 22 and 23 at 8 p.m. AND September 18 and 24 at 2 pm at Scarborough Village Theatre, 3600 Kingston Road, Scarborough. For tickets, call the Box Office (416) 267-9292 or online www.theatrescarborough.com Jake’s Women by Neil Simon Directed by Larry Westlake Co-Producers: Alison Overington and Linda Brent Stage Manager: Heather Hyslop/ Assistant Stage Manager: Teresa Bakke Set Designer: Larry Westlake Costumes: Andra Bradish Props: Alison Overington Lighting Designer: Jennifer Bakker Makeup/Hair: Gloria King Sound Design and Operation: Alan Maynes Cast: Will van der Zyl, Marisa King, Cindy Hirschberg-Schon, Patricia Byrne, Abby Hamilton-Diabo, Kaitlyn Coulter, Carling Tedesco, Julie Jarrett Previous Next

Back 'Jungle Book', A New Adaptation Young People's Theatre YPT Site Joe Szekeres I’m hoping I’m not that old in pointing out how we’ve all watched the dancing, singing and cuteness version of Disney’s ‘The Jungle Book’. Whenever I’ve seen the film advertised on television, it’s always Baloo’s memorable ditty to Mowgli, “Look for the Bare Necessities”. There’s nothing wrong with this adaptation as it introduces Rudyard Kipling’s stories of Mowgli, the wolf boy, to new audiences. However, don’t allow Disney to be the only experience you have of this story. An exciting, colourful and eye-catching production of ‘Jungle Book’ from creators Craig Francis and Rick Miller opened at Young People’s Theatre with theatrical flair and musical excitement right from the top of the show. According to the release, this production is part of a North American tour after a recent appearance in New York. Four rousing actors entered grandly from the house and moved their way down to the stage in a fanfare of audience participation that even the adults around me clapped along in fun filled unison with the kids. And I was taken on a wild adventure ride through an immersive technology and multimedia to the urban jungle of Mowgli’s childhood in the forests of India. I loved every minute of it and am pleased it’s playing here for just over a month. For me, this touring production was magical as it took me back fondly to my childhood when I first read Rudyard Kipling’s tale. The set design consisted of three see through scrims. Behind the scrims, there is a large rectangular raised platform with a large white hanging screen which I’m assuming will be to view projections throughout the show. Rebecca Picherack’s lighting design was fascinating at the top of the show as the swirl of red and green was intriguing to watch. The reflection through the scrim made it appear as if water was nearby. Irina Litvinenko’s multimedia designs are exquisite to the eyes. Ms. Litvinenko’s work in capturing the fast-paced world of New York City where the adult Mowgli (Levin Valayil) is an architect is exquisite. The multimedia designs colourfully and cleverly place us in the richness verdant jungle where such characters as Shere Khan, Bagheera and Kaa inhabit and roam. What is also remarkably dazzling to watch are the use of puppets co-designed by Astrid Janson and Melanie McNeill. I’ve always been fascinated with puppetry as part of theatre, and the extraordinary creations of these two women is astounding. Make sure you pay careful attention to Tahirih Vejani as Kaa, the snake. With the puppet, she slithers in front of the audience with the elongated ‘s’ sound sinisterly sibilating in her voice as the puppet slithers in front of the audience at one point. Under a guiding vision of dignity for life in co-direction by Messrs. Francis and Miller, this ‘Jungle Book’ gently balances the theme of Respect in exploration of the consequences of colonialism and continuing human domination of the animal world. The four principal ensemble players merrily bring to life (through songs by composer Suba Sankaran and clever lyrics by Kipling/Miller and Francis) several of the famous characters whom we have come to know. Levin Valayil is a charming and affable adult and architect Mowgli who leaps and moves around the stage with gusto. And can he ever sing and hold a musical note. I especially liked Mr. Valayil’s work in the adorable young boy puppet of Mowgli. I heard some audience members around me along with some children utter and affectionate, “Aaaahhhh”. Matt Lacas becomes a comfortable, genial teddy bear as Baloo, the sloth bear. His relationship with the young Mowgli in teaching him to become more than just a wolf boy is sweet. As the panther, Bagheera, who is out to protect the young Mowgli, Mina James is solid in her work as she contorts her body to an animalistic pose in the puppetry costume she dons. FINAL COMMENTS: There is rapturous joy in this ‘Jungle Book’. It’s a definite go to and must see for the family. It’s here for Family Day and the March Break, perfect for day or evening shows. Performance runs approximately 65 minutes. There will be some Q and A sessions following certain shows. Photo of Levin Valayil as the adult Mowgli by Rick Miller. JUNGLE BOOK Runs on the Mainstage to March 21 at Young People’s Theatre, 165 Front Street East. For tickets, call the Box Office (416) 862-2222 or visit www.youngpeoplestheatre.org . Written & Directed by Craig Francis & Rick Miller. Adapted from the Works of Rudyard Kipling. Produced by Kidoons and WYRD Productions in association with The 20K Collective. Creative Team: Co-creator/Director/Stage Manager (select performances: Craig Francis); Co-creator/Director/Production Manager: Rick Miller; Production Manger/Technical Director: James Kendal; Stage Manager: Andrew Dollar; Set/Costume/Props Puppets Co-Designers: Astrid Janson and Melanie McNeill; Lighting Designer: Rebecca Picherack; Multimedia Designe: Irina Litvinenko; Sound Designer/Composer: Debashis Sinha; Puppetry Consultant: Frank Meschkuleit; Song Lyrics: Kipling/Miller/Francis; Original Song Composer: Suba Sankaran; Shadow Puppetry Consultant: Eric Woolfe; Fight Consultant: Siobhan Richardson; Cast: Mina James, Matt Lacas, Levin Valayil, Tahirih Vejdani Previous Next

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

Back Jacob MacInnis Canadian Chat Lindsay Parkin Joe Szekeres I’ve known Jacob’s family for a couple of years through the school board where I worked before I retired from teaching. The first time I saw Jacob onstage was in a wonderfully campy performance as the evil Puppet Master at Toronto’s Young People’s Theatre in ‘The Adventures of Pinocchio.’ Just like all of us who were missing live theatre in person, I saw Bad Hats’ Theatre production of ‘Alice in Wonderland’ produced by Soulpepper which included Jacob. Jacob MacInnis is a Tkaronto-based non-binary performer and visual artist. After training for three years at Sheridan College’s Music Theatre Performance Program, Jacob has gone on to entertain audiences all over Turtle Island in countless musicals, concerts, and cabarets. In 2014 Jacob was nominated for a Dora Mavor-Moore award and won the Toronto Theatre Critic’s Award for best supporting actor in a musical for their performance in James and the Giant Peach (YPT). This past summer, Jacob made their Stratford Festival debut in Play On! in the festival’s summer cabaret series. They currently work part-time at Sheridan College teaching acting tutorials. Jacob will next appear this month and next month at London Ontario’s Grand Theatre in its production of ‘Home for the Holidays’. We conducted our interview via email. Thank you so much for the conversation, Jacob: Could you share one teacher and one mentor for whom you are thankful who believed in your chosen career as a performing artist. A mentor/teacher I greatly appreciate—that is so tough to answer. Every contract I do, every show I perform in, every tutorial I teach, I am constantly inspired by my colleagues, directors, and students. The lessons I have learned over the years from each special person I look up to have served (and continue to serve) to shape the artist I am today. 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? The last eighteen months (as I am sure they’ve been for many) have been tough to say the least—The emotional ups, downs have been enough to give a person whiplash! However, there have been a few silver linings: The first few months of the pandemic brought my family of five back together after so many years of living apart, throughout the lockdown I was able to come out to my community as proudly non-binary, I wrote and produced my first pop single ( In My Dreams), I became a teacher at Sheridan College, and I was blessed enough to be a part of a handful of online workshops, and magical projects like Bad Hat’s Alice In Wonderland. Making my Stratford Festival debut was certainly near the very top of the list of blessings! How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? With the murder of George Floyd, we watched as the world was set aflame with anger, disgust, and a cry for justice. We started to listen to Indigenous people and people of colour talk about their lived experiences and the racism they have endured in this colonial world. We finally started to see and understand the atrocities Canada and the Catholic Church inflicted upon Indigenous people with the barbaric Residential “school” system. And now we are starting to see a shift toward anti-oppression in the professional Theatre landscape. We are starting to see stories of people who, until recently, have been ignored altogether. We are starting to see a move toward kindness in the rehearsal space with a focus on mental health. And we are starting to see how art can be made while avoiding trauma. We still have a long way to go, but we must not go back to how things were…. I am a human before I am an artist. What intrigues/fascinates/excites Jacob MacInnis post Covid? What intrigues me is seeing how theatre will be shaped as we start implementing more and more of the lessons we are learning … I am intrigued to see just how much we can decolonize this beloved art form and make it of use for the world we want to see. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I credit the late James Lipton and “Inside the Actors’ Studio’ for this idea: If you could say one thing to one of your mentors and teachers who encouraged you to get to this point as an artist, what would it be? To my mentors—thank you for believing in me when I wasn’t able to myself. 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? To any naysayers, I say nothing! —“If they aren’t paying your bills, pay them no mind” What’s your favourite swear word? F**K! What is a word you love to hear yourself say? Delicious What is a word you don’t like to hear yourself say? Taxes What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? Save your money and lay off the sugar! With the professional life experience you’ve gained over the years, what would you now tell the upcoming Jacob MacInnis from years ago who was just in the throes of beginning their career as a performing artist? Keep going! What is one thing you still wish to accomplish both personally and professionally? I would love to pay off my debt, do a show on Broadway, star in some film and television, and own a house complete with a wiener dog named Dijon. Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. I don’t think I would go back to a time in the past even if I could… I have had so many beautiful experiences, but I am always looking ahead! What is one thing Jacob MacInnis will never take for granted again post Covid? I will never take my friends and family for granted post Covid. Would Jacob MacInnis do it all again if given the same opportunities? I don’t think I would do it all again! Like I said above: what’s next? Bring on the future. You can follow Jacob on instagram @jacobmacinnis. You can check out their visual art @jacobmacinnisart, or listen to their original music on Spotify, Apple Music, or anywhere you listen. Previous Next

Back Amy Keating Looking Ahead --- Joe Szekeres Amy Keating’s affection for live theatre has not abated at all on account of the pandemic. If anything, her unabated enthusiasm is so contagious that I caught it and was reaching that same height of missing the theatre crowd. You could read theatre ‘geeks’ in here if you wish because Amy said she loves them and misses them so much. Me too. Our recent conversation kept me smiling and laughing throughout the 45-minute interview. There was no pretentious air about her at all, and she made me feel very comfortable during our Zoom call that we even dropped some colourful language as we discussed so much. We were both surprised that time had slipped by so quickly without us even knowing because we had so much to say and to hear. First time I saw Amy on stage was at the Stratford Festival as Cathleen, the Irish housekeeper, in a hard hitting ‘Long Day’s Journey into Night’. And then to see her in a completely different role in an outrageously bloody good production of ‘Hand to God’ at Toronto’s Coal Mine Theatre. And finally, Amy’s appearance in ‘The Flick’, at Crow’s Theatre which was the first production I reviewed there. You wanna talk about a show where I did not write any notes down on paper during a jaw dropping three hour running time because I couldn’t avert my eyes from the onstage action, not even for one second. She is a Toronto-based actor originally hailing from the Prairies. Amy works in both theatre and film and is three-time Dora Mavor Moore nominated actor. She is a founding member and associate artist of Outside the March with credits: The Flick, Mr. Burns, Passion Play, Mr. Marmalade. Favourite Film/TV credits: Murdoch Mysteries; Ginny & Georgia; Killjoys; P!GS (short film); SUCCULENT (short film). Fave theatre credits: Long Day's Journey into Night and Julius Caesar (Stratford Festival); The Glass Menagerie (Grand Theatre); Wormwood (Tarragon Theatre); The Importance of Being Earnest (Capitol Theatre). Thank you so much, Amy, for adding your voice to the conversation: 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. It’s interesting, Joe, to talk about how it has changed on a personal level, but I also want to talk about how it’s also changed on a macro level as my mind has also gone there in reflection. I feel there’s been a lot of changes and awareness with all of the social justice movements this year. I really do believe and I’m really grateful for the time that we’ve all had to take as the ‘big pause’ allowed us to re-think. Capitalism’s ideology is, “Go, go, go, make the money, make the money, do the hustle, do the side hustle”. I believe, without this ‘year old pandy’ (as my friend says), we wouldn’t have had the opportunity as we would have been too busy and still too caught up in ourselves to slow down and pay attention to what’s happening in the world. In terms of my bigger life, and I imagine this is what many of the artists have probably said, the chance to slow down and, of course, I’ve been privileged enough to have a safe house, to have running water, to have a home and TV to watch Netflix on at night. (Amy and I share a quick laugh because I’ve also done the exact same thing.) But the time to slow down, I’m really, really grateful for it. It’s been refreshing in a way, and I’m both incredibly excited, obviously, but also nervous to go back to that hustle. I think in this profession too there’s always the feeling, both in a beautiful way and in a sometimes-stressful way, of always having to be somewhere and do something and to be creating, and putting yourself out there, and meeting people. It’s time to slow down, and I’ve learned to say No as I may want to sit down and open a book of poetry one morning and read. Or maybe I might just want to lie in bed one Saturday morning or walk to the water. To have that time has been really, really cool. 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? Joe, I see the precariousness of it all. I try not to stop and think about it. When I think about the repercussions, I get really worried as an artist. I told my partner, Mitchell, that it’s also possible the year I just spent was a year I would spend in normal times. You never know that I could have had five plays, five shows back-to-back, a couple of days on set, some workshops OR I could not have had any of these. I could have been working in my three other Jane jobs the whole time or could have had nothing. As an artist, you’re used to that life in a way anyway. When I think about Crow’s Theatre, Canadian Stage or any of the smaller companies, students who have graduated from theatre school, I worry about all of this. For the theatre graduates, are we going to lose them because the pandemic may have dried up opportunities? I’m worried about this precariousness. It’s a profession, it’s a job, it’s a joy, this business but it’s so tenuous sometimes. I hope it’s going to recover because when it does, it’s going to be glorious. When I saw Stratford’s announcements of outdoor theatre, I gasped with excitement because yes, it’s coming back, get me back, please. As a professional artist, what are you missing the most about the live theatre industry? The community. The everyday play with people. During this time when we’re outside walking on the sidewalk, we see others and yes, we too, we move to the side. It’s our calling as artists to move closer, not just physically but with our hearts, with our breath, with our minds. I miss that. Trying to lock in and connect. It’s connecting with people and playing with them. 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? (There was a long pause from Amy as I could sense she wanted to say it right) It will be the ability of a large group of people, audiences, and creators of a piece to be in the same room together. Because that’s the magic. That is what we have missed this past year and a bit, especially me with Netflix. (and we too share a quick laugh). It’s that, and that’s what scary right now is the gathering of big groups of people. Who knew even two years ago we would have said, “You know, next year is going to be really difficult and really dangerous to get over 20 people in a room together.” And I would have said,” No, what are you talking about, that’s my job to do that.” This also includes the audience too because they will wonder if it’s going to be safe for them. Yes, actors can rehearse outside but is an audience safe to watch you? Every day and every performance I will thankfully say, “Look at all the people who are here, even if it’s five of them.” We may not be sold out but we’re here, that audience is here, how lucky are we!!!!!! Describe one element you hope has changed concerning the live theatre industry. I feel as if this last year plus has forced us to slow down in multiple ways. I hope that when we get back to working, creating, and playing, we’re also going to slow down. And that, to me, means being able to take care of everyone who is in the room and be able to be present with everyone who is working on the project, everyone who has come together. That means meeting people where they’re at; that means dealing with anti-racist actions and making sure that people are being seen and taken care of. It must be noted where people are coming from and what they need on any given day. And if there’s something hurtful in the work, said in rehearsal or in the script that we’re able to (and money is always a thing, Joe, you know) that we’re able to call it IN or OUT first off and then take the time and say, “Hey, this doesn’t work. This isn’t helpful for us. Let’s take the time to do something different, to re-evaluate it and to change it.” We’ve done this already for the last fifteen, sixteen months outside the theatre. We now must bring this into the theatre. It can only be a good thing for any production if people are being seen, we meet them where they are coming from and to hear them. Explain what specifically you believe you must still accomplish within the industry. Oh my God, what a cool question. One thing – EVERYTHING!!!!! (And again, we had a good laugh) Oh, Joe, this is the hardest question because I actually do believe it’s everything. Here’s my thesis (and again Amy took some time because I could sense she wanted to say it right and to get it right) I started doing a bit of film and tv. I just finished my first short film, and I would like to find different ways to work and collaborate with people. So, I’d love to be part of a process or to lead a process that would stretch the container of the three – four-week rehearsal process. I feel I’d like to work in a playful way. I think I would like to write. I would like to direct. I directed once before and nearly killed myself, Joe. I was living off coffee and cigarettes and wasn’t sleeping. I want to go back and try it again. I think it would be fun, but I would like to pick the play. It would have to be a play I could see that I would want to do. Here’s the last thing I’ll say – I want to work in big communities of people. I think a lot of shows are kept small on account of budget. When we did ‘Passion Play’, it was a cast of 12. There were 3 directors. It was very large, and I would love to work in that way again, kind of on an epic scale and do plays that are 5, 10, 12 hours long with five directors and a cast of 20. (and I start smiling and laughing as Amy’s enthusiasm is contagious) We’ve been at home for the last year and a half doing nothing, and I want to work on a big, big scale. That’s what I want to do. 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. Joe, let’s re-phrase this question, okay? “Am I prepared to participate both as a professional artist and as a theatre goer in the potential tsunami of Covid themed plays and stories when we immediately return to the theatre? I’m going to echo several of the artists whom you have interviewed who have quoted the same thing…” Fuck, no!!!!!!!!!! (With uproarious laughter from both of us) Definitely not! I don’t want it! I actually wonder if down the road, say ten years from now, a Covid play might be interesting. Right now? No, no no… What I am a fan of now is Black Mirror on Netflix. There’s a cool thing about this show in that it’s not science fiction but more like a drama where it takes the world we live in today and just switches one little thing, just one thing about society. For example, what if in advertising we put a chip in you and see what happens, or your whole social status was based on how many LIKES you received daily. What I find interesting in this comparison of the show to Covid are the connections to some of the anti-vaxxers, anti- mask individuals. If we take the themes from this time of Covid and explore into a play. I don’t want to see any kind of Covid re-creation, but I do think there’s some interesting things revealed about people and society in general at this time. Those themes would be interesting to explore OUTSIDE of a Covid backdrop. I don’t want that. Now, if someone wrote a Covid themed play with me in mind and offered it to me for next year, I might say, “Too soon, too soon.” But if it’s my first theatre job offer in a post Covid world, I might just say, “Yes, please.” As an artist, what specifically is it about your work that you want future audiences to remember about you? For me, specifically, this is such a self-reflecting In Memoriam. I feel the thing for me that makes live theatre so exciting for me and what I want to see in the actors when I watch, and what I want to bring to the stage, is a certain playfulness, aliveness and electricity that makes people feel that this interaction at this moment is new every time. It’s that kind of work that Outside the March reflects in that it was important that you were here on this night (or, in a matinee, this day) to see this interaction at this moment. This night is different because of you, the audience member, because you’re here. I’m really leaning into this In Memoriam question, Joe. I trained in Clown. I studied a lot of Clown in school. That’s all about breath, being in the moment, following impulses and listening. It’s not about trying to be funny, but it’s about being open and receptive. That’s what I aim to do – to be present, to be playful and open with the people I’m creating with on stage, and the people that I work with through rehearsal, and the audience as well. It’s bringing that magical electrical feeling into the room. You can follow Amy Keating online at Instagram: @lil_keats. You can also follow Amy’s first short film account SUCCULENT on Instagram: @succulentthefilm. Previous Next

Back TH’OWXIYA: The Hungry Feast Dish by Joseph A. Dandurand Now onstage at Toronto's Young People's Theatre Javier R. Sotres Photography. These actors are not in this production, but this photo gives you an idea of the costumes. Joe Szekeres “A delightful First Nations tale. Amiable and genteel performances of its Indigenous storytellers are one of the highlights.” The traditional Coast Salish and Sto:lo music sets the stage for ‘Th:owxiya: The Hungry Feast Dish’ on the Ada Slaight stage. Th:owxiya is a giant spirit. In this production, the mouth of Th:owxiya’s statue holds lovely foods from around the world. However, if anyone steals from the mouth of the statue, they will pay a terrible price as Th:owxiya has developed a taste for children. A hungry Mouse (Cassandra Bourchier) takes a piece of cheese from Th:owxiya’s mouth and is caught. To appease the ire of Th:owxiya, the mouse must bring two children for her to eat before the second moon rises. If this does not occur, Th:owxiya will eat the mouse’s whole family. The mouse seeks assistance on her journey to trick Th:owxiya with the help of Raven (Damion Leclair), Bear (Braiden Houle) and Sasquatch (Danica Charlie). There’s quite an array of colourful objects, set pieces and props, thanks to Production Designer Jay Havens’ careful consideration in selecting these items. When I sat down in my seat, I scanned the stage, and some items caught my attention – one was the large spindle whorl near the back. The other was the statue of Th:owxiya. At first look, it doesn't appear very comforting. However, something is intriguing about the statue each time I look at it—extraordinary colours on both props. Havens’ set design compactly fits the Ada Slaight stage. Nothing appears cramped as the actors can maneuver around with ease of movement. The costumes are lovely. Damion Leclair’s Raven is remarkable from my seat in the house. The headpieces on Bourchier, Houle and Charlie uniquely give vibrancy to the animal characters they have created. For the most part, playwright Joseph Dandurand’s script uniquely captures the vernacular language of children, which will sustain interest in the story. There are moments, nevertheless, when some First Nations vocabulary is introduced that could be confusing for young viewers. I had to use the Vocabulary list provided in the Study Guide before and after seeing the show for clarification – for example: Sasq’ets (Sasquatch); Kw’at’el (Mouse); Sqeweqs (Raven); Theqa:t (tree); Spa:th (Bear); Sp’oq’es (Eagle); Chitmexw (Owl). Hopefully, if children are brought to school matinées, then teachers may want to review this vocabulary prior. Parents, if you do bring children unfamiliar with the vocabulary, you may want to ask for the vocabulary list. The underlying messages behind the story are important ones of overcoming adversity together and problem-solving. Young People’s Theatre also supports the Ancestral Teachings of First Nations. I’m pleased the company continues to fulfill this important connection, especially for those of us in the audience who want to know more about the culture. In this production, the teachings of Wisdom and Respect are reinforced. Chris McGregor’s direction and pacing succinctly capture the whimsy and curiosity of childhood. As an adult, I got caught up in the story. Kudos to McGregor’s vision of curiosity to include everyone in the audience. The strong actor ensemble remains committed to the moment and in the moment. Several child-participatory sections are fun to watch. The actors didn’t appear unnerved by the children’s responses. The cast instinctively knew what to do to maintain the focus and to get the story back on track when necessary. Final Comments: Charming! Creative! ‘Th’owxiya: The Hungry Feast Dish’ is another example of an appropriate storytelling moment in the First Nations culture. Even for adults like me who wish more First Nations stories were taught when I was in high school, this production provides teachable moments for adults who want to learn more. Thank You, Young People’s Theatre, for your continued work showcasing the stories and culture of First Nations. Running time: approximately 45 minutes with no intermission. There may be some Q and A sessions following the performance, so check when you book tickets. The production runs until November 6 on the Ada Slaight Stage at Toronto’s Young People’s Theatre, 165 Front Street East. For tickets, call the Box Office at 416-862-2222 x 2 or email at yptboxoffice@youngpeoplestheatre.org . To learn more about the theatre, visit www.youngpeoplestheatre.org . TH’OWXIYA: The Hungry Feast Dish An Axis Theatre Production Written by Joseph A. Dandurand Directed by Chris McGregor Production Designer: Jay Havens Music Composer: Marguerite Witvoet Stage Manager: Sophie Kaplan Performers: Meela Alexis, Cassandra Bourchier, Danica Charlie, Braiden Houle, Margo Kane, Damion LeClair Previous Next

Back The Man That Got Away (A Special Appearance) by Martin Julien Buddies in Bad Times Theatre HAUI Joe Szekeres An absorbing performance of a gutsy, complex individual who has lived life the way he wants in all its glory, its warts, and its divineness. This is my first time seeing Martin Julien in a live performance. Why have I waited this long? According to a release I received, ‘The Man That Got Away’ was developed in the Buddies Residency Program. It’s a “genre-subverting piece deconstructing the cabaret and confessional forms, delving into Julien’s queer upbringing as the child of a lesbian and gay man in mid-twentieth century Toronto, as well as the loss of his father to HIV/AIDS in the late 1980s.” There’s a great deal going on just in this description alone. Suffice it to say Julien took me on a deeply personal journey with him through a Toronto I remember reading about it in the papers and seeing the various stories on the news. As a young teacher at that time, I remember the tremendous heartache, the fear of the unknown and the personal suspicions about those deemed different which irreparably destroyed lives. Martin ably and heartfully captured these emotional highs and lows with respectful class and dignity. ‘The Man that Got Away’ took on a completely different meaning for me in hearing it from an individual who was there, who lost loved ones, and who will forever be changed by what he saw, heard, and encountered during the AIDS crisis. And as a member of this opening night audience, I was richer for listening to Julien share and sing his fascinating story about his family supported by two fine artists, Tat Austrie and Ben Page. Austrie played a vocally astounding Judy Garland while Page ably accompanied on the keyboard (and provided the odd voices from Julien’s past). ‘The Man that Got Away’ is not simply a cabaret piece. In his Playwright’s Notes from 2020, Martin writes he wanted both “to use and subvert the tropes of cabaret/nightclub/concert hall performance.” For me, the show is more than just that. It becomes a call to action to truly hear and listen to not only this story but all stories that are not like our own. Director Peter Hinton-Davis subtly directs with intimacy and compassion as he moulds and shapes Julien at various stages of his life that are sometimes moving, sometimes heartbreaking but most often always credibly real. Stephen Woodjetts’ musical arrangements are soundly placed at crucial points in Julien’s life as the song lyrics led me further into going deeper in understanding this complex individual. It’s been a long time since I’ve heard Judy Garland sing ‘The Man That Got Away’ from the 1954 film ‘A Star is Born’. Here, I found this rendition mesmerizingly haunting and permeated the auditorium walls and remained with me long after I got home. Sean Mulcahy’s starkly simple set design gripped my attention immediately. A lone spotlight hazily reveals a chair centre stage. It reminded me of those tv talk shows from the mid–late 1950s where the host smoked a cigarette and interviewed his guests. Bonnie Beecher’s full-on cabaret style of lighting at one point sets the stage fiery ablaze as Julien sings in a style that reminded me of Liza Minnelli’s rendition of ‘Cabaret’ in the Fosse film. HAUI’s striking video designs referenced, when necessary, the time frame or Julien’s state of mind at various points in his life. The press release also states, “while the play is deeply personal, the production grapples with broader questions of queer identity, struggle and history exploring the liminal spaces between the unobserved and the public, the closet and the stage, escape and encounter.” Once again, a great deal to ponder from my audience’s perspective on how I am to look at the subject material with an open mind, eye, and heart. The odd bits of humour especially in how Martin and his father used Broadway show tunes in their personal lives did make me smile and utter a low chuckle behind my mask as it did, according to Hinton-Davis’s programme note “described a time, distant and unrecognizable to another generation…we challenge and teach each other in the exchange.” Final Comments: An engaging performance, ‘The Man That Got Away’s’ success remains incumbent on us to listen to other voices, to hear their stories, to digest and to think really about what is most important in life. For Martin Julien, he’s lived life the way he wants in all its glory, its warts and its divineness. I respect that truly. Running Time: approximately two hours and 10 minutes with one intermission. ‘The Man That Got Away’ (A Special Appearance) runs until December 18 at Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. For tickets, visit buddiesinbadtimes.com or call the Box Office at (416) 975-8555. ‘The Man That Got Away’ (A Special Appearance) by Martin Julien A Buddies in Bad Times Theatre Production Director: Peter Hinton-Davies Musical Arrangements and consultation: Stephen Woodjetts Assistant Director and Dramaturge: Monice Peter Stage Manager: Fiona Jones Set and Costume Design: Sean Mulcahy Lighting Designer: Bonnie Beecher Video Design: HAUI Sound Design: Wayne Hawthorne Performers: Martin Julien, Tat Austrie and Ben Page Previous Next

Back Gerard Gauci - Resident Set Designer for Opera Atelier "I'm not sure where AI technology will go in scenic design, but eventually it will have some role on stage for future productions." Bruce Zinger Joe Szekeres From Gerard’s website and our Zoom conversation: “Gerard Gauci is the Resident Set Designer for Toronto’s Opera Atelier. Educated at the Ontario College of Art and Design, he graduated with Honours in 1982. He was in the Communication and Design Department. Gerard wanted to work in the applied arts, and he studied to become an illustrator. The theatre has always been at the back of his mind. His work encompasses art, theatre, and museum design. He has worked with Atelier since its first fully staged production in 1985. He has designed the company’s complete repertoire, spanning Monteverdi to von Weber. His work for the stage has been seen across Canada, throughout the United States and Europe. Gauci’s sets have been presented by Houston Grand Opera, The Glimmerglass Festival in New York State, and the Opéra Versailles.” During our conversation, Gerard mentioned that his designs are all done by hand and rarely uses a computer. Ever since I’ve had the opportunity to attend some of Atelier’s productions, I’ve been highly impressed with Gauci’s designs. How did Gerard connect with Marshall Pynkoski and Jeannette Lajeunesse-Zingg from Toronto’s Opéra Atelier? While working as an illustrator, he was commissioned to do a magazine cover for the monthly CBC Radio Guide (the TV Guide for Canadian radio). There was always an illustrated cover, and Gerard was asked to produce one about theatre. He’s always been interested in the fine arts and decorative arts of the eighteenth century, particularly in France and Italy. Gerard created a published cover that featured a Baroque dancer in a kind of allegorical costume set on a stage. Marshall and Jeannette subscribed to this monthly Radio Guide, saw the cover, and found it interesting. They tore it off and stuck it on the fridge door. Jeannette happened to be working with some photographers, and one of them said she and Marshall should meet this ‘guy’ who’s interested in all this Baroque stuff “you’re interested in.” Through one connection leading to another, Gauci received a phone call from them and wanted to meet one day. He did. Marshall and Jeannette asked if Gerard would design some props for “The Choice of Hercules,” a production they were doing in the theatre at the Royal Ontario Museum theatre. Gerard agreed and enjoyed the experience. Marshall and Jeannette then continued to ask Gerard to work on set designs. Thus, his connection with the two of them began, and a new chapter opened: “Thirty-five years later, I’m still here.” Where does Gerard see the world of opera and theatre’s trajectory over the next five years? He paused for a moment. First, he said that’s a good question as the industry is still in recovery from Covid. Many of the artists whom I’ve interviewed have also agreed with this, along with the fact everyone wants to establish once again where they were before 2020. He then added: “Technology is becoming a bigger and bigger factor on the stage itself. In terms of scenic design, projection is a huge part of what one now sees on the stage. There’s talk of exploring AI scenically on stage. I’m not sure where that will go, but eventually, it will have some role on stage for certain kinds of productions.” Gauci can’t speak as a director. In terms of set design, the world of printing is changing everything. For his entire history with Opera Atelier, Gerard has everything painted on stage: backdrops, set, and flats. He has a team of painters who do all this work. Gerard creates a small-scale rendering, and the painters reproduce it at a large scale on canvas with scenic paint. This is all changing now dramatically. In the early days, one couldn’t print anything at that scale. Today, if something is 25 feet by 25 feet, it can be sent out and printed. Gerard foresees that printing will probably overtake the world of scenic painting. Atelier did a production in Italy several years ago where all the drops would be printed in Germany. Gerard had to send scans of paintings. He called this both technological and concerning because he had no idea what the quality would be like coming from a printing press instead of the hands of a team of painters. Gerard was astonished when he saw the quality of the work: “These were drops that were 60 feet X 25 feet. They were enormous. The quality was superb, and it looked exactly like my painting. When you have someone physically paint it, there’s a kind of translation that has to happen because their hand is not the same as my hand. It doesn’t look exactly like me. What I had printed looks exactly like me and done in a fraction of the time and cost fraction of what it would cost to have something painted by a team of painters.” Gauci concurs something is lost because there’s an ineffable quality about a painting versus a print. It’s not the same thing. Printed versions usually have a bit of sheen, whereas scenic paint is designed to be very flat and not reflect light but absorb it. This kind of technology in the theatre has revolutionized the world of scenic art and will continue to do so. Unfortunately, as Gerard sees it, the world of scenic painting becomes less and less of a profession. It has been used less and less over the years because scenic designers have been thinking digitally for an entire generation. Why should people continue to see the opera? The pandemic proved to everyone the value of live theatre. Everyone watched online offerings when everything shut down, yet Gerard found that experience unsatisfying. He couldn’t be engaged with that screen in the way he was engaged in the theatre. When everything ‘returned,’ Gerard said he rushed back like everyone. He saw some shows – in his words, they were fine, but they weren’t great productions. The experience of being back in the theatre reminded him of how irreplaceable it is. As audience members, we participate in that production because there is an energy exchange between the performers and the audience. Then, there is the added exchange of energy among audience members. It’s a human resonance. There’s some life-affirming about the experience of being in the theatre. Gerard added something that many artists I’ve profiled have intimated the same thought: “I found I was moved far more in the theatre than I was looking at the screen.” For Gerard, opera strives to combine all the arts. The exciting thing about Baroque opera? It was seen as a synthesis of the arts – scenic, orchestral, vocal, and balletic. Emotions were big. It allowed spectators to participate in the opera. It’s about life, but it’s bigger than life. He also added: “It was an age of invention in the theatre. The Italians were the great genius of scenic design. They could create very magical effects that would happen before the eyes of spectators. Seeing these changes on stage was an exhilarating experience for an audience.” Gerard admires Marshall and Jeannette's commitment and tenacity. It takes incredible energy and determination to run any theatre company, even if for a very short period to keep it running and lively for almost forty years is an amazing achievement. They are high-energy people and have never wavered in their commitment to the company and its vision. Marshall and Jeannette’s energy is infectious, and most of all, it’s fun. For Gerard, these qualities are scarce, and he has always admired them for these qualities. As we concluded our Zoom conversation, I asked Gerard where he sees himself within the next proverbial five years: “Oh, gosh. That’s a good question. Throughout my career, I’ve worn three different hats – a theatre designer, a painter and a museum exhibition designer. I just like to keep going. I love juggling all of these things because ultimately one thing influences the other. There’s a nice relationship between these three things.” Gerard still loves painting. He has always been interested in curation and decorative arts of museums. The theatre has been his life for so long. Opera Atelier is not going anywhere so he hopes he will continue designing sets for the company. His final words: He’s just going to continue going on. To learn more about Gerard Gauci as artist, visit his webpage: https://www.gerardgauci.com/ To learn more about Opéra Atelier: https://www.operaatelier.com/ Previous Next

Back 'Wedding Band' by Alice Childress Now onstage at The Tom Patterson Theatre at the Stratford Festival David Hou. Featured: Members of the Company Guest writer Geoffrey Coulter, actor, director, arts educator A thought-provoking, profound examination of racism, intolerance, violence and injustice in the American south of the early twentieth century and how love reigns victorious. Some familiar-sounding themes make a lot to love - and think about - in Stratford’s production of Alice Childress’s “Wedding Band”. “Wedding Band” is effectively staged on the thrust of the Tom Patterson theatre with actors making full use of every side and corner of the rectangular playing space. Some superb performances from Stratford stage veterans and newcomers alike make for powerful scenes of shocking intensity and, curiously, some that need more intensity. Set in Charleston, South Carolina, near the end of the First World War, the story follows the illegal interracial romance between Julia, an alienated black seamstress hoping for peace in an out-of-the-way rooming house and a white baker named Herman. Julia is desperately trying to avoid the prying eyes and ears of gossipy neighbours. On their 10th anniversary, Herman visits Julia with a celebratory cake, a wedding band on a chain and a plan for both to leave the south for New York City, where they can be legally married. But soon, Herman is stricken by the great influenza pandemic brought home by American soldiers returning from the trenches in France. Julia’s landlord is afraid to call for a (white) doctor, and soon Herman’s mother and sister arrive on the scene to care for their ailing kin. When they learn of Herman’s relationship with Julia, tensions boil over, and secrets are revealed! The American south of 1918 was a very dangerous place to be for an interracial couple. Racist social conventions and the threat of violence for such a union were omnipresent. The only option for many was to leave the south for the more “liberal” northern states where they could wed and be deemed a “legal” couple. Director Sam White beautifully crafts the old spiritual “Jacob’s Ladder” (beautifully sung throughout the production by the cast) as a metaphor for humans - black and white - for reaching our highest potential, our brightest future. According to her program notes, socioeconomic status, race, and gender, forces us to live on a rung by a system that oppresses the less powerful. Though she references 1918, you can’t help but connect the precarious race relations in America today. Kudos to her very deliberate placement of little girls, black Teeta and white Princess, who scamper on and off-stage holding hands, playing patty cake, blissfully unaware of race and prejudice. Their brief but essential appearances starkly contrast the hostilities of the adult world. White deftly sculpts her supporting characters and cultivates lovely performances from each. She avoids the potential pitfall of a thrust stage by positioning her actors to avoid extended periods with their backs to the audience, mostly. There were two disappointing exceptions in Act 2 with scenes between Julia and her friends Mattie and Lula. They were statically placed facing “downstage,” from my vantage point on the left side of the stage, I couldn’t always make out what seemed to be rather critical dialogue. Richard H. Morris Jr.’s set provides lovely hints that allow us to fill in the gaps - a few picket fences, a chair and table and a tree stump. Upstage boasted a detailed, era-appropriate boarding house façade with an ingenious bedroom suite that glides silently to centre stage and back, giving the audience the full effect of some shocking scenes. Lighting by Kathy A. Perkins provides subtle texture, reflecting the emotional intensity of the scenes with well-chosen amber and blue values. Sarah Uwadiae’s fabulously authentic and detailed period costumes, including a fully equipped soldier bound for the trenches, effortlessly demonstrate the class structure of the affluent and the oppressed. Shout out to the original music by Beau Dixon and Music Director Franklin Brasz. Dixon’s fusion of twangy blues with classic spiritual, and Brasz’s direction of the cast’s choral work on Jacob’s Ladder, set the tone brilliantly and maintain it through scene transitions and incidentals. A fine cast of actors takes on these disparate characters, all with their own unique storyline. The female characters are a joy to watch - whether faced with adversity or being the cause of it. These women are all well-defined and performed to perfection, mostly. As Fanny Johnson, the fiery landlady of the rooming house who pretends to belong to a better social class as a property owner while “representing her race in an approved manner”, Liza Huget is excellent, injecting humour, disgust, apathy, and judgement in equal measure. Ijeoma Emesowum as Mattie, a poor single mother with a husband away in the merchant marines, wonderfully portrays a woman beaten and struggling to make ends meet. Joella Chrichton’s portrayal of Lula Green, another poor woman who lost her first child in a tragic accident, is delicate and emotional. As Julia, the uneducated, outcast seamstress, Antonette Rudder gives a brave and heartfelt performance that doesn’t quite hit the mark. I wanted more risk-taking in her portrayal. Julia is a poor black woman, rejected by her own race showing the strain of social isolation. But I didn’t see it. Her scenes with Herman lacked similar depth and subtly. Sadly, by the end of the play, I wasn’t as invested in her character’s journey and outcome as I was in everyone else’s. Maev Beatty is compelling as Annabelle, sister of Herman, desperate to break free of her mother’s influence to marry the man she loves. Lucy Peacock is a marvel as Thelma (Freida), the racist mother of Annabelle and Herman, a social class pretender and supporter of the KKK. Her expert performance is authentic and compelling. Her shouting match with Julia over the theft of money from Herman’s wallet escalates into a verbal battle of racial insults so intense it leaves this reviewer breathless. Cyrus Lane as Herman embodies his role as the poor, hardworking baker who doesn’t see race, just people. He loves Julia, to be sure, but I wasn’t convinced she’s his soulmate. This was my biggest problem. Though White’s vision of colour-blind love is abundantly clear, the private bedroom scenes between Herman and Julia lacked subtle tenderness and natural passion. This couple has had a clandestine relationship for a decade, but my companion and I weren’t sold on their passion. However, an intimacy director is credited in the program. As Nelson Green, the adopted son of Lula on leave from the trenches, Micah Woods is a revelation. This young actor’s work is a joy to behold, injecting the right amount of bravado, fear, and intimidation as a young black soldier with a dubious future. An exceptional multi-layered performance. The rest of the cast - Aliya/Aria Anthony as Teeta, Jonathan Mason as Shrimp Man, Kevin Kruchkywich as Bell Man and Madison Taylor Mackenzie as Princess - handle their respective supporting roles with aplomb. “Wedding Band” is thoroughly enlightening, relevant, educational, and entertaining. Its themes of racial injustice and intolerance, miscegenation, segregation, single motherhood, alienation, and loneliness amid a virulent pandemic, make me think nothing much has changed in America in 105 years. But the beauty of this play is its simple message. It wasn’t written to victimize black people or make white people feel guilty. It was written to spotlight the history of black people, to remind us of the past so that we can (hopefully) enjoy a better future together. Running time: approximately two hours and twenty-four minutes. The production runs until October 1 at the Tom Patterson Theatre. For tickets, visit stratfordfestival.ca. Previous Next

Back Matthew G. Brown Self Isolated Artist David Leyes Joe Szekeres I first saw Matthew’s work on stage at the Stratford Festival in an extraordinarily moving ‘To Kill a Mockingbird’ (directed by Nigel Shawn Williams). Matthew’s marvelously anguished performance as the wronged Tom Robinson earned him a Broadway World Award nomination for best performance by a male in a featured role. Matthew’s brief appearance and image as the eerie Soothsayer in ‘Julius Caesar’ that summer was haunting. Here is someone whom I hope to see on stage in the future when it’s safe to return to the theatre. And holy moly, Matthew Brown is one busy guy after I read his biography. His diversified project work in television, theatre, and film are solid. Along with these projects, Matthew has also received excellent training at fine institutions across the country including the Canadian Film Centre. Matthew and I conducted our interview via email: 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? My immediate family and loved ones have been good and healthy which is lucky. I’ve been doing ok…for the first part of the pandemic I would swing from ‘completely unbothered’ by everything to ‘I want to pull all of my hair out! When will this be over?!’ It would all depend on the day that you caught me. Since the topic of race has come into the global conversation, it has brought up a whole new set of challenges and mental health hurdles to navigate. That being said: I am hopeful that this wave of activism and the calls for change won’t just disappear when it’s no longer trendy and things open up again. As a performer, what has been the most difficult and challenging for you professionally and personally? Not having access to any gyms or dance studios has been rough. I’ve invested in a tap dance board just so I can have somewhere to dance and stay fit. It’s also a challenge when it feels like there is no end in sight. We’re sort of programmed as performers to hustle and always be on, looking for the next thing. While I believe sitting still is a very good thing, it can cause anxiety when you don’t think there is any end in sight. 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? Just before the lockdown, I had shot a series of commercials for a major company. They had asked me if I was available to shoot another one at the end of March, which was obviously canceled. The commercials that I’ve already shot are currently in limbo as the company is putting the ad campaign on hold. I was in the planning stages of having a reading of a Web Series that I’ve been developing for the past two and a half years at the end of March (again, canceled) and I was about a month away from starting rehearsals for Musical Stage Company’s “Kelly V. Kelly” at the Canadian Stage’s Berkley St Theatre. Once’ Kelly V. Kelly’ was finished I was set to play Antipholus of Ephesus in ‘Comedy of Errors’ in Toronto’s High Park this summer. COVID blew a lot of things up for me :D We’ll see if the commercials see the light of day…hopefully they will, I thought they were funny. What have you been doing to keep yourself busy during this time? As I mentioned above, I tap dance to try to keep myself moving (apologies to my neighbours). I’ve also participated in some Zoom readings of film scripts and Shakespeare just for fun. I’m trying to move the read-through of my Web Series to Zoom so that I can finish developing the show and begin to work on pitching it. Speaking of pitching, a friend of mine (John Virtue) has written a great feature film that I hope to be in. Funny enough, the movie is about being trapped in a room, so you know…topical! During quarantine, he and I have chatted about how we can possibly make this movie/get funding…so I’ve been trying to remain positive and keep myself busy. I’ve also invested in a home studio with a microphone so I can try to do some voice work from my home. I’ve also been playing a TON of video games as that’s my favourite form of escape. Currently, I’m playing ‘Persona 5: The Royal’, ‘Samurai Shodown’ and building up a sweet island in ‘Animal Crossing’. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? I can’t imagine just coming out of theatre school and into this climate, so that’s a bit of a tough one. I would say take this time to do the work and research you can from home. Read plays, research roles that you would like to one day play, dabble in some writing if you can. Finding ways to stay artistically motivated during times like this are hard, but they will be helpful. That being said, be kind to yourself on days where you don’t have it in you. Take the time for self-reflection, don’t feel guilty if you didn’t do any work today. There’s no “machine” running right now, so just do what you can so you’re prepared for when things start again. Do you see anything positive stemming from COVID 19? I think that, whether we like it or not, COVID-19 has forced the world to collectively pause and examine itself. I genuinely think that’s why so many white people are finally hearing us about police brutality right now. There are no other distractions, no theatre to see, no sports to watch, no room for blissful ignorance, and that may end up being a good thing. I hate that it took a global pandemic that equals thousands sick and dead, and the death of more black people, for society to take racism seriously; but I definitely hope that it will make people really examine the systems that we have in place and how they negatively affect our society. If not now, then when? Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? Yes, both negatively and positively. As I said, it has forced us to examine our industries and their practices. I think this can lead to a positive change. We’re already seeing that begin with the proposed changes to “as Cast” contracts. Hopefully, more action will be taken to make performing arts across all platforms more inclusive. I also think that there will be a negative impact on house sizes and getting people to return to the theatre because there will be the worry of feeling safe from COVID. Not to mention the financial hit the industry is taking by closing all of its sets, theatres, and sound stages. However, if we bring new and exciting voices to our big stages and give BIPOC an opportunity to tell their stories as well, the positive impact could fix the negative impact as people will want to rush back to the theatre to hear their voices represented…if that makes sense. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I’ve thought hard about this one since Quarantober began (that’s what I’ve been calling this since March…it’s just one long month…right?). Nothing will replace live theatre. The experience of sharing the same oxygen as the performers you’re watching cannot be duplicated. However, I do think it may not be a bad idea to examine other ways to make theatre more accessible to more people. Take sports for instance: for better or worse, sports are going to find a way back. They will play with no fans in the crowd and rely on their TV deals and merchandise to make money. If you watch a sporting event on TV, it’s fun, you enjoy it. However, I think most sporting fans will agree that there is nothing like being there. Sports have been televised for years, and yet they still are able to sell their live experience as well as sell their product on television. Why can’t theatre do the same? Maybe if we had the infrastructure in place to shoot our shows, there would be a path to get back to work sooner? Perhaps a pay-per-view service of some kind where a season subscriber could have access to shows online, but everyone would know that to get the best experience you have to be there live. Of course right now, we’d be doing theatre with no audience, but we could still do something and be able to (hopefully) keep performers safe at work, while providing theatre to our audiences in the safety of their own home. Also, I’m fully aware that this kind of thing could only apply to really big-budget theatres like Broadway, Stratford, Shaw, Mirvish, and the like. If something like COVID-19 has the ability to shut down our entire industry for a year, it might not be a bad idea to revisit how we get our medium out there for people to experience. Despite all this fraught tension and confusion, what is it about performing that COVID will never destroy for you? Family and friends. We’re blessed to live in a time where a loved one is just a phone call or video chat or text away. We’re also blessed to have the outdoors, books to read, internet to stream with, hours upon hours of television to consume and tons of video games to experience. Although this pandemic really does suck, we have a lot to be grateful for if we just slow down and appreciate all of the small ways that we are privileged. COVID can’t take away the little things. 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? Excellence 2. What is your least favourite word? Necessarily 3. What turns you on? Ambition 4. What turns you off? Bigotry 5. What sound or noise do you love? Singing 6. What sound or noise bothers you? Sliding a full metal water bottle across a table. You know the sound… 7. What is your favourite curse word? It’s a Jamaican curse word and my mom would kill me if I dropped it in this interview, so I’m a chill. (laughs) What is your least favourite curse word? See you next Tuesday 8. Other than your own, what other career profession could you see yourself doing? For a while I really wanted to be a massage therapist. 9. What career choice could you not see yourself doing? Police officer 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Welcome home!” You can reach Matthew at his social media handles of Twitter and Instagram: @ItsMrMGB. Previous Next

Back 'A Christmas Carol' by Charles Dickens Produced and Performed by the Book of Light and Darkness Productions now onstage at the BMO Studio Theatre Credit: Drew Murdock Aaron Kropf “A hauntingly wonderful retelling of a classic tale” Right on the heels of ‘Elf the Musical’, Saint John Theatre Company is clearly doing everything in their power to get theatre patrons into the Christmas spirit. And what better way than to share a story that has been told and retold over the years. This year, patrons were treated to a one man performance of Dickens’ most famous tale that revitalized the season of Christmas. This production of ‘A Christmas Carol’ was produced and performed by The Book of Darkness & Light Productions from the UK. Adam Z. Robinson created and performed this production of “A Christmas Carol” that is a little spookier than we are used to seeing. It’s the classic story of miserly old Ebenezer Scrooge who, after encounters with four ghosts, has a change of heart toward family, the poor, and Christmas. This story is so influential. Why? Were it not for Charles Dickens, Christmas might look very different to us today. There are a couple of things that make this production stand out. One is the greater focus on the ghostly/macabre side thanks to Storyteller Adam Z. Robinson’s onstage work. This staging is really more of a dramatic retelling of the Dickensian tale highlighted by the name of the only “character” to appear on stage. The set was simple, haunting, and Victorian in essence. The stage is outlined on three sides with candles and greenery. Right of centre is a small scribe's desk with a letterbox, cup, candles, and other bric-a-brac. A solitary chair sits next to the desk along with a coat tree with a night cap, and robe. Unfortunately, the night cap was never used in the production...which felt a little strange. Especially strange given how synonymous a night cap is with Ebenezer Scrooge and his ghostly visitors. There is something to be said about stripping a classic to its core. Simply telling the story made it special. Robinson’s delivery is captivating and draws you into the story because he is an exceptional storyteller. The show moves along at a quick pace, being only 90 minutes long. The Book of Darkness & Light Productions telling of “A Christmas Carol” is a hauntingly wonderful telling of the much loved story of Scrooge and his Christmas Eve visitors. “A Christmas Carol” runs until December 9th at the BMO Studio Theatre. Previous Next BACK TO TOP

Back Astrid van Wieren Self Isolated Artist --- ​ I finished my Zoom conference call interview with Toronto artist Astrid Van Wieren with a big smile on my face and felt a huge sense of accomplishment. She is a lady who is truly thankful for the gift and grace of her performing arts career. Just hearing the titles of some of the productions in which she has performed are quite impressive. Plus, I also found out today that she and I attended the same alma mater (King’s College at University of Western Ontario – yay!!) and we also earned the same degree while at King’s. Upon her graduation from UWO, she then attended the theatre program at Ryerson University. (in the process of a name change at this time) The first time I saw Astrid on stage was at the Royal Alexandra Theatre over three years ago when the extraordinary ‘Come from Away’ was on its North American tour eventually heading to Broadway. When I was in New York City last year, I went to see the production and the original cast was still playing. Ms. Van Wieren will continue in her Broadway run of the show at the Gerald Schonfeld Theatre in New York City once the all clear has been given. And will I go see the show again when in NYC? You bet your sweet bippy I will. How many people remember that line?: 1. How have you been doing during this period of isolation and quarantine for the last two months? What was life in New York City like right up until the decision was made to close the theatres? I’m taking it that you are still in New York at this time since ‘Come from Away’ was playing right up until the lock down? Is your immediate family doing well? No, I’m here in Toronto, in my house in Leslieville. I was on my first vacation in forever, down in Buenos Aires where I was invited by the Artistic director of The Stage Company Theatre, Carla Calabrese to see their rehearsals of ‘Come from Away’ which was to be the first non-English licenced production. I was treated so beautifully while I was in Buenos Aires. Then everything got a little strange towards the end because that’s when the pandemic was starting to really hit. When I got back to New York, Broadway had already shut down so I went to my apartment in Harlem, packed a bag thinking I’d be gone two, three weeks because that’s what the producers were telling us at the time. I came up to Canada as it was a chance to be home. And It just felt safer. And if I got sick, I didn’t want to be a burden on the New York health care system which already had numbers that were starting to climb quickly. It’s strange, but I do feel I abandoned her, New York. It’s a city that just feels like a sentient being. Like everybody else, it’s been a real roller coaster. Yes, roller coasters can be exciting and fun but it’s the opposite of whatever that is. It’s the emotional up and down that is hard to navigate. There are days when I feel great. Today the sun’s shining and that immediately brings an uptick in mood. I feel better, more alert. There are days when every joint in my body hurts, I feel tired and think ‘What am I gonna do? What am I gonna do?”. Then it all rains down. I’m learning to navigate and to give in to what my body tells me. Some days I might get only one or two things done and there are other days where I’m fired up, getting creative things done, on Zoom calls, doing my workouts. Exercising helps clear the mind. I’m also doing morning pages (‘The Artist’s Way’). It really helps a lot. What I’ve been thinking about recently are the numbers of those who have been hit hard by the pandemic. It occurs to me the word ‘numb’ in ‘NUMBers’. But there is a story behind every number/person who has lost their life, or families who are helping and coping either in loss or keeping a watchful eye on family and friends. All those stories, gone. And actors we live by stories, really we all do. My immediate family is doing fine. My sisters on the west coast are fine; and my brother is fine in St. Thomas. . My dad is 86 and in London, Ontario, and is doing alright. I’ve been Face timing once a week with our dad as a check in. It’s been one of the positive shifts during this isolation. My sisters made masks for me and my dad. He is still ambulatory and loves his walks, but he wears his mask when he is in the elevator or his apartment building’s hallways. I’ve had some friends who have been touched by the virus but so far, I’m fine. 2. Were you involved in the planning stages of any upcoming/future projects before the pandemic was declared and everything was shut down? What has become of these projects? We had our third-year anniversary for the Broadway production of ‘Come from Away’ recently. I thought I wish I could be in this long running show for as long as I can. And I also thought it would be nice to have a month off to re-energize. Well, be careful what you wish for, eh? Because now we have months and months of being off. There’s a sequel to a musical I’ve been working on called ‘After Baal’. I performed ‘Baal – A Rock and Roll’ play at Buddies in Bad Times Theatre many years ago. The playwright (Rose Cullis), director (Jon Michaelson) and I are working on it, so that’s fun to explore. Where would this rock and roller be 20 years or so down the line? What happens to an artist who stood her ground and gets older? This is fascinating to me as I begin to age and consider our usefulness and stories and how people shift as they get closer to the end of their lives. Also, in between playing ‘Come from Away’ in Seattle and Washington, I did an independent feature film with my creative partner and best friend, John. Now, we’re pulling a pitch together for a potential series. 3. What has been the most challenging part of the isolation and quarantine for you? I’m a real social creature. Strangely enough, I also love time out, zoning out and going into a place of complete rest. I think not being able to be with people has been the most challenging. People get interrupted in Zoom calls and they can feel so awkward. I love an Algonquin round table of people sitting around with so much conversation, talk and discussion going on about ideas of theatre and art. You can’t get that same discussion going on a Zoom call or podcast as you can when you are together. Technology doesn’t allow it. I miss being in a rehearsal room. I miss the social aspect. I miss the audience who is so important. It’s the need of the audience which creates this wonderful, delicious tension, and that need to be told a story or to hear a joke that makes live theatre crackle. The applause is nice but that immediate connection is what I really miss. Just the not knowing when this pandemic will end and how things will reshuffle, I think, is the hardest point. Who am I if I’m not acting or creating? What purpose do I have? 4. What have you been doing to keep yourself busy during this time of lockdown? I work out five days a week. I’ve been doing some promo videos, pod casts and on line cabarets; lots of these for ‘Come from Away’ because we want that investment there when we return. The fun challenge with these videos is trying to use the medium in a different way to create immediacy and intimacy. As of yet, I can’t find the focus to read a book. I think there’s still stuff in my brain that I’m processing. I’m sure it’ll come back to me. I read a lot of articles and things people post online. I follow certain friends online and see what they’re doing. I’ve also watched some Netflix shows. I’ve watched ‘RADIO:30 and SHE GREW FUNNY from the NAC. It’s impossible to get to see everything. There’s so much content on line. It's hard to get to see everything. I’ve been visiting with friends and neighbours and keeping that proverbial two metre distance. Some days I feel so, so busy but I rarely feel like I get anything done. 5. What worldly advice would you give to other performing artists who are concerned about the impact of COVID-19? Any sage advice for new theatre school graduates? Allow yourself to be vulnerable. Allow yourself to be scared by all of this. But don’t retreat, if you don’t have to. Be innovative. Create art. Art will out. If you have time and energy, do it. We have some much privilege to take the time and be grateful for it. And yes, be grateful, but also be really aware of the inequality that this pandemic has pointed out. Listen to your heart. Don’t judge yourself too harshly. Look for the little waves of inspiration. Ride those little waves of inspiration. I feel badly for the young theatre graduates but lean on your classmates. Create work together. Stay in contact. These are the people who will push you. Find a way to connect. Being a good actor is vulnerability, risk and don’t be afraid to fail. There’s no one right way to do it. But having said all this, it’s also more than okay to cocoon and chill and regenerate. Everything is about adaptability and flexibility. Listen but also fight for those things that are important to you. 6. Do you see any positives coming out of this pandemic? The necessary recognition of injustice: racism, misogyny, recognizing the true value of essential workers; from health care professionals to the pizza delivery driver. This pandemic is a chance for the planet to take a breath. The more work I do with young people, and I’ve met some incredible theatre kids, they can see the bigger themes. I think there are some big innovators coming up. I choose to be optimistic because we can’t live in darkness. 7. Do you believe or can you see if the North American/Canadian performing arts scene will somehow be changed or impacted as a result of COVID – 19? Yes, there has been an impact. People have lost their jobs. Hopefully people will realize theatre and the arts stimulate the economy. I know art will survive. People are story tellers. The appetite for stories will never change, but how they’re delivered might shift. The community element will come back. Broadway will come back, but it can’t come back too soon. Broadway has to be careful how it moves forward. Our ‘Come from Away’ producers are talking every day trying to think of strategies to bring us all back to New York to perform sooner. But safety and health, first. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts and comments about this? Are there any advantages or disadvantages? I think artists have to do it. Story telling is in the blood. You need to put it somewhere. You will try in any way to connect with an audience. I have noticed a distinctly different feeling if you watch something online as it is streaming live or catch the piece after the fact. Because of the pandemic, a lot of things have different resonances for people now. Song lyrics and text pop differently. 9. What is it you still love about performing that Covid will never alter or destroy? That sense of community will never be destroyed by Covid even as we mourn the loss of people together. I’m a good teacher and a great coach and Covid will never destroy that. Covid will never destroy the incredible writers, artists, designers, performers, and their need to create. Covid will never destroy the problem solving involved in how to tell the story with all key people involved from actors to technical people. With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: 1. What is your favourite word? Trust 2. What is your least favourite word? Unprecedented (du jour) . 3. What turns you on? Humour 4. What turns you off? Rudeness and arrogance. 5. What sound or noise do you love? The cardinal in my backyard. (du jour) It’s so bold. I love it. 6. What sound or noise bothers you? Buzz saws on a quiet afternoon, especially construction buzz saws on a Sunday afternoon. Although right now, every day is a Sunday afternoon. 7. What is your favourite curse word? Classic – fuck, just fuck. (and then Astrid just strung a bunch of curse words in a run-on sentence. LOL) 8. What profession, other than your own, would you have liked to attempt? Something arts related or I’d love to run a coffee shop, it would be a specialty coffee shop where people would stop by, feel safe and just be creative. Coffee would be free. I’m a millionaire in this scenario. 9. What profession would you not like to do? Anything to do with being a bureaucrat, paperwork, numbers – an accountant. A paper pusher. I love paper, but I would not want to push it around. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Bettie would like to sing a duet with you and hug you. Hugs first.” Bettie is my mom. You can follow Astrid Van Wieren on her Instagram @astridvw2020. You can also follow her on Twitter: @astridvanwieren. Previous Next

Back The Nutcracker Toronto International Ballet Theatre - Toronto's Meridian Hall Photo courtesy of Toronto International Ballet Theatre Facebook page Guest writer Geoffrey Coulter actor, director, arts educator What a lovely night at the ballet! I don’t know how many Christmases have come and gone since I’ve seen a production of The Nutcracker in Toronto. As a child, I marvelled at this seasonal tale of a young girl who befriends a nutcracker, brought to life on Christmas Eve by her magical godfather, and wages a battle against the evil Mouse King, all told with exquisite dancers, larger-than-life sets, glorious costumes, and Tchaikovsky’s inimitable score. Saturday’s one and only performance by the Toronto International Ballet Theatre was a delightful return to my youth. This production, directed and choreographed by Artistic Director, Tatiana Stepanova, had all the spectacle and wonder to delight and tantalize the senses. TIBT’s mandate is to bring young talented dancers and international stars together to perform in glorious extravaganzas. This production was certainly all that! Act one featured the young company in the dazzling Christmas Eve party scene replete with toys, candy canes and a brightly decorated tree upstage centre, all courtesy of designers Shannon Khan and Keith Hill! The beautifully authentic early 19th-century costumes, designed and constructed by Shannon Khan, flowed elegantly as the dancers executed the choreography with precision and aplomb. Special mention to Madelyn Blois (Young Clara) and Angelo Durante (Fritz) who danced their roles with maturity and sure-footedness beyond their years. Kudos as well to the lovely technique of featured “dolls”, Mayuki Ichikawa, Nubia Gonzales, Haruka Kyoguchi and Ksenia Krouzkevitch. The battle scene between the Mouse King, toy soldiers and Nutcracker was athletic and inventive, followed by the wonderful Snow Adagio danced with grace and precision by Teagan Hadcock (Snow Queen), her corps of Snowflakes along with Ukrainian guest artists, Olga Posternak (Adult Clara) and Vladyslav Romashchenko (Nutcracker Prince). Beautiful dance for a beautiful tale! Act two featured the senior and adult performers in a celebration of international dances in the Land of Sweets. With dazzling, authentic costumes and innovative and athletic choreography, we sampled with Clara and the Prince the traditional Spanish, Arabian, Trepak, Chinese and Marzipan dances performed by some of the most exquisite young dancers I’ve ever seen! The last half of the act featured the breathtaking Waltz of the Flowers and Principal Dancers Posternak and Romaschenko’s brilliant Pas De Deux, a marvel of technique, fluidity, and interpretation. Just lovely! The production ended with a much-deserved standing ovation! TIBT states in their program that they are passionate about instilling in their students and audiences the “wonder and value of the art form of dance”. Wonder indeed! Mission accomplished! Brava and thanks for the lavish and spectacular memories! Previous Next

Back ARC presents MARTYR by Marius Vn Mayenberg (translated by Maja Zade) Aki Studios Sam Moffatt Joe Szekeres ARC’s unsettling ‘Martyr’ left me with unanswered questions, and that’s a good thing. In his recent appearance to promote his memoir ‘Spare’, Prince Harry told nighttime host Stephen Colbert: “Context means everything.” This statement certainly rings true for understanding religious matters from a Christian faith perspective, and its link to understanding objective versus subjective truth is shockingly realized in ARC’s first production of 2023, Marius Von Mayenburg’s MARTYR (translated by Maja Zade). I’d like to clarify one very important point first. Religious and moral truths are objective, not subjective, from a Catholic/Christian perspective. There exists TRUTH (there’s no such thing as ‘my truth’ or ‘your truth’) which applies to all of us, and the teachings and doctrine of the Catholic/Christian Church are part of this search for objective truth. MARTYR is an at-times uncomfortable and darkly comic gaze at the horrifying prevalence of subjective Christian extremism and radicalism that denotes an intent to transform through changes whether they be social, structural, or revolutionary. It is from my experience that many individuals appear to misunderstand the difference between objective versus subjective truth, and I was concerned MARTYR was going to become another Christian/Catholic bashing play on account of it. As a practicing person of faith and retired Catholic school secondary teacher, I did question some unbelievable plot moments that would never happen today in an Ontario secondary school setting. For example, the atheist Biology teacher/Guidance counsellor Erica White decides how a lesson on sexuality will proceed in her class using a condom and a carrot and how to place the former on the latter. The students in the class are each given a carrot and a condom to demonstrate a ‘supposed’ learning outcome. When such explicit intimate sexual issues are discussed with persons under the age of 18, parental consent is required for a child to be present during the lesson. The mother Ingrid Sinclair responds as if this is the first time she has ever heard about this so this element did not ring true for me. But after a full twenty-four-hour thinking, pondering, and examining my informed Catholic/Christian conscience, I’ve realized there’s more to this fascinating yet unsettling play that left me with further unanswered questions. And that’s a good thing as that’s what theatre is supposed to do – poke and prod us to think, to question and to consider. MARTYR does not Catholic or Christian bash. Director Rob Kempson smartly tackles this production with the utmost care and sensitivity in what he calls an ‘ideas ‘play in his Programme Note. The play examines radicalization, religion, education, power, queerness, and isolation forthright and in-your-face so be prepared sometimes for the unexpected. I applaud the actors for their work here. In his Programme Note once again, Kempson states: “[the play] doesn’t rely solely on these ideas to compel the audience.” Instead, he compelled me to recognize and see that a martyr does not necessarily need to have a particular faith belief. He turned my understanding of what a martyr is upside down especially when it becomes apparent who is the martyr of this story. Jackie Chau’s theatre in the round setting beautifully allowed for ample and clear sightlines. The eight actors sit on stages left and right (four chairs on each side) when they are not involved in the plot action. James Dallas Smith’s haunting musical score selection at the top of the show sharply captured my ear as I listened while looking at the set. About halfway through the story, the overlapping sounds heard within Benjamin’s rushing mind are stark reminders of the tortured young boy. Michelle Ramsay’s lighting designs effectively capture the starkness of the moment when necessary. The ensemble cast remains stellar throughout. Under Kempson’s subtly nuanced direction, the actors’ bold choices left me breathless in wondering how far the emotional intensity of the moment would play out to its maximum potential. As the tortured and misinformed Benjamin Sinclair who turns to religious zealotry and newfound fervour in cherry-picking Biblical verses to fulfill an abyss within himself, Nabil Traboulsi is terrifyingly haunting in the full development of his character arc. Deborah Drakeford is heartrendingly credible as Benjamin’s distraught single mother who is at her wit’s end in coping with her son’s idiosyncratic behaviour. Aviva Armour-Ostroff remains compelling as atheist teacher Erica White who confronts Benjamin and graphically meets him on a distinctively harsh face-to-face level. Richard Lee is Marcus Dixon, Erica’s colleague, and her boyfriend who gets her to confront head-on the personal issues surrounding her professional handling of the issues with Benjamin. Ryan Allen’s smug school headmaster Willy Bedford becomes that ingratiating so-called educational leader who sadly and ironically in the end is only interested in his own personal agenda, and not the welfare of those young people at the school. In Biblical terms, Ryan Hollyman as school Vicar Dexter Menrath dutifully does what he is supposed to do in his calling to help look for the lost sheep (meaning Benjamin) and bring him back. Hollyman calmly, believably, and bravely tries to harness and corral Benjamin’s misguided understanding of Biblical text, but the growing frustration of Menrath to Benjamin’s reluctance is a grim reminder of those whose task it is to go out and spread the Good News of the Gospel in a secular world. Adriano Reis convincingly reveals his vulnerability as the quietly eccentric George Hansen, Benjamin’s supposed only friend at school. Reis’s performance of simmering and heartbreaking naivete magnifies and underscores the shocking conclusion of the story. Charlotte Dennis is a dynamic force as the sexually charged Lydia Weber who flirtatiously teases Benjamin and warps his understanding of any kind of intimacy with others be it physical or otherwise. Final Comments: ARC’s MARTYR is a disturbing, puzzling, and fascinating work of theatre that poked and prodded me with unanswered questions and new thoughts about faith and religious influence in an increasingly secular society. That is exactly what good theatre is supposed to do. Running time: approximately 90 minutes with no intermission. ‘Martyr’ runs to January 29 at the Aki Studio in Daniels Spectrum, 585 Dundas Street East. For tickets, visit arcstage.com. ARC presents the Canadian premiere of MARTYR by Marius Von Mayenburg (Translated by Maja Zade) Produced by Julia Dickson Directed by Rob Kempson Set/Costume Designer: Jackie Chau Lighting Designer: Michelle Ramsay Sound Designer: James Dallas Smith Fight and Intimacy Director: Jack Rennie Technical Director: B. C. Batty Blood FX Consultant: Alex Gilbert Performers: Nabil Traboulsi, Aviva Armour-Ostroff, Ryan Hollyman, Richard Lee, Ryan Allen, Adriano Reis, Charlotte Dennis, Deborah Drakeford. Previous Next

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

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

Back 'Little Shop of Horrors' Music by Alan Menkin. Book and Lyrics by Howard Ashman. Directed by Rob Kempson Now onstage until September 3 at Port Hope's Capitol Theatre Credit: Sam Moffatt. Pictured L-R: Joel Cumber as the Puppeteer and Amir Haidar as Seymour Guest writer Geoffrey Coulter, actor, director, arts educator “Little Shop of Horrors” is a hot super shrub of a show. It’s Big. Bright. Silly. Sad. Schlocky. Nutty. Take a particular man-eating plant bent on human destruction, mix in a nerdy flower shop worker, his self-conscious, dreamer of a co-worker, a manic dentist, three harmonious street urchins, and a toe-tapping Motown-inspired score, and you’ve got yourself a crowd-pleasing Broadway classic at the Capitol Theatre in beautiful Port Hope. “Little Shop of Horrors” is a hot super shrub of a show and delighted fans with its mix of dynamite vocals, clever choreography, and prodigious performances—a hugely enjoyable summer evening of musical theatre. Because of its small cast, “Little Shop” has become popular with community theatre, schools, and other amateur groups. Artistic director Rob Kempson’s professional treatment soars this show to new heights. He has assembled some of the finest performers, designers and technicians from Toronto, Stratford, and Broadway for his version of this genially gruesome classic. His inspired vision and tight direction keep the pace of the show flowing. His press package promises to be the “biggest summer show” at the Capitol. It’s a promise he’s on track to keep. If you’re unfamiliar with this horror, comedy, rock musical or are one of the few who haven’t seen the 1986 feature film (itself based on Roger Corman’s 1960 cult film), the show centres around Seymour Krelborn (Amir Haidar), a poor young man and orphan living in an urban skid row. Audrey (Tahirih Vejdani) is a pretty gal whose fashion sense leans towards tacky. They’re co-workers at a run-down flower shop owned and operated by the cranky Mr. Mushnik (Tyler Murree). After a sudden eclipse of the sun, Seymour finds a mysterious plant that looks like a giant Venus flytrap. Seymour is secretly in love with Audrey, but she doesn’t seem to notice, so he names the plant Audrey ll to capture her attention. It does - and everyone else’s. This production doesn’t have the scares or plethora of guts and gore from its original Broadway iteration, but it’s every bit as campy if more sweet and sugary. This isn’t a bad thing. This is a family-friendly show with “planty” to keep the younger set laughing and clapping. The two little girls sitting in front of me were proof positive. Visually, it’s beautiful, starting with Brandon Kleiman’s brilliant, forced perspective tenement block. A colour scheme of bright primary colours and a severely angled door stoop (and garbage can!) is unconventionally quirky. The walls open like a giant storybook to reveal the interior of Mushnik’s struggling flower shop. It’s roomy and minimalist, but I wanted more evidence that it’s a struggling business. The walls and sign, “Mushnik’s Flowers,” seemed too fresh, clean, and bright from where I was sitting. Though ingenious in design, the set seems a tad too big for the Capitol’s stage. Scenes on stage left, right, and downstage seem crowded and confined. Lighting by designer Michelle Ramsay nicely enhances the set with colourful gels, adding texture and mood with subtle window gobos and breakup patterns. Costumes by Joshua Quinlan add authenticity to the swinging 60s era, although Orin’s red leather jacket seems at odds with his narcissistic persona of a sadistic greaser. Sarah Kolody’s props mainly were spot on, though Orin’s portable gas mask and Seymour’s snub-nosed revolver looked like flimsy plastic toys from my vantage point in the 6th row. Genny Sermonia’s high-energy do-wap choreography is right on the money, high energy and period specific, starting with the delightful number “Little Shop of Horrors” and never lets up! Musical director Jeff Newberry and his band are perched atop the tenement set and accompany the vocalists wonderfully, although sometimes the band was too heavy to hear lyrics. Even the last-minute addition of a borrowed keyboard, due to a power failure earlier in the evening that took out their original, couldn’t keep this cadre of musicians from happily delivering Alan Menken’s (Little Mermaid) terrific score. The cast worked hard making sure we had a great time on opening night! As klutzy nerd Seymour, Amir Haidar has a pleasant enough voice and a good enough handle on his character. However, I wanted to see a more distinct transition in his journey from schlubby store clerk to reluctant, murderous psychopath. As Audrey, Tahirih Vejdani plays the confidence-challenged damsel with an abusive boyfriend with equal parts charm and chintz. Despite struggling with a barely-there Bronx accent, she's in excellent voice and performs a flawless, emotionally grounded rendering of “Somewhere That’s Green.” More excellent voices (and moves!) come from the fabulous Chiffon, Crystal and Ronnette played by Taylor Lovelace, Michelle Yu, and Sierra Holder respectively. These gals appear in almost every song, acting as narrators or “Greek Chorus.” This trio of highly talented young ladies have incomparable synchronicity, heavenly harmonies, and girl power attitude to spare. Phenomenal! A highlight! As the sadistic dentist Orin, Michael De Rose is unapologetically scene-stealing. He’s manic, loud, and brazen - mugging, gyrating and chewing the scenery in this and other roles. Mirvish and Broadway veteran Tyler Murree is thoroughly entertaining as the unsympathetic but loveable Mr. Mushnik. His impressive tango-inspired duet with Seymour in “Mushnik and Son” is a hoot and reveals he’s remarkably light on his feet. As the voice of Audrey ll, Chris Tsujiuchi channels his inner Chuck Berry/Barry White. While his singing voice is bang-on, his speaking voice curiously lacks the same resonance. Kudos to Joel Cumber for doing double duty as an over-the-top store customer and gonzo puppeteer for the large Audrey ll, manipulating that gulping, carnivorous maw with hungry aplomb. “Little Shop of Horrors” at the Capitol is a gas. Big. Bright. Silly. Sad. Schlocky. Nutty. A feel-good show with a dark side that doesn’t take itself too seriously. This is the musical comedy our climate-denying age requires. Who knows? You may be rooting for the murderous shrub by the show's end. Running time: approximately 2 hours and 20 minutes with one intermission. ‘Little Shop of Horrors’ runs until September 3 at Port Hope’s Capitol Theatre, 20 Queen Street. For tickets, call the Box Office at (905) 885-1071 or visit: https://capitoltheatre.com/events/little-shop-of-horrors-2023-08-17-800-pm/ Previous Next

Back Dion Johnstone Theatre Conversation in a Covid World Corey Berry Joe Szekeres ’ve seen Dion Johnstone’s work on stage in several Shakespearean productions at Ontario’s Stratford Festival. I was particularly taken with the very bloody ‘Julius Caesar’ presented by Groundling Theatre at Toronto’s Crow’s Theatre just before the pandemic hit. When I checked his biography from his website (included at the end Dion’s profile), I also discovered he has also been a part of some very fine productions in the US under some extraordinary directors. Dion made his Broadway debut as the Duke of Albany in ‘King Lear’ with Glenda Jackson as the titular character. That is a performance I would have loved to see Ms. Jackson tackle. Dion plays the recurring role of Erik Whitley for ‘Sweet Magnolias’ now streaming through Netflix. Another one to watch during this time of provincial stay at home orders. Dion has also played in other Canadian shows including ‘Frankie Drake Mysteries’ and ‘Flashpoint’. In December 2019, Dion made his Hallmark Movies and Mysteries debut starring in ‘A Family Christmas Gift’ opposite Holly Robinson Peete and Patti Labelle. Dion’s training included The University of Alberta and The Birmingham Conservatory for Classical Theatre. We conducted our interview via Zoom. Thank you again so much for taking the time on a Sunday morning, Dion: The doors to Toronto live theatre have been shut for over a year now with no possible date of re-opening soon. How have you and your immediate family been faring during this time? You know, when the focus of the pandemic hit and we went into lockdown and isolation, the focus really changed for me because my wife and I knew we would be having a child. On July 28, 2020, my wife gave birth to a baby boy who’s now on his way to nine months. That’s been an amazing experience for us. He’s really changed our outlook because we really wanted, especially during the time of great anxiety, for him to meet the best version of ourselves, and I think when you look at him and the level of joy, freedom, comfort and confidence that he already possesses and exudes is a testament to the work that we’ve been doing. We had to get control of our mind space and internal space through all of this. One of the things we focused on right away - there was a meditation group that was going around hosted by Deepak Chopra right at the beginning of the lockdown called ‘Twenty-One Days of Abundance’. And that was the first things we did and thought this is great. With the fear of there being no work and when everything was going to open up again, to just take time and focus on inner work and thinking no matter what the external appearances may be you can always tap into a source of abundance, that’s an energy that you put forth into the world and that returns to you in some form or other. We started by doing that, and that really set the template for our frame of mind through all of this. Despite what we see out there, what’s more important is how you feel internally. If you feel yourself going off the rails, do the work to bring yourself back to your centre. And we want to do that because those are the lessons we want to pass on to our son, especially in a world prior to the pandemic that was moving at a blazing rate and continues. We wanted to help provide a space for our son where in the future he could step away where he can be a part of this world but doesn’t have to be consumed by it. I think we’ve doing quite well, all things considered. How have you been spending your time since the theatre industry has been locked up tight as a drum? I just arrived in Atlanta and can’t talk too much about it for all the non-disclosure agreements I signed. I can say in brief we’re shooting Season 2 of ‘Sweet Magnolias’ (now on Netflix Canada). I just arrived and just about to begin. I’ve done the period of quarantine with the multiple testing and once cleared all set to go. The film industry has been quite progressive in finding the template necessary in order to continue filming. Modifications have been made along with heavy safety protocols, and the film industry has been largely successful. It puts a lot of pressure on the actor/artist to ensure that they are in top health to continue and honour the contract signed and to ensure the shooting schedule is kept on task. Outside of being a new father and career responsibilities, during the early part of the pandemic there was a lot of binge-watching Netflix. Certainly, when our son came into the world, that changed a lot of the binge-watching as he doesn’t allow us to watch tv unless he’s out cold for a nap. But the moment he wakes up we gotta unplug our devices. Our son doesn’t even like us being on our cell phones. Our son calls us to being present. I do try to find time on my own for meditational time through daily training, not necessarily weights since everything is closed. I do yoga, I use resistance bands training. I’ve been doing a lot of yin yoga, very relaxing with deep, deep, tissue work and that’s been good. I don’t get out a lot but now that I’m filming in Atlanta, there’s a park across the street from where I’m staying. It’s similar to New York’s Central Park, and there’s lot of open space and opportunities for social distancing so I can spend some time there. In Toronto, we live across the street from the Harbour on Queen’s Quay, so my wife and I were able to take our son out for walks on pathways. 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 year long plus absence from the theatre as something else? You know, in some ways I would say, yes, it has been an escape, and it’s been an escape from the world in the way that we knew it which has really caused me to examine it and question it. So much of my life is influenced by being a new parent and considering what things might have been were the pandemic not happening. I remember many seasons at Stratford watching other actors become parents. They would get the performance off to go and be there for the birth and would be back on stage the next day in both performances and rehearsals. In Stratford, the week is divided in slots. So, there could be 12 slots in a week, and you could work 11 of those and then they have to give you an extra slot off periodically. That’s a lot of work and you get one day off a week. This period of time I’ve been able to share the load of parenting with my wife; obviously there’s only stuff she can do as the mother but there’s a lot of stuff I can do on the peripheral and allowed me the opportunity to create a very deep bond with my son. I’m adopted. My beginnings were quite rocky. I don’t know my birth father, and my birth mother lost custody of me when I was quite young. So, it’s been really important for me to create a stability and foundation to end that cycle so that doesn’t pass on to my son, and that’s not a reality that he has to know. I think about if I weren’t there, if after the birth I had to go straight into rehearsals, and I only came home at night and wholly focused on preparing for the next day, I would be there physically, but I wouldn’t be accessible to my partner, Lisa, as a parent as all that load would be put on her and I realize how big a load that is. It gets a little bit easier now that he’s a little bit older so me being out of town is a little bit easier. We do have a very good network support and he’s not quite as dependent as he was in the beginning. Those early couple of months, you realize how our world is not geared up for that, not geared up to usher new life into this world. You’re ripped away from your children too quickly, that’s the way of the world. But the pandemic stopped that. It stopped the world and we’ve got a chance to look at what’s important and what do we value. For me, it’s an escape for what it could have been in that sense. On another level, it’s an opportunity to question when it all comes back, what’s the kind of life I want to have, and how can I create a life that gives me more of a balance so that it’s not wholly work heavy. If that means I do condensed periods of time so we can take a couple of months off and go take a family vacation together, I don’t know what that form will be, but making sure I can be there for my family in a big way is very important. 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? Given that we’re dealing with a virus, going in and out of lockdown, and you just told me today the numbers in the province are up over 4400, it’s impossible in my mind to predict when we will be back. I would say 2022 is a safe bet. It could be longer. I think the reality is that theatre as we knew it has changed. And we may never quite see it in that same way again. But I do have hope for what theatre will evolve into. Right now, seeing Stratford and Shaw come back in interesting and careful and limited fashions is a good thing. Both my wife and I worked with Obsidian Theatre and they did a co-production at the beginning of the year with CBC Art called ’21 Black Futures’ which brought theatrical work to the screen. I think that’s another avenue that’s been successfully explored. Theatre isn’t dead. It’s under the ground and working it out and figuring it out what can it do. How can it manage in this period and how can it re-invent itself for what’s to come. My life has changed. I don’t think I’ll be able to walk into my house again without ensuring I wash my hands down. Our experience of the flu may be radically changed in the time to come. Our world is going to be radically different, and we will always be under the reality this happened once, and we reached a threshold where it could happen, and it shut down the world. That’s now a possibility. We don’t know what else is coming, what further things are coming down. We have to be prepared and safe. The excess that we knew may not happen in the same way, but I do think theatre will evolve nevertheless to meet the capacity of the time, whatever that form is going to be. I had a discussion recently with a Toronto Equity actor who said that theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you as an artist? That’s so interesting. It’s hard to know as an artist how Covid has transformed me. It’s certainly made me look at different avenues and explore what else I have inside to offer. I sit down and go, well, if I’m not performing on a stage, what’s my purpose? Why do I act? If I can’t do it in that form, what’s another form I can do it in? That led me to explore teaching opportunities. I love to see people empowered and transformed by different thoughts and different ideas. I like being the vessel that can contain those ideas so that people can reflect and see it. I can achieve that same feeling through teaching what I know. Ghostlight Theatre came out of the cage really strong when we went into the lockdown initially and offered an opportunity to teach a class of whatever I wanted. And I decided to put a class together on rhetoric using Shakespeare as a platform to really explore the ideas of ethos, the logos and pathos and the pillars of argument. My intent was whether you were an actor looking to sharpen their skills or an audience member who wants to know more about what the craft is, it didn’t matter what walk of like you came from. In the end we are being affected by messaging all the time and we are being played on intellectually, emotionally, and ethically all the time. You open your Twitter feed and think about what triggers you. Some of the images we see there are pathos, and some are facts and figures that make your brain spin whether they are true or not but present themselves as true. To have the ability to have more discernment about what’s coming at you and more choice as to how you want to play something as an artist, and how you want to play upon your audience, I thought was a very fun thing to explore and share and had been really introduced to me when I was at Stratford doing The Conservatory Program. I give full credit to the knowledge and training I received there, and also from the late Ian Watson who was one of our instructors and was a master of argument. And so, really sharing the way those principles that affected me and how I now use them in my work is how I put together this course and I found that a satisfying discovery, and I probably wouldn’t have done. Covid has created an online opportunity where you can work with people from around the world. I’ve been able to do play readings with a company in New York. People can now be pulled from anywhere say to do the reading of a Jacobean play, and audiences now have access to be able to log in anytime to those writings and artists. It’s really brought the opportunities to use your craft in different ways globally. 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 definitely agree with Ms. Caldwell’s notion of danger. And certainly in performances, something has to be genuinely risked in order for the stakes to be real and in order for the audience experience to be transformative. If there’s nothing happening in the artist, and it’s just acted, then what happens is a separation between the audience and the performer where the audience is just watching you, and not breathing with you and experiencing with you. The more that the artist can access a true feeling of risk and danger, the danger. The best directors I’ve had are those who have really pushed me in my performances to risk more, to go further in order to draw and drop deeper in myself in challenging and frightening work because you don’t know how you’re going to get there. Now, in terms of Covid, it’s a strange thing because it affects everybody differently. Some people have had direct experiences with it, some people have had or have the virus. Others have had close family members or friends pass away from Covid, so they feel differently. Others have had no direct experience with it and haven’t been in an ICU so it’s a challenge for those who do not understand what it like or have the experience with it. Living with this invisible threat which has been very disorienting and weird and certainly frightful on those days when I have to have a Covid test, and I fear if I get a positive result that’s it for my ability to be on set, to provide financially for my family, and my contract is now gone. I really had to challenge myself to ensure that I don’t bring this negative and destructive energy into my reality, well that stop telling that story because it’s not serving me. Yes, fear has been triggered in me on account of this virus but I haven’t had a direct personal case or a family member so I can’t speak of it from that angle. In many ways, it’s been a bizarre thing that’s there, but I respect how many have been affected by it but it’s so strange because it feels like nothing is happening. In terms of how Covid will affect my work? I don’t know. Everything that happens in life is going to affect your work. It filters in ways that we’re not aware of. Sometimes, for an actor, the best problems are solved when you’re working on a role in your dreams when you start to dream about a part because that’s your sub conscious working it out in better ways than your intellect can. I’m sure subconsciously the way I have grown and changed over this period of Covid will bleed and is bleeding into my work, but I couldn’t intellectually say how. 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? Well, certainly in a beautiful way, having a child and we made a real commitment to validate his feelings to recognize, acknowledge and understand what his needs are. Even though he doesn’t have the language to communicate just yet, we wanted him to feel that he was being heard and responded to. In a way, he’s been very communicative from the very go. There is this thing called baby sign language and you can help them communicate early in life. We tried that and that didn’t really work for us, but we can feel his energy and been in communication from go. He doesn’t cry very often. He’s not a crier but when he does it’s because we’ve missed a lot of signals that he’s been given along the way. More often than not, we’re able to figure out those signals before the crying so that is something important to figure out. Just that level of sensitivity, that relationship we share with him is so profound, so unlike; I love in a deeper, fuller way than I have before. I’m fiercely protective in ways. I laugh. This kid makes us laugh. He’s brought so much to our world and that’s a beautiful thing. Looking at this world through the pandemic, I’ve become really sensitive to the messaging that comes our way. There’s so much confusion. I’ve never learned through anything where there have been so many mixed messages – lockdown versus lockdown and all that illogic that has been followed through, it’s no wonder there are anti maskers, anti-vaxxeers, hoax, an opportunity to decimate society and a re-set. We live in mass confusion. We are in great need of discernment, and it’s made me very sensitive to what I take in. I want to pay attention to how I’m feeling internally, and if I’m getting too worked up maybe it’s time to take a step back and look at something else OR to explore all sides of the argument. We’ve lost how to debate because everyone is so entrenched in their camp with no cross discussion. We’ve a lot of work to do to find shared common ideals as opposed to where we are different if we’re to get anywhere in this mess of confusion we’re living in. 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? Really, it's a furtherance of what I just broke into. There was a time on my social media feed where I wouldn’t follow anyone of different beliefs and ideals than mine. But then I realized I don’t know what other people are thinking and so when things happen, I don’t understand why it’s happened. In terms of curiosity as an actor, we’re very often playing individuals who don’t share that same ideology that we hold, how can we do this if we don’t allow ourselves to see things in another light or way, and allow ourselves to go through that ideology that we don’t understand? I started including in my feed people who hold opposing views to my own, just to keep tabs to the rhetoric they’re using and what others are thinking. There seems to be a fear that in doing this we lose our own identity or you are affirming other people’s beliefs that are right or wrong, and who’s to say what’s right or what’s wrong. But nonetheless, you can’t have a conversation if you can’t find common ground. Because we’re all human beings in the end, somehow in our world it makes sense to try to see the other side, to see the logic there. Where do we connect? Where is our common humanity? How can a bridge be made from one common ideal to the next without trying to see another point of view? Through me doing this, I can potentially have the same affect on someone else trying to see from where I cam coming. To learn more about Dion, visit his personal website: www.dionjohnstone.com , To follow Dion on his social media: Facebook: @DionJohnst ; Twitter: @DionJohnstone ; Instagram: @dion_johnstone Previous Next

Back Rob Kempson "[I] want to make sure everyone has access points to arts and culture so that we can all be asking those questions together rather than amplifying those things we already know.” Andrew Rowat Joe Szekeres Port Hope Capitol Theatre’s Artistic Director, Rob Kempson, is one hell of a nice guy who puts you at ease very quickly. He exudes strength and confidence in his work with the professional live theatre industry. He knows how to plan, strategize, and deliver quality work within the theatre community. I firmly believe that Kempson, a game-changer (and lover of Dolly Parton’s music, among other things), has altered the professional theatre scene in Port Hope. His innovative approach remains reason enough to be excited about the upcoming 2024 spring, summer, and fall seasons. There appears to be a freshness and excitement surrounding the forthcoming season. He answered questions via email three years ago as Covid was in full swing. You can find that link here: https://www.onstageblog.com/profiles/rob-kempson?rq=rob%20kempson. Recently, I drove to Port Hope on International Women’s Day, which was also a gorgeous spring day, to check in with ‘da man’ and get his take on how things have progressed when the world changed. It was a glorious day outside, and I wished I had someone with me to record our conversation so that Rob and I could walk along Port Hope's streets and talk about all good things theatrical—next time. In his highly organized office, where everything has its proper place, I was also introduced to a significant individual who plays an integral part in Kempson’s life. His dog, Delilah. She’s a cutie and a keeper. The first thing you will notice is her beautiful eyes. If you see Rob walking Delilah on the Port Hope streets, stop, say hello, and give some skritches and pats on Delilah’s head, too. Kempson and I also share a common respect for the public education system and our love of the theatre. We are both graduates of the Queen’s University Faculty of Education Program. Rob completed the Artist in Community Program at the Faculty. He was a supply teacher for 15 years and stopped in 2021 when he became the full-time Artistic Director of the Capitol. He knew he couldn’t maintain the minimum days required for supply teaching and running a theatre. Rob has always loved teaching and still does, although this time, it’s in a different capacity when he directs or leads workshops in preparation for theatrical works: “Supply teaching taught me a lot about facilitation, direction and getting people on your side. It also taught me a lot about how to know when to take bullshit and when not to take bullshit.” That last statement speaks volumes, especially the latter part. Rob is doing well, given all these changes in our world over the last four years. He bought a house during the pandemic. When he looks back on things he called new, fresh and unsettled, he feels so lucky to be in a job that he loves, working with a team that he thought he could not have possibly imagined at the Capitol, and he gets to play pretend: “I have the best job in the whole world.” He recognizes the diversity within his work as Artistic Director. He spends way more time working on budgets, grants and application forms that may not be, at first glance, what people think of theatre artists in comparison to rehearsal hall work. Kempson finds it all engaging and equally creative in the ownership and autonomy that people really and genuinely care about the theatre is affirming: “The fact that I am in a place where I get to use all of those creative muscles and to be able to use them in the [Port Hope] community that is so welcoming, so culturally alive, and so connected to the Capitol Theatre organization is the greatest gift. I am very, very lucky to be here.” Rob, the artist, is a big advocate for getting out of the big city and seeing the theatre work happening across this country, in small places, big places, and places in between. When he sees a show in Toronto, Rob recognizes the diversity of audiences, which is excellent. But they are probably homogeneous in terms of their progressive policies. The way the audience votes is perhaps the same as that of Rob. Big city audiences probably come to the theatre to reinforce the ideas they already have or ask questions they haven’t heard before. Still, the big city audiences come to the theatre for that cultural connection a bit more so than to be changed. For Rob, the big city audiences have already been changed. The great value of Port Hope is the heterogeneity of the community. When Rob sits next to someone at the Capitol, that person probably does not vote the same way as Rob, isn’t the same age, or doesn’t look like him. The person in Port Hope has different life experiences from Rob. But in his role as Artistic Director, Rob gets something to put on stage where all get to share in the experience together, and that’s the power of theatre at work in Port Hope - to create a shared experience for people who are different and to let those people come to that shared experience with their backgrounds, expectations and questions and to be maybe even changed, poked and prodded by it: “While [audiences] are laughing, they might be thinking about the message of the shared experience. While tapping their toes, they might also be questioning that casting choice. I think it’s not only a great privilege but a great responsibility to do that work in smaller communities… and wanting to make sure everyone has access points to arts and culture so that we can all be asking those questions together rather than amplifying those things we already know.” What has artistically changed for Rob these past three years? The most significant change is his ability to zoom out and think about the big picture of the work and its impact. It’s always a director’s job to zoom out and look at the whole picture of what is created. Now, not only is he looking at that from the perspective of individual production, but he also looks at it from the overall vision for the company and the journey of the Capitol and the Port Hope community. In his role as Artistic Director, Rob must now zoom out within the context of how a production sits financially, how it’s being talked about in the public, and how it fits into the artists living in the Port Hope community. All these things are artistic choices and require logistical knowledge. The focus on equity, diversity, and inclusion has tremendously influenced the theatre industry's progress these last three years. As a queer person, Rob also recognizes that he is a white man. This recognition gives him tremendous privilege, and Rob sees that responsibility to use that privilege to uplift and uphold traditionally marginalized voices. And that’s being done at the Capitol. Queer stories are being put on stage; there are stories by BIPOC writers being put on stage and stories by women on stage. There are women in leadership positions at the Capitol. There are queer people in positions of leadership at the Capitol: “I think having a mind to this is something that people think doesn’t happen in small communities, BUT IT DOES. [The Port Hope] community is concerned about that, and this organization is also concerned about it. We are constantly taking steps towards improving our relationship with equity, diversity and inclusion initiatives. That was long needed in the theatre industry.” The danger here, though, is that you are assuming one thing—casting someone whom you would never have thought about casting before. But that’s not what it means. What Rob gets really excited about is deepening the journey of this expectation. more. This year, Rob was elated to report a 40% increase in audience at the Capitol, a considerable number he is proud of. Anecdotally, Rob also noted the audience is younger and more diverse, queer, and these people live in Northumberland County. It is the job of the Capitol to do its best to serve all kinds of people in Port Hope and the surrounding area. Rob is already proud of that through the constant challenge of audiences with the programming he has planned as Artistic Director. When you get a chance, visit the Capitol Theatre’s Facebook page to see how active the organization has been within the community. And what’s coming up at the Capitol in 2024? Rob is slated to direct two shows for summer 2024: BED AND BREAKFAST, which opens on June 14 and runs until June 30 and CHRISTMASTOWN, which begins on August 16 and runs until September 1. Here are the other upcoming live theatre productions: A YEAR WITH FROG AND TOAD, directed by Fiona Sauder and running May 17 – June 2 THE FULL MONTY, THE BROADWAY MUSICAL, directed by Julie Tomaino and running July 12 – 28. RAPUNZEL (A Merry, Hairy Holiday Musical), directed by Cherissa Richards, runs from November 22 – December 23. GABS SINGS BABS, conceived and performed by Gabi Epstein which runs July 31 – August 11. To learn more about the 2024 Season Rollout from April 22-25 with a Gala on April 27, visit: https://capitoltheatre.com/season-rollout/ Finally, to learn more about the Cameco Capitol Arts Centre in Port Hope, visit www.capitoltheatre.com . You can also follow their X/Twitter account, @CapitolPortHope and their Facebook page, Capitol Theatre Port Hope. The theatre is located at 20 Queen Street in Port Hope. Telephone: (905) 885-1071. Previous Next

Back Hamlet by William Shakespeare The Festival Theatre at the Stratford Festival 2022 Jordy Clarke Joe Szekeres Despite a few puzzling choices, there are moments where this ‘Hamlet’ shines; however, it’s not what it could be. When ‘Hamlet’ was taught at the school where I worked, teachers of English used to call the play a tragedy. Director Peter Pasyk makes an interesting comment about this production which he helmed: “The play is arguably Shakespeare’s most experimental and metatheatrical work, but what is it?...one thing is certain, at its core it is an existential work. The play puts our mortality into stark focus.” Two things about Pasyk’s comment. First, I think it’s an important one that should be definitely shared with high school teachers of English in understanding ‘Hamlet’. Too often, the trap is to fall into whether ‘Hamlet’ is the proverbial tragedy or not. Next, did Pasyk’s production reflect what he says? Well, yes and no. I know I used to tell the students whom I taught that one can’t sit on the proverbial fence post and agree with both sides. Make up your mind when you defend something. Well, this is arguably one of these yes and no times where it’s important to see what worked well and what requires some polishing. How so? When we remember Pasyk’s comment about ‘Hamlet’ as existential and then consider Artistic Director Antoni Cimolino’s comment the theme for 2022 is New Beginnings and ways to start a new journey, sometimes the connective task isn’t as clear as it could be. Hamlet (Amaka Umeh) is clearly mourning the death of his father (a powering and towering Matthew Kabwe). He is disgusted and abhorred by how quickly his mother, Gertrude (Maev Beaty) quickly remarried her late husband’s brother, Claudius (Graham Abbey) who now wears the crown of Denmark. In turn, Hamlet sees his father’s ghost and vows revenge against Claudius while pretending to be mad until the crown can be rightfully restored. Herein lies the downward spiral where Hamlet’s actions affect Lord Chamberlain Polonius (Michael Spencer-Davis), Laertes (Austin Eckert) and Ophelia (Andrea Rankin) for whom Hamlet pines, but whether he is serious about it or not becomes an important element of the story. The story is set modern so we have guns instead of knives. Michelle Bohn’s costume designs are chic looking on the ladies and nicely fitted suits on the men which help delineate the characteristics of the individuals. Umeh is dressed appropriately in black for most of the play which reflects the mood of Hamlet. Upon entering the auditorium, Patrick Lavender’s stark set design immediately grabbed my attention as the body of the deceased king lies in state under glass. It looks as if there is preparation for the viewing by the family and then the public. Kimberley Purtell’s lighting design effectively reflects the majesty of this moment. The blackouts in some of the scenes did not distract my attention. Richard Feren’s sound design throughout remains solid. One thing about the set design which puzzles me is the upper level of the stage. It looks like a mirror is on top and then I wondered if it was an indication of holding a reflection up to the audience to show how these lives on stage are similar to our own. Then the upper area becomes a moment where Hamlet refers to Gertrude and Claudius and we see them dancing. I was confused because I couldn’t decipher if the dancing was occurring in the moment OR if this was occurring in Hamlet’s mind. Then the mirror is used to announce the arrival of the Players and we see them enter. There was some laughter from the audience at certain moments that made me think something was missing. For example, at the top of the show we know the sentries on guard have twice seen the ghost of the dead king. It’s one of the greatest moments where tension is established immediately to grab the audience’s attention. The sentry guard dressed in a dark-coloured suit wearing a dark-coloured mask gets to the top level, looks around and then removed his mask. The audience roared in approval with laughter but I didn’t. Was Pasyk perhaps giving a knowing wink to the audience about mask removals, hopefully very soon? If he made that choice, yes it’s clever BUT it didn’t set what was supposed to be a tension-filled scene of seeing ghostly images to pique my interest. The same thing occurred just before the ‘play’ of the travelling troupe performs for Claudius and Gertrude. The humorous musical ditty and the swaying of the players reminded me if this story for the king was taking place in Hawaii or Maui? As the audience is in the know about the ‘play’, we are waiting intently for how the king might respond. Didn’t feel any of that. There are some hearty performances all around. Amaka Umeh’s Hamlet remains grounded in reality with the various emotional swings given the heated moment. This was strongly evident in the Grave Digger’s scene. Andrea Rankin’s doe-eyed Ophelia poignantly runs the gamut of emotions when the reality of the situation hits her full on which struck my heart. Maev Beaty and Graham Abbey are regal as Gertrude and Claudius but also reveal their insecurities and fears with believable intent and focus. Michael Spencer-Davis is a warm-hearted Polonius. Austin Eckert is a feisty and fiery Laertes especially when he learns what happens to his father and seeks revenge. As Horatio, Jakob Ehman’s loyalty Hamlet is steady. As Rosencrantz and Guildenstern, Norman Yeung and Ijeoma Emesowum are dutiful friends to Hamlet while also showing they can be easily swayed through their interactions by the powers at hand who are in charge. Final Comments: I do hope that future audiences will not continue laughing at inopportune moments that appear incongruous with the emotional level and intensity of the moment. Peter Pasyk is a gifted director who has worked with so many talented and gifted actors in this ‘Hamlet’ that I am hoping to see on stage in future. Running time: Three hours with one intermission. As of the publication of this article, Covid protocols are in place at the theatre. ‘Hamlet’ runs to October 28 at the Festival Theatre. For tickets, visit www.stratfordfestival.ca or call 1-800-567-1600. ‘Hamlet’ by William Shakespeare Director: Peter Pasyk Producer: Dave Auster Set Designer: Patrick Lavender Costume Designer: Michelle Bohn Lighting Designer: Kimberly Purtell Composer and Sound Designer: Richard Feren Performers: Amaka Umeh, Matthew Kabwe, Maev Beaty, Graham Abbey, Michael Spencer-Davis, Andrea Rankin, Austin Eckert, Jakob Ehman, Norman Yeung, Ijeoma Emesowum, John Kirkpatrick, Tyrone Savage, Kevin Kruchkywich, Josue Laboucane, Anthony Santiago, Celia Aloma, isi bhakhomen, Rachel Jones, Ngabo Nabea, Hilary Adams, Mary Jay, Janice Owens, David Campion Previous Next

Back 'Casey and Diana' by Nick Green. The Toronto premiere Presented by Soulpepper and now onstage at the Young Centre for the Performing Arts in the Distillery District Credit: Dahlia Katz. Pictured: Sean Arbuckle and Katherine Gauthier Joe Szekeres “The tremendous humanity and compassion are the reasons to see this critical theatrical work.” One of last summer's Stratford Festival’s successes, Nick Green’s ‘Casey and Diana,’ which played June 2023 during Pride Month, celebrates its home city, Toronto premiere. Word got out fast last summer about Green’s emotionally haunting script, and tickets flew because the talk was incredible. The play was one of the Festival’s highlights, and I overheard conversations that many wished they had the chance to see it but couldn’t. Now’s the chance to see this critically acclaimed theatrical work for its tremendous humanity and compassion. ‘Casey and Diana’ remains a story of relationship building amid the tumultuous early 90s surrounding the supposed and irrational stigma that people couldn’t touch or be near those who suffered from AIDS. Thankfully, Green’s script contains humour to balance the sadness and fear of that time that many of us still recall. The Stratford creative team and cast have returned except for Krystin Pellerin, who played Diana, Princess of Wales. Katherine Gauthier now plays the role. The time is 1991. The place is Casey House, the Toronto hospice for those suffering from AIDS. Word has gone out to the residents that Diana, Princess of Wales (Katherine Gauthier), will visit on October 25. The place is abuzz about her Royal Highness’s arrival. Joshua Quinlan usefully maximizes the Baillie stage to its fullest extent. The institutional greyness of the walls has been beautified by the hanging-stained glass and the window that opens to let in fresh air. It’s as comfortable looking as can be for a hospice. An extremely loud sound miscue brought me out of the moment of returning back in time, and I had to work at it again. After that slight one-off, Debashis Sinha’s sound design and composition finely set the appropriate tone for each scene. Louise Guinand’s lighting design strongly emphasizes the tone and mood. The cast continues to remain firmly grounded in their performance work. Patient and resident Thomas (Sean Arbuckle) is gobsmacked by the news of the princess’s arrival. He lovingly recalls the British Royal Wedding of the then Prince Charles to Diana and her long wedding gown train. Thomas meets his shy and reticent new roommate, Andre (Davinder Malhi), who is deathly afraid of being at the hospice. Nurse Vera (Sophia Walker) is no-nonsense. She has a job to do and does her best to remain professional while not getting emotionally involved in the lives of her patients. Hospice volunteer Marjorie (Linda Kash) is Vera's opposite. Marjorie is cheerful and cheeky and wants to make people smile. Thomas’s estranged sister, Pauline (Laura Condlln), creates confusion and anger within her brother. Once again, Andrew Kushnir directs with effusive compassion for the subject material. The tremendous humanity of the piece has been deepened this time. These are very real people with genuine emotions. Playwright Green even includes the late Princess in this revelation. At one point, Diana removed her shoes while she spoke with Thomas. Although that might seem a bit odd, within the established context of the scene, it makes complete sense when the Princess does. Sean Arbuckle’s performance carefully remains balanced in emotional intensity. He never ventures into histrionics as Thomas even when sometimes triggered in his estranged relationship with sister, Pauline (sharply played by Laura Condlln). Thomas continues to be biting, sarcastic, witty, and funny, with a slight touch of catty. His comic references to the film ‘Steel Magnolias’ and the television hit ‘The Golden Girls’ may seem dated; however, their underlying meanings still convey an element of truth in our twenty-first-century woke world. Seeing the production six months later, Arbuckle this time reveals a strong sense of the fighter within Thomas. He wants to ‘rage, rage against the dying of the light’ that poet Dylan Thomas had once written. When Thomas does rage against Pauline, it becomes a fine performance moment to watch Arbuckle and Condlln stand off in complete silence momentarily. The tension remains palpably thick, and oh, so good to experience. As Diana, Katherine Gauthier keenly listens and gives her undivided attention to Thomas. When she is introduced to him, she slightly pauses at first, then smiles warmly, crosses to the bed and gently takes his hand and compassionately holds it. A heartfelt moment of riveting complete silence throughout the Baillie Theatre. Wonderful! As Andre, Davinder Malhi offers an effective counterbalance to Arbuckle’s work. At first, Andre appears to want to wither away. However, that strong sense of Thomas wanting to “rage against the dying of the light” becomes subtly reflected in Malhi’s performance. A nice bit of unexpected humour from Andre in the second act momentarily reminds us that he is just as every bit cheeky as Thomas. Sophia Walker and Linda Kash continue to remind us of the importance of healthcare. This time round, these terrific performers have, like Arbuckle, wisely chosen to deepen their work. Walker’s Vera remains committed to being of service to the patients at the hospice, but she’s human. The cost of healthcare on a personal level does become taxing and there are subtle moments where Walker shows that nursing remains challenging. The same holds true for Kash’s Marjorie. She continues her selflessly admirable volunteer work because it’s important to remain positive in an environment where death reared its head consistently. Kash also selects those moments where she tugs at the audience’s heartstrings especially in the second act. And it’s powerful when she does. Final Comments: In his Director’s Programme Note, Andrew Kushnir states how honoured he is to bring the story here. Andrew, it was my honour to revisit Nick’s poignant work. I’m richer for having experienced this human connection story again which is sadly missing today in a world of people glued to screens and believing that is personal communication with others. Running time: approximately two hours and thirty minutes with one interval/intermission. ‘Casey and Diana’ runs until February 11 in the Marilyn and Charles Baillie Theatre at the Young Centre for the Performing Arts, 50 Tank House Lane in Toronto’s Distillery District. For tickets, call 416-866-8666 or visit youngcentre.ca. To learn more about Soulpepper and the upcoming season, see soulpepper.ca. ‘Casey and Diana’ by Nick Green. The Toronto premiere presented by Soulpepper. Originally produced by The Stratford Festival Directed by Andrew Kushnir Set & Costume Designer: Joshua Quinlan Lighting Designer: Louise Guinand Sound Designer & Composer: Debashis Sinha Stage Manager: Michael Hart Performers: Sean Arbuckle, Laura Condlln, Katherine Gauthier, Linda Kash, Davinder Malhi, Sophia Walker Previous Next

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

Back John Ng Ng's honesty and candour are stark reminders we're still not out of Covid. ​ Joe Szekeres John Ng appears next month in the Canadian premiere of ‘The Chinese Lady’ by American playwright Lloyd Suh. It was one of those rare occasions when I was running late to interview John as traffic was terrible and I felt awful about my tardiness. An actor’s time is precious especially if he or she has had a full day of rehearsal and then has other responsibilities. What a most accommodating individual. John was more concerned about me because I ran into the room huffing after running from the taxi to get to the rehearsal room where we would speak. After I composed myself, we got into John’s love of performance and why he wanted to be an actor. He has appeared in CBC’s ‘Kim's Convenience’ (2016), ‘Rising Suns’ (2020) and ‘The Swan’ (2020). Ng completed his training in the Honours Programme in Directing at the University of Ottawa. He laughed and told me it was a five-year plan for him in theatre studies. His goal was not to go to New York City but to come to Toronto and do a show at Theatre Passe Muraille, at Factory and Tarragon Theatres. He has done all that. In that respect, John feels he has fulfilled a goal upon graduation. Coming out of university, he was getting roles in acting. He wrote plays, one of which was performed at the Toronto Fringe in 2001. The production did quite well, and John proudly stated the Fringe play was his launching pad into the Toronto scene which was the start of the golden era of Chinese Canadian theatre in the city. Marjorie Chan who will direct John in ‘The Chinese Lady’ appeared in Ng’s Toronto Fringe play. ‘The Chinese Lady’ (a two-hander) is his first show in three years. This time around, he is working with Rosie Simon and director Marjorie Chan (Artistic Director of Theatre Passe Muraille) at the helm. He’s worked with Rosie before and describes her as fearless. She fights for things and she always comes out ‘rosy’. He has so much confidence in Simon and Ng draws on that. John describes Marjorie Chan as ‘a great people person’. She gives an actor lots of room and is very perceptive. Because she has worn every hat in the theatre, Marjorie has such a vast toolkit for the actor. An actor can trust Marjorie when she speaks because she knows what she is talking about. After a three-year absence from the theatre, (his last show in the fall of 2019), John smiled when he said he thought he still knew what was involved in the theatre rehearsal process. He also joked he hasn’t performed in a two-hander since his undergraduate years, so he has been quite attentive. For him, there has been a seismic change in the theatre at the top post-Covid. Many theatre companies and artistic directors have stepped aside and opened up to be more inclusive. These changes in the theatre are for the next generation of theatre artists and theatregoers. John then shared a personal story about how he felt with the return to the theatre even though we are still in Covid’s embrace: “I have to be honest. I was ready to give it up. I was ready to just pack it in. I didn’t think I would return. I didn’t think theatre would return even to the extent that we’re in now. Those were dark days. How would we ever get back to theatre especially when I had heard of actors getting sick when theatres were allowed to return? So many shows were lost over these past few years.” Ng’s honesty and candour are startling but a stark reminder we’re still not out of Covid. He still muses ‘The Chinese Lady’ might very well be his last show. Or, if he does another show, that could be his last one. That’s how he’s looking at it. The rehearsal room has been exciting and fun. John praises director Marjorie Chan for keeping rehearsals light in the room. Everyone is comfortable with each other and there is no pressure to perform. There’s a sense of creation and exploration. According to John and Crow’s website, ‘The Chinese Lady’ is the first documented Chinese female, Afong May, to arrive in the United States from Guangzhou Province in 1834. She is 14 years of age. She has been hired to promote merchandise. Purportedly the first Chinese woman to set foot on U.S. soil, Afong May has been put on display for the American public as “The Chinese Lady.” As the decades wear on, her celebrated sideshow comes to define and challenge her very sense of identity. Alternatingly dark, poetic, and whimsical, the play is a searing portrait of Western culture seen through the eyes of a young Chinese woman. John compares ‘The Chinese Lady’ to being an absurdist play. Periodically, the fourth wall is broken and the characters speak to the audience. What message does John hope audiences will take away after seeing ‘The Chinese Lady’: “That’s a metaphysical question for discourse and, for me, that’s what the play’s about. I hope audiences will leave and think about in terms of how they perceive things in reality and question how much they have been influenced by advertising by propaganda and social influencing.” What’s next for John once ‘The Chinese Lady’ has completed its run? Nothing has been confirmed, but a couple of projects will hopefully get the green light. The one thing John will confirm - he will go home and tend to his cat. Produced by Studio 180 Theatre in association with fu-GEN Asian Canadian Theatre Company in association with Crow’s Theatre. ‘The Chinese Lady’ runs May 2-21 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets, visit crowstheatre.com or call (647) 341-7390 ex. 1010. To learn more about Studio 180 Theatre, visit studio180theatre.com. To learn more about fu-GEN Asian Canadian Theatre Company, visit fu-gen.org. Previous Next

Back 'The Phantom of the Opera' staged by London Ontario's Grand Theatre High School Project A 25th Anniversary Celebration now onstage Dahlia Katz Joe Szekeres A Dazzling and Twirling spectacle reflecting the Grand’s theme this year of ‘Pure Imagination’. The High School Project’s complete commitment to 'Phantom', along with the clever directorial/musical vision of the show, make this opening night a pick for Voice Choice. Two wondrous things occurred on September 22. First, ‘Phantom of the Opera’s back. This time, the youth of the Grand Theatre’s High School Project (HSP) celebrates its 25th anniversary by tackling the behemoth nature of Andrew Lloyd Webber and Richard Stilgoe’s story in all respects. Second, this 40+ member cast makes the show work! Amazingly! Typically, I don’t review youth shows and was skeptical about ‘Phantom’s staging because mega bucks are needed to pull off the spectacle of the production. Agreed, there was money here to produce the show; however, could young people who have not been vocally trained to sing this score even bother attempting it? I’ve been proven wrong and am proud to admit it. Sure, there were odd technical glitches during the show. Periodically, the singing might not have been as strong in some musical numbers. I’m willing to overlook these issues and cut some slack. Why? These young people are a reminder of the power and transformation of the arts on themselves and the world they know. That’s the goal behind HSP, as it provides a solid base for emerging artist training. I hope to see some of these people on live stages again. See this ‘Phantom’ because word of mouth will occur and tickets will fly out the door quickly. Gaston Leroux’s tale of the facially disfigured musical genius (Kieran Prouty at this performance) roams the catacombs of Paris’s Opera Garnier. He falls in love with young soprano Christine Daaé (Camila Rodriguez at this performance), who becomes the star of the new production of ‘Hannibal’ after diva Carlotta (Stella Yanga) walks out on the company of artists during the final dress rehearsal. New theatre managers Messrs. Firmin and André (Isaac Szoldatits and Ryan Shaw) try to assuage the cast members' fear of the Opera ghost. Raoul, Vicomte de Chagny (Will Cramp at this performance), re-enters Christine’s life. They knew each other long ago when they were children. Raoul and Christine fall in love, much to the dismay and anger of the Phantom who plots his revenge to ensure Christine will remain with him forever. Director Andrew Tribe chooses to steer away from that creepy, possessive element of the Phantom towards Christine. Instead, the story is seen from the young female protégé’s point of view, and it makes sense in this production. Before the auction opens the show, Christine eerily crosses downstage from stage right toward the ghost light. Very effective. Tribe also stages brief moments from Christine’s past when she was a little girl with her now-deceased father. This is another solid choice as it connects the audience to the heartbreak Christine experiences in the trauma of losing her father. The visual aesthetics in the production remain stunning throughout, one being the grandeur of London’s Grand Theatre with its plush red velvet seats and gorgeous ornamental work throughout the space. Scott Penner’s set design nicely captures the Opera Garnier stage. The famous chandelier rises in front of the audience into the theatre’s fly space. Thanks to the stage's motorized turntable, every inch of space is used to its maximum. Kimberly Purtell’s lighting design beautifully captures that ghostly and gothic look from long ago. Aaron Ouellete’s sound design remains sharp, especially in that moment when the doors of the theatre are secured to keep the Phantom in the auditorium. Lisa Wright’s magnificent costume designs become a glorious feast for the eyes with the colours and textures of the clothing fabrics. Floydd Ricketts must be duly acknowledged for his concerted work making these 14-18-year-old youth sound excellent vocally. There are some primo moments when the company and individual members shine, and I give a round of appreciative applause. At the end of Christine’s aria, ‘Think of Me’, a cadenza showcases the vocal range of the young woman. Is it going to be altered for this production? Not at all as young Camila Rodriguez gives it her all, and it sounds lovely from my seat. Additionally, the opening of the second act with the New Year’s celebration of ‘Masquerade’ becomes a visual feast for the eyes as the actors enter from all corners of the auditorium. The choral singing at the song’s conclusion sent shivers down my spine. One of the most noteworthy elements of the High School Project’s production is incorporating the 40 + students on stage. Director Tribe blocks the actors so that there are good sightlines from the house. Choreographer Nicola Pantin stages many of the dance numbers that enhance the opulence of the story. The eight-member Corps de Ballet remains en pointe during the Hannibal dress rehearsal sequence and in the number just before the murder of flyman Joseph Buquet (Blake Carey). Pantin’s staging of ‘Masquerade’ at the top of the second act is visually remarkable. Again, every inch of space is fully used to maximum effect. Nothing ever appears crowded. There’s a great deal of promise in the performances on opening night. Kieran Prouty’s Phantom remains haunting and mysteriously childlike. When Christine removes his mask to see him for the first time, Prouty’s credible utterance of a subdued and whispered cry is touching. Camila Rodriquez’s Christine remains sweetly naïve until she is pushed to the breaking point of choosing between the Phantom and Raoul. Will Cramp is a charming and daring Raoul ready to prove his love for the woman he adores. Stella Yanga remains a delightfully stereotypical diva in Carlotta. Yanga’s vocal range is also as impressive as Rodriguez’s. Leo Sigut’s Piangi is a terrific complementary blowhard to Yanga’s Carlotta. Hosna Emami’s Mme. Giry, the ballet mistress, is that proverbial workhorse of a teacher who only wants perfection from her ‘petits rats’ in the Corps de Ballet. Isabelle Parent is darling as Meg, Mme. Giry’s daughter and Christine’s confidante. The final tableau at the end of the play with Meg and the company in the Phantom’s lair remains etched in my mind as I write this article. Isaac Szoldatits and Ryan Shaw are delightful as Firmin and Andre, the silly comic managers of the Opera, especially in the series of letters written by the Phantom. Credit must also be given to the strong ensemble of the Opera Company members and the Corps de Ballet. They create unique and specific characters throughout the show, even for a few minutes. Final Comments: What a treat to watch these young people do what they love to do – perform in front of an audience. At one point, I felt my eyes welling. As a retired teacher, I felt pride in watching young people succeed when they set their minds and hearts to complete an assigned task. I spoke with Director Andrew Tribe the day before. He said he worked hard because these High School Project members deserve the best. These young people gave their best opening night. It showed. They have a formidable task ahead these next three weeks to continue giving their best in each performance. I have every confidence they will. And that’s why you should get tickets. Running time: approximately two hours and twenty minutes with one intermission. ‘The Phantom of the Opera’ runs on the Spriet Stage at London, Ontario’s Grand Theatre, until October 7, 471 Richmond Street. For tickets, call the Box Office at (519) 672-8800 or visit www.grandtheatre.com . The Grand Theatre’s HIGH SCHOOL PROJECT production of ‘The Phantom of the Opera’ Music by Andrew Lloyd Webber and Lyrics by Charles Hart Additional Lyrics by Richard Stilgoe. Book by Richard Stilgoe and Andrew Lloyd Webber Based on the novel ‘Le Fantôme de l’Opéra’ by Gaston Leroux Director: Andrew Tribe Music Director: Floydd Ricketts /Associate Music Director and Conductor: Matthew Atkins Choreographer; Nicola Pantin Set Designer: Scott Penner Costume Designer: Lisa Wright Lighting Designer: Kimberly Purtell Sound Designer: Aaron Ouellette Stage Manager: Alice Ferreyra Galliani Performers: Emma Bishop, Tristan Brew, Blake Carey, Will Cramp, Evan Doerr, Hosna Emami, Spence Jackson, Jordyn Gowling, Isabelle Parent, Ethan Pickett, Kieran Prouty, Camila Rodriguez, Ryan Shaw, Leo Sigut, Oliver Stanton, Isaac Szoldatits, Stella Yanga (plus more names in the Opera Company and the Corps de Ballet) Previous Next

Back Arkady Spivak "[TIFT] would love to continue enhancing and improving the impact of our work and putting artists into leadership positions in the world." Scott Cooper Joe Szekeres Here’s the first link to Talk is Free Theatre (TIFT)’s profile of Artistic Producer Arkady Spivak: https://www.onstageblog.com/profiles/2021/3/12/theatre-conversation-in-a-covid-world-with-arkady-spivak?rq=arkady%20spivak. Time is moving on, oh, so quickly these last three years. Again, I appreciated that Spivak was available to answer more questions about where the theatre industry was headed. We conducted our conversation via email. TIFT’s mandate as an artist-driven company is to support the emerging artistic community by producing a wide range of ensemble-based, off-center, inventive, and rare programming. That’s quite a lofty mandate to envision, but I like that TIFT always keeps it burning brightly. At the bottom of his electronic correspondence, Spivak includes a quote from Christopher Hoile at Stage Door, who calls Barrie’s professional theatre vibrant and innovative. I’ve attended a few TIFT productions and agree with that statement. On that note, I’m going to plug the following two upcoming TIFT productions: ‘La Bête’ runs at The Harbourfront Centre in Toronto until March 16. I saw the show in Barrie last year and loved it. I’m headed to see it again and stay tuned for my newest review of the production. ‘Cock’ runs April 18-27 in Barrie at a surprise location yet to be revealed on TIFT’s website. Arkady states it will be a funky site-specific production with some favourite TIFT artists. Spivak remains very proud of what TIFT has accomplished and states: “It’s quite awesome to continue to glorify the underdog.” Like any theatre company coming out of Covid, nevertheless, some issues must be addressed. Spivak spoke about them. TIFT is now dealing with a renewed sense of disappointment - of audiences not coming back as quickly as needed as many have lost the habit of regular attendance. But this is also an opportunity for companies to figure out how to broker a place of purpose between the artists who are now creating or performing at a much deeper level, and the audience who are looking for a new sense of purpose and direction. There might be a tendency to go populist and lure in an audience – but the question is – is this the audience needed? While Ontario theatre companies continue to figure things out as a result of the last three years, Spivak shares what TIFT has done. The company was able to navigate COVID turbulent years more easily than other companies perhaps, and in fact grow capacity and scope. TIFT’s structure and model are incredibly nimble and varied. Historically the company has proven that we are able to produce many different types of works in several different settings and under widely varying circumstances and levels of funding. The company itself can reconfigure and assess any given situation quite quickly because it is how we have functioned for years regardless of a global pandemic. This recognition has served TIFT a great deal. Rather than being stuck in a strict, structural reality that then needs to be undone and changed because of the ever-shifting state of the world, TIFT was able to navigate these changes fluidly as they arose. For example, there was not an overwhelming loss of focus or resources when performing to a physical, paying audience was no longer an option because most of our revenue already came from outside ticket sales. Although an audience is fundamentally and critically important to serve as a gateway to support mechanisms (donations, new Board members, etc.), TIFT does not need a box office figure to survive fundamentally. For this reason, TIFT was able to launch free admission to our expanded main programming, instead using a deposit system to ensure attendance from those who pre-book. This helps dismantle economic barriers to attendance, drastically diversify our audience and position us to derive greater revenue through contributed sources because of wider audience access. In the 2023-2024 season, TIFT continues to operate some free performances of every production but has also returned to paid admission for the rest. Spivak continues to hold tremendous respect for theatre artists. He believes they are more important material than the material they are working on. At TIFT, when artists are given proper agency and authority, they have the capacity to change the world more readily than anyone. TIFT is guided by a mission to encourage, support and uplift artists to be the best they can be through transformative experiences on and off the stage, and to inspire artists and audiences alike to find deeper connection, appreciation and love for live theatre. TIFT works to preserve and promote the art form as a fundamental component of life in Barrie and beyond by providing an unparalleled level of diversity of works and experiences that arouse awe and wonderment about what potential theatre has to transform the human spirit. That respect for artists is most readily reflected in TIFT’s Artist BIG (Basic Income Guarantee Project). Arkady said the inaugural BIG was wonderfully successful, and TIFT has recently launched the second three-year cohort. The Inaugural BIG quickly yielded a full roster of creative proposals and offerings - enough to fill two outdoor performance festivals in 2021 and three in 2022 - along with multiple successful on-line offerings, like the popular Dinner à la Art. BIG artists also conceived and developed several art-adjacent programs and service projects. I won’t be able to name them all here, but I’ll include a few: - an Audition Reader program in which actors are paid to act as virtual readers for each other’s self-taped auditions for non-TIFT projects - the First Day Series: Zoom readings of challenging works facilitated by BIG participants, giving work and purpose to artists throughout the lockdowns of 2020. - the Two-Way Paid Mentorship program: over-turning the traditional top-down mentorship model, this program connects theatre practitioners of different generations, disciplines, and regions across the country to lay the groundwork for a more communicative, inclusive, and compassionate professional milieu. - Canadian Musical Theatre Database (CMTdB): an interactive website to archive, support and promote Canadian musical theatre. Remember, these are only several. If you wanted to contact Arkady personally via email, I’m sure he would happily share other BIG accomplishments. Where does Spivak see TIFT headed over the next three-five years: “We would love to continue enhancing and improving the impact of our work and putting artists into leadership positions in the world. But doing so without institutionalizing or growing for growth’s sake. In other words, we want to transform to be even more free to change the world.” As we came to close the conversation, Arkady made another comment that I found intriguing Historically, the vast majority of cutting-edge, widely influencing theatre was presumed to be produced in the downtown core of major cities (Toronto being only one) or by major theatre festivals. And this is understandable as there is a greater congregation of an audience in such settings to warrant significant artistic experimentations, plus there has been a greater presence of national theatre coverage to popularize such attempts. I’ll go one step further and ask that you take the opportunity to step outside the Toronto scene and see what TIFT offers audiences, especially with its production of ‘La Bête’ running to March 16 at Toronto’s Harbourfront Centre. And take that trip to see ‘Cock’ in April at the yet-to-be-disclosed Barrie performance location. To learn more about Talk is Free Theatre, visit www.tift.ca or visit their Facebook page: @TalkisFreeTheatre or on X: @Talkisfree. Previous Next

Back (Everyone I Love Has) A Terrible Fate (Befall Them) Written and Performed by Cliff Cardinal Now onstage at Videocabaret in the Deanne Taylor Theatre, 10 Busy Street, Toronto Michael Cooper Joe Szekeres The pervading bizarreness of ‘A Terrible Fate’ is duly matched by an ironically twisted and candid ‘matter of fact’ haunting performance by Cliff Cardinal. Cliff Cardinal is Robert. Robert tells his story about the various individuals to whom he says those three important words we all like to hear – ‘I love you.’ What becomes incredibly bizarre about the turn of events for these individuals whom Robert says he loves? Each expires suddenly. Be prepared to laugh, at times rather uncomfortably, throughout this solo panoply of varied human reactions about life and death and (what the Crow’s website bills as), the ‘terribleness [that] lives in between.’ I snickered when “It’s the End of World as We Know It’ played just before Cliff entered at the top of the show. Cheeky but appropriate. ‘A Terrible Fate’ remains an existential story at heart. Cardinal’s candid script allows audience members to consider their mortality. The production will probably either trigger or anger some audience members for its frank observations about a final event that will inevitably occur to all of us. Nevertheless, the play also celebrates life periodically. Costume Designer Sage Paul has Robert sharply dressed in a burgundy wine-coloured jacket, pants, matching shirt, and dark shoes. Get it? Amidst the sudden death of each of these loved individuals, Robert celebrates their lives in the ‘burgundy red’ clothing he wears. Cheeky again, but it makes sense to me. Raha Javanfar’s shadowy lighting and JB Nelles’ stark set designs catch the eye at first glance. Three different chairs are equally spaced between them. Three burlap-looking banners hang behind each of the chairs. Stage right has the word ‘Love’ and what appears to be hands cupping a human heart. A simple wooden-looking kitchen chair is in front of the chair. Centre stage has the word ‘Cursed’ and what appears to be a sword plunging through a human heart. In front is a grey, comfortable-looking individual passenger car seat. Stage right has the word ‘Fate’ and a picture of dark-looking clouds with a lightning bolt shooting down and hitting a person. In front is a circular wicker chair with a comfortable cushion. There are moments when Javanfar’s stark lighting hits the banner and lights the heart so that I thought I could see various arteries and the organ pumping blood—a rather clever dramatic technique succinctly captured. Karin Randoja directs with an acute sense of boldness. She demands that the audience confront the sudden and unexpected moments that life can throw at them. Randoja’s vision for the play remains rebellious and subversive. Sometimes, it’s amusing, but often it’s not pretty. It can be terrifying and profound. Where did this latter occur for me? At one point, Cardinal pulls back the banner centre stage and reveals a blazing white object. (I won’t spoil it here) To see it at first is startling. To hear Alex Williams’ sound design of the object’s voice reverberating in the intimate Videocabaret theatre is gripping. It sent shivers down my spine. Again, another clever dramatic technique captured on stage. Cliff Cardinal delivers a haunting and resonating performance of a tortured man teetering on the edge. At times, his Robert is sane and lucid. There are other times when his Robert intimidates and frightens, especially in his relationship with Sarah, the ambulance driver. Along with his performance as Robert, Cardinal becomes other characters in this journey simply by pulling his long hair back or adjusting his clothing. And I bought it ultimately. I haven’t seen much of Cardinal’s work – only his controversial 'Land Acknowledgement’ twice and this opening night performance. From what I've seen, he’s a fine storyteller, and I want to see more of his work onstage. He moves with the most remarkable ease in addressing each side of the audience. There are moments when Cardinal/Robert makes eye contact with audience members, and his piercing ‘I’m looking right at you’ stare is alarming initially and then mesmerizing. Those moments when Cardinal sits in the car seat centre stage are intriguing. It is here where he acknowledges his fears. It is here where the audience begins to witness Robert’s troubled nature. To sit in the passenger seat means one will arrive at the destination; however, said passenger has no other control over the arrival at the destination and must accept what happens along the way. At one point, Robert moves the seat lever to push the backrest back. That action shows he is willing to accept whatever comes his way. Final Comments: I’m still pondering the following question even as I complete this article: ‘What does it mean to be human?’ Can any of us even answer it truthfully? If anything, Cliff Cardinal gets the audience thinking about that final act of death we will face, impacting us whether we’re ready for it or not. He and Randoja remain subversive and daring in approaching this topic of death and whether a terrible fate will befall us at our given moment. It's bizarre to get us to think about this topic, but that’s a good thing. Cliff Cardinal is one sharp fellow. He also makes good theatre. Running time: approximately 80 minutes with no intermission. ‘(Everyone I Love Has) A Terrible Fate (Befall Them)’ runs until November 4 at Videocabaret’s Deanne Taylor Theatre, 10 Busy Street, Toronto. For tickets, crowstheatre.com or call (647) 341-7390 ext. 1010. A Videocabaret Production in Association with Crow’s Theatre presents the World Premiere: (Everyone I Love Has) A Terrible Fate (Befall Them) Playwright and Performer: Cliff Cardinal Dramaturge and Director: Karin Randoja Set and Props Designer: JB Nelles Costume Designer: Sage Paul Lighting Designer: Raha Javanfar Sound Designer: Alex Williams Technical Director: Andrew Dollar Stage Manager: Jennifer Stobart Producer: Layne Coleman Producer & Production Manager: Aaron Rothermund Previous Next BACK TO TOP

Back 'Baskerville' by Ken Ludwig Presented by Gananoque's 1000 Islands Playhouse at the Springer Stage Presented by Gananoque's 1000 Islands Playhouse at the Springer Stage Joe Szekeres (Photo Credit: JPG Photography. L-R: Jamie Cavanagh and Colin Doyle) This ‘Baskerville’ is a tickle-the-funny bone sleuthing mystery. The story takes place in Victorian England and revolves around the mysterious death of Sir Charles Baskerville, a wealthy landowner in Devonshire. Sherlock Holmes (Jamie Cavanagh) and Dr. Watson (Colin Doyle) are called upon to solve the case. Sir Henry Baskerville, the heir to the estate, enters Holmes’s office to seek his help. Holmes instructs Watson and Sir Henry to proceed to the estate to claim the inheritance and investigate the murder. As they investigate, they come across a theory that a dangerous bloodhound is responsible for the crime and is still at large in the moors. Along the way to solving the mystery, there are nearly 40 characters whom Holmes and Watson meet all played by Cydney Penner, Karl Ang, and Tim Walker. The mystery is eventually solved but not without many, many laughs along the way. ‘Baskerville’ recalls Alfred Hitchcock’s ‘The 39 Steps’. In both plays, actors take on multiple roles and there are elements of farce and slapstick humour that can be highly effective if executed properly but can also fall flat if not done well. There’s no concern about that at the performance I saw. What an apt choice to open the 41st season of Gananoque’s Thousand Islands Playhouse. The set design by John Dinning is truly impressive. I couldn't help but appreciate how well the Springer stage is utilized to its fullest. The faux stones and brick were so realistic that I had to touch them during intermission to see what material was used. An usher came by due to my actions, and I apologized for my curiosity while acknowledging her dutiful presence. Moreover, a motorized travellator, like a moving sidewalk, helped to move set pieces on and off. It seemed a bit sluggish at the beginning of the play, but it soon became clear just how effective it is. In feature films, scenes often slowly fade from one to the next. A travellator allows the same effect to be achieved on stage. Dinning’s costume designs accurately reflect the Victorian era. One example is the dresses worn by Cydney Penner in her various roles, from a lady to a maid. The cap and cloak worn by Holmes appear authentic, as do Watson's dark and earth tone suits which fit him perfectly. Kevin Tanner's use of shadowy lighting creates an eerie atmosphere of the house on the moors, and Steve Marsh has chosen appropriate orchestral music from the period to open both Acts One and Two. Directed by Brett Christopher, ‘Baskerville’ becomes a delightful display of just plain ol’ good-fashioned fun. Such performances of Sherlock Holmes stories are rare. One of the most important things that theatre can offer is the chance to be intrigued, and this play certainly delivers. Christopher's Director's Note reveals that he aims to take it one step further by ensuring that audiences are wildly entertained by the exceptional comedic acting ensemble, as fine as any in the country. He certainly delivers on his promise. Although the first act took some time to set up the mystery and events (with the odd joke thrown in) it was necessary for the plot to unfold. But when the magic of the comedy takes off as it does in the second act… The production works. There are many terrific moments that Christopher thankfully never allows to deviate out of control. The actors play the moment for real even though the context appears outlandish. In playing the contextual setting for real, the pacing must remain at lightning speed but delivers humour. That consistently happens throughout the second act, and the ensemble is to be commended for its due diligence. During the performance I attended, there were some unexpected on-stage moments that may or may not have been intentional. For instance, Karl Ang's mustache was slightly lopsided and started to come off and flutter as he spoke, which caused the audience to laugh. However, Ang remained unfazed by the mishap. Similarly, Tim Walker's mustache fell off while he was speaking in the second act, which also caused laughter from the audience, but he carried on professionally without letting it faze him. Did I care about these gaffes that sometimes happen in live theatre? Of course not! They’re all part of the excitement of watching ‘Baskerville’ live. It reminds me of ‘The Carol Burnett Show’ where the actors would continue despite their gaffes. During the second act, I witnessed some on-stage improvisation to quickly adjust a costume change, which was entertaining. The cast's ability to think on their feet and keep up with the pace was truly admirable. Kudos to the remarkable talent of Cydney Penner, Tim Walker, and Karl Ang for their seamless ability to shift between various characters. Penner's Madeline Khanish Barrymore from 'Blazing Saddles' is ridiculously comic. Karl Ang's Texan 'Sir Charles' continues to be a hoot. Meanwhile, Tim Walker's portrayal of Barrymore, which closely resembles Max, Norma Desmond's servant in 'Sunset Blvd.', is hilarious. Colin Doyle and Jamie Cavanagh are the steady anchors amidst the chaotic fun happening around them. Their confident performances exude a charming literary appeal that brings the fictional characters to life on stage. But they too find their moments to poke fun. Doyle does this when he breaks the fourth wall and tells Designer Steve Marsh: “Enough” for a sound effect. Cavanagh’s holding of a hat in the air in the second act while mayhem erupts around him is priceless. Final Comments: Once again, in his Director’s Note, Brett Christopher writes this production of ‘Baskerville’ pushes the boundary between the audience and the art. I really admire directors and theatre companies who will push the boundary between the audience and the art. In this production, the breaking of the fourth wall does that but it’s not excessive and overdone. And that’s a good thing. Another good thing? Go see ‘Baskerville’. It’s a terrific afternoon or evening at the theatre. Running Time: approximately two hours with one intermission. ‘Baskerville’ runs until June 24 in the Springer Theatre of The Thousand Islands Playhouse, 185 South Street, Gananoque. For tickets, call the Box Office at 613-382-7020 or visit www.1000islandsplayhouse.com . THE THOUSAND ISLANDS PLAYHOUSE presents BASKERVILLE by Ken Ludwig Director: Brett Christopher Set and Costume Designer: John Dinning Lighting Designer: Kevin Tanner Sound Designer and Composer: Steve Marsh Stage Manager: Rebecca Eamon Campbell Performers: Jamie Cavanagh as Sherlock Holmes; Colin Doyle as Dr. Watson; Tim Walker as Actor 1; Cydney Penner as Actor Two; Karl Ang as Actor Three. Previous Next

Back 'The Two Noble Kinsmen' by John Fletcher and William Shakespeare Presented by SHAKESPEARE BASH'd and now onstage at Theatre Centre Credit: Kyle Purcell Pictured l-r: Emilio Vieira and Michael Man Zoe Marin "By fleshing out the sexual repression of the original characters in Shakespeare and Fletcher’s ‘Two Noble Kinsmen’, SHAKESPEARE BASH’d makes a case for why this seldom-performed dramedy deserves a place in the popular Shakespeare canon." Unlike other Shakespeare productions that are begging for modernization, the plot of ‘Two Noble Kinsmen’ already feels straight out of an HBO young adult series. In short: Two sexually repressed bisexual men fight over a lesbian. To expand: In Athens, three widowed queens interrupt the wedding of Hippolyta and Duke Theseus to ask him to go to war against King Creon of Thebes for denying their husbands proper burials. Despite being against his cruel tyranny, the ‘two noble kinsmen,’ cousins Arcite and Palamon, fulfill their duty to protect the city of Thebes and fight on Creon’s side. However, after Theseus wins, the cousins are imprisoned. While imprisoned, the cousins catch sight of Hippolyta’s sister, Emilia, and immediately fall in love with her – inciting the rivalry that tears their relationship apart. Eventually, Arcite is released while Palamon escapes with help from the Jailer’s daughter who is in love with him. When the cousins meet again, they agree to fight to the death, with the winner marrying Emilia. Theseus catches them but ultimately revokes his death sentence. Instead, there is a tournament to decide which cousin marries Emilia and which gets executed. While there continues to be a series of complicated events in the second half of the play, in the end, one of them dies, and one of them marries Emilia. Mind you, at no point does Emilia express interest in either of them. And yet, she feels that it is her duty to marry one, just as Arcite and Palamon think it’s their duty to either marry Emilia or die. While the original text may have focused more on the ‘chivalric code’ of its source material (Chaucer’s ‘The Knight’s Tale’), this production really leans into its criticism of compulsory heterosexuality and toxic masculinity. Michael Man and Emilio Vieira’s portrayals of Arcite and Palamon, respectively, are as hilarious as they are heart-wrenching. Director James Wallis further showcases the different ways the two characters repress their feelings for each other through their physicality. Palamon is more prone to violence, moving in large gestures and speaking boldly, while Arcite is much more subdued. Arcite rarely initiates touch, but always leans into it when he can – whether that be when Palamon embraces him or when the two are dueling to the death. In these moments, we see how their chivalric sense of duty forces them to be violent or avoid intimacy when they very clearly want the opposite. At one point, we watch Arcite reach out to put his hand on Palamon’s shoulder but then decides against it at the last minute. These missed opportunities to be earnest remind us that we’re watching a Shakespearean tragedy, and these characters have no hope of happiness. As she explicitly states, the funniest and most tragic part about these two cousins fighting over Emilia (Kate Martin) is her absolute lack of interest in all men. She shows a clear indifference to both cousins throughout the play, and in the end, her marriage to Palamon is just as tragic as Arcite’s death. Throughout the play, the entire cast has great energy that never falters during the almost 3-hour running time. ‘Two Noble Kinsmen’ is performed on a thrust stage, which Wallis uses effectively, especially during the dances (Breanne Tice) and fight choreography (Jennifer Dzialoszynski). The show opens with a great movement sequence that serves as an overture, full of images alluding to moments the audience sees later. However, since the rest of the staging was more straightforward, I was left craving more movement. I also enjoyed the productions, metatheatricality with the actors entering as themselves and putting on costume pieces to become their characters. ‘Two Noble Kinsmen’ in itself portrays an unclear time period, historically taking place in Ancient Greece, with all the action and characters presenting medieval times. Therefore, rather than leaning into either, the costume design captures the inherent anachronism and metatheatricality through its mix of modern clothing and Elizabethan elements. I will admit that some costumes were much better than others. I particularly enjoyed the Jailer, the Jailer’s Daughter, and Pirithous because the elements mixed well together. On the other hand, I found myself distracted by anybody wearing a jogger or a long belt. I also think actor Kate Martin was not set up for success with that skirt so long she’d step on it anytime she had to change levels. Overall, I really enjoyed SHAKESPEARE BASH’s production of ‘Two Noble Kinsmen’ and felt that its portrayal of masculinity and sexuality makes the original text extremely relevant to a modern audience. The production runs until February 4 at the Theatre Centre Incubator (1115 Queen Street West). For tickets: https://theatrecentre.org/tickets/?eid=110137 or call 416-538-0988. ‘THE TWO NOBLE KINSMEN’ by John Fletcher and William Shakespeare Presented by SHAKESPEARE BASH’d Directed by James Wallis Stage Manager: Milena Fera Sound Designer: Matt Nish-Lapidus Fight Director: Jennifer Dzialoszynski Choreographer: Breanne Tice Lighting: Sruthi Suresan Jailer’s Daughter Songs: Hilary Adams Performers: Daniel Briere, Joshua Browne, Tristan Claxton, Jennifer Dzialoszynski, 郝邦宇 Steven Hao, Madelaine Hodges (賀美倫), Melanie Leon, Michael Man, Kate Martin, Julia Nish-Lapidus, Breanne Tice, Le Truong, Emilio Vieira, Jeff Yung 容海峯 Previous Next

Back 'Truth' by Kanika Ambrose. Based on 'The Gospel Truth' by Caroline Pignat. The World Premiere Now onstage at Toronto's Young People's Theatre Credit: Dahlia Katz. L-R: Jasmine Case and Wade Bogert-O'Brien Joe Szekeres ‘Truth’ sets the tone to begin Black History Month. Sabryn Rock directs with care and precision to ensure the play’s message becomes more than just a story of suffering and oppression.” Set in 1858 on Whitehaven, a Virginian tobacco plantation in the Deep South of the United States, Kanika Ambrose places ‘Truth’ a few years before the American Civil War. Whitehaven is owned by Master Duncan (Jeff Miller), who lives with his young, impressionable daughter, Tessa (Dominque LeBlanc). There are slaves on the plantation: handyman Will (Micah Woods), the older brother of the kitchen boy, Shad (Dante Jemmott). The cook/housekeeper, Bea (Chiamaka Glory), is busy cleaning breakfast before preparing for lunch. At the top of the show the audience meets Phoebe (Jasmine Case), a young, mute Black girl who sits in the hollow of a tree with a notebook in her pocket. An older woman joins Phoebe. The two have an apparent connection, but we do not know what it is. We later find out this lady is Ruth (Chiamaka Glory), who plays an essential role in Phoebe’s life. Eventually, the family prepares for the arrival of a northern guest, ornithologist Dr. Bergman (Wade Bogert-O’Brien). Tessa becomes smitten with the gentleman and does whatever she has to do, sometimes with great comic fanfare, to marry Bergmann and escape the dreariness of plantation life. YPT’s teaching guide for ‘Truth’ states the play chronicles the fierce strength and resilience of a community as it struggles to find freedom. Visually and audibly, the creative team effectively takes the audience back to an era of tranquillity and serenity in the Deep South. It’s a time of hearing the birds sing, feeling the sun's warmth on the face, and just appreciating the wonders of God’s creation since citizens would have all been God-fearing Christians. Shannon Lea Doyle (Set & Costume Designer), Shawn Henry (Lighting Designer), and Thomas Ryder Payne (Sound Designer) have magically painted a colourful and splendid vision of a world long ago. Doyle’s costumes are beautiful re-creations right down to the rope-tied belted pants worn by Shad. Henry and Ryder Payne’s lighting and sound work succinctly to create an immersive experience that, throughout the entire play, acutely appeals to the senses. A reminder that ‘Truth’ is sometimes uncomfortable to watch. There are moments of implied physical torture and violence. A few children sat around me on opening night, and I wondered if this story suited them. YPT Artistic Director Herbie Barnes nicely explains why ‘Truth’ is an essential theatrical work for all young people to see: “…it is important to remind ourselves of our history: our victories and our defeats, the good and the ugly aspects of how we, as people, arrived at our present reality. Our young people tend to live in the ‘right now’. Thus, at times, a gentle reminder of who we are – and who we were – helps to ensure our future will be more promising.” Parents and teachers, please take this message to heart before you bring children and students. With skill and careful direction by Sabryn Rock, Kanika Ambrose’s compelling script moves beyond its implied violence. It reminds young people and all of us to listen to our informed voices with conviction and heart. What a dynamo of a powerhouse ensemble cast. They are constantly in fluid motion to keep the story’s pacing engaging. Jasmine Case’s Phoebe is reserved and quiet. There is the sense that the young girl is just like the wounded bird in the cage to which she tends. She’s hurt, bruised, and maimed, but there remains a life force within that will help in recovery. Although the character is mute, Case remains focused and always in the moment as Phoebe. She listens attentively, responds credibly, and takes in as much as possible. Case brings a sense of incredible strength and reserve. As I sat in the second row, I watched her performance closely and became intrigued by her facial expressions. Her eyes convey so much since Phoebe is mute—very strong work. In a dual role, Chiamaka Glory provides those bits of humour to balance the implied violence of the time. Glory’s Bea is sassy and sarcastic when she speaks to Shad and Phoebe in the kitchen. She becomes a mother figure to the two of them. There remains a transcendental spiritual quality about Glory’s performance as Ruth in those moments she quietly shares with Phoebe in the woods. As brothers Will and Shad, Micah Woods and Dante Jemmott establish solid and unique characteristics. They are consistently believable in their relationship, especially near the end when their bond is tested. A reminder that Woods’ first appearance as Will is tough to watch. (Spoiler alert: there is an implied action of his whipping by Master Duncan). Jemmott’s Shad does his best to try and avoid punishment by the owner and is successful when he is favourably looked upon by Duncan at one point. Shad’s growing affection for the young Phoebe is sweetly handled with compassion. Jeff Miller’s Master Duncan is the primo prototype of the Southern plantation owner – full beard, impeccably dressed and always on edge, ready to blame whenever something goes awry on the plantation. Duncan’s relationship with petulant daughter Tessa is constantly at odds. She loves her father but doesn’t want to be near him because he appears eager to lash out. Like Glory’s Bea, Dominique LeBlanc terrifically provides necessary moments of humour in her childish petulance, most often in her flirting with Dr. Bergmann. The irony behind this façade is that Tessa is like her father. When things don’t go to plan as she wishes, Tessa lashes out horribly at Phoebe. Wade Bogert-O’Brien’s Dr. Bergman is a mystery initially, and Bogert-O’Brien aptly reflects this quality. There is a long-time connection between him and Master Duncan. The reason Bergman selects to visit the family, to study the birds around the home, doesn’t seem to add up at first. Bogert-O’Brien adds to the humour of the moment as Tessa flirts with him. But where the dramatic intrigue grabs hold is the doctor’s growing interest in Phoebe. This interest inspires Tessa to lash out, a sign of jealousy. Phoebe is frightened by the doctor’s advances, but it soon becomes clear why Bergman behaves as he does. When this fact becomes apparent, it makes for a riveting moment of good theatre. I watched with wonder and amazement how these artists told a story with an assured conviction of (what Herbie Barnes said earlier): “[the reminder] of our victories and our defeats, the good and the ugly aspects of how we, as people, arrived at our present reality.” Final Comments: An enthusiastic and heartfelt production, ‘Truth’ is performed with bold confidence and intended purpose. Running time: approximately 75 minutes with no interval/intermission. The production runs until February 23 on the Ada Slaight Stage at Toronto’s Young People’s Theatre, 165 Front Street East, Toronto. Call the Box Office at (41) 862-2222 or visit youngpeoplestheatre.org for tickets. RECOMMENDED FOR AGES 10+ | GRADES 5+ TRUTH by Kanika Ambrose. The World Premiere Based on the novel ‘The Gospel Truth’ by Caroline Pignat. Director: Sabryn Rock Set & Costume Designer: Shannon Lea Doyle Lighting Designer: Shawn Henry Sound Designer: Thomas Ryder Payne Historical Movement Consultant: Fairy J Performers: Wade Bogert-O’Brien, Jasmine Case, Chiamaka Glory, Dante Jemmott, Dominique LeBlanc, Jeff Miller, Micah Woods. Previous Next

Back "It's A Wonderful Life: A Live Radio Play" adapted by Joe Landry Now onstage at Toronto's Young People's Theatre until December 30 Credit: Dahlia Katz. L-R: Anand Rajaram, Cliff Saunders, Amy Matysio, Caitlyn MacInnis, Shaquille Pottinger Joe Szekeres ‘A veritable communal theatre experience of old-time radio. Tremendous fun with a splendid cast highlighting the important bonds of family, love, and friendship. Give yourselves a gift this Christmas/holiday season and see IT’S A WONDERFUL LIFE – A Live Radio Play.” Usually seen around the Christmas/holiday season, Director Frank Capra’s iconic film (based on the story ‘The Greatest Gift’) is retold in an adaptation by Joe Landry, now in performance at Toronto’s Young People’s Theatre. A terrific ensemble of five performs the classic story, this time as a 1945 radio broadcast. The Ada Slaight stage is set as a radio studio, and the audience becomes the studio audience. The story is told by the actors’ voices and foley sound effects. We’re in Bedford Falls. A young George Bailey has always cared a great deal about others. He puts their needs ahead of his own throughout his life. On one Christmas Eve, George encounters a situation he cannot fix. He begins to feel as if there is no other option than to do the unthinkable: take his own life and leave everything behind. At this point, George is met by Clarence, a guardian angel who takes him on a journey around the town to show him what the world would be like if he never existed in this life and if his good actions never transpired. I think I was one of the last few who finally watched the entire film a few years ago. The reason why I chose not to do so? The suicide threat didn’t appeal to me in what is supposed to be the Christian season of light and hope in our lives. YPT’s production reinforces ‘Wonderful Life’ isn’t a story about contemplating suicide. It’s far more, especially for young people to hear and to see. ‘Wonderful Life’ continues to recognize the bonds of love and friendship, themes of the Christmas/holiday season. The story goes further as it teaches that life matters and is worth living no matter what may befall people. I will most likely watch the film again. Shannon Lea Doyle appropriately designs the setting and the fashion look of 1945. Faithful recreations in clothing style and realistic-looking era props have correctly captured the era, as have Shawn Henry’s lighting designs. The Foley sound effects are one of the show's staples, and they do not disappoint in the least, thanks to John Gzowski's design and consultation. Director Herbie Barnes’s heartfelt admiration for the story permeates thoroughly. It’s a challenge of a play to stage and Barnes has made some apt choices that work exceptionally well. His actors must understand the nuances of all the characters, provide a variety of voices, learn the dialogue, and execute the exact timing of the required sound effects, which would have required ample rehearsal time. Like the brand-new car we’ve purchased, we expect all the parts to work in tip-top shape and their full potential to provide the smoothest ride. With Barnes as prime automotive service technician and in the driver's seat, enjoy the ride in YPT’s production. It remains in tip-top shape from beginning to end, thanks to this talented cast who want the audience to have a good time. The five artists capably breathe life into the characters. Anand Rajaram confidently opens the show as radio announcer Freddie Filmore with a great bravado that I couldn’t help but smile when he enters. Rajaram also channels his inner Jimmy Stewart at one point, making many around me (and me) erupt in raucous laughter. Don’t forget that Stewart played George Bailey in the film. Shaquille Pottinger is a dashing-looking Jake Laurents who voices George Bailey. Pottinger’s Bailey remains delightfully charming and childlike when he finally recognizes that his life, value and worth mean something within the Bedford Falls community. As Harry “Jazzbo” Heywood, Cliff Saunders’ bow-tied looking Les Nessman (WKRP in Cincinnati) becomes an adorably endearing guardian angel, Clarence. What is charming to watch and hear occurs when Clarence takes George back to Bedford Falls and shows him what life would be like without the latter’s presence. It’s a perfect reminder of another classic that now plays this time of year - Dickens’ ‘A Christmas Carol’ where the three ghosts invite Ebenezeer to see what life is like with him present and when he is gone. Caitlyn MacInnis (Sally Applewhite) and Amy Matysio (Lana Sherwood) develop strong women character foils for George. MacInnis’ Mary (wife of George) channels an inner Donna Reed from the film, but they go a step further for this radio play. MacInnis’s facial responses and reactions say a great deal about what’s occurring at the present moment, whether they are conversing with one person or a group. Amy Matysio’s Violet channels a comical seductress as Violet, who was interested in George before Mary came along. Final Comments: In his Director’s Note, Herbie Barnes writes that post-pandemic, the company wanted to focus on bringing back joy to the theatre. He has, the company has, and this production certainly has done so. I’m hoping (and yes, even praying) this radio play might become a staple perhaps every other year as ‘A Christmas Carol’ was at Soulpepper. See YPT’s IT’S A WONDERFUL LIFE – A Live Radio Play. And Merry Christmas to us all. Running time: approximately 85 minutes with no intermission. ‘It’s A Wonderful Life – A Live Radio Play’ runs until December 30 on the Ada Slaight Stage at Young People’s Theatre, 165 Front Street East. For tickets, call (416) 862-2222 or visit youngpeoplestheatre.org. IT’S A WONDERFUL LIFE: A Live Radio Play Adapted by Joe Landry Based on the story ‘The Greatest Gift’ by Philip Van Doren Stern from the screenplay by Frances Goodrich, Albert Hackett, Frank Capra and Jo Swerling Directed by Herbie Barnes Set and Costume Designer: Shannon Lea Doyle Lighting Designer: Shawn Henry Sound Designer and Foley Consultant: John Gzowski Stage Manager: Bradley Dunn Performers: Caitlyn MacInnis, Amy Matysio, Shaquille Pottinger, Anada Rajaram, Cliff Saunders Previous Next

Back 'Migraaaants: There's Too Many People on this Damn Boat' by Matei Visniec with translation by Nick Adwe Now onstage at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto Credit: Zahra Maleki. Pictured: Ahmad Meree and ensemble Joe Szekeres “Toronto premiere delves into a comical and terrifying look at newcomers to a supposed land of freedom.” Billed as a ‘dark comedy,’ Matei Visniec’s play focuses on the dangerous journey of African and Middle Eastern refugees to Europe. From an overcrowded boat and then to an unknown uncertainty about whether these individuals will be welcomed in their new land, this Toronto premiere explores what director Siavash Shabanpour calls “the unbreakable human spirit within the refugee narrative and gives audiences a chance to connect with the people beyond the headlines.” Under Shabanpour’s strong direction, the ensemble delivers heartbreaking performances inspired by the real stories of refugees who have fled war-ravaged environments. Shabanpour uses as much space as possible on the Passe Muraille stage and the various levels. The emotional impact is palpably strong when the action is on the floor; however, one scene between President (Garrett Mallory Scott) and a Public Relations Coach (Henry Oswald Pierson) takes place on the second level, relatively high up. This scene details the importance of using the ‘politically’ correct word regarding those who flee their homeland. Is immigrant to be used? Migrant? Refugee? The discussion piqued my attention; thankfully, Scott and Pierson can be heard. However, this scene didn’t have as strong of an impact personally because I felt far removed from the action physically. For the most part, Shabanpour’s genuine compassion in his direction allows the audience to see the struggles, hopes and fears these migrants have faced and will continue to face in their new lands. That strong sense of fear remains categorically palpable from the seventeen-member ensemble cast on the Passe Muraille main stage when the action occurs floor level. The production creative team has made solid choices. Designer Kadi Badiou has wisely selected an empty stage at the top of the show where the audience hears lapping water against a shore thanks to Victoria Gallant’s sound design. On the floor level, there is a riser which resembles a catwalk from a fashion show. The audience sits left and right on this riser, which becomes a significant focal point when the performance begins. Sometimes, the multi-media production immerses the audience right in the reactions and responses of the characters. Designer Duncan Appleton uses some visually striking and effective projections. Tessa Bourchier’s various colours and sizes in the costumes nicely delineate and identify the multiple characters in the mosaic of stories. Playwright Visniec smartly incorporates and combines both dark humour and harsh reality to showcase the continued sense of fear these migrants have had and will have to continue to face wherever they will head. At times, this juxtaposition makes for good theatre. We’re first introduced to Boss (Ahmad Meree) when the lights go down. Boss will help these individuals escape to Europe, but they must listen carefully to him and follow his strict conditions for travelling. His ‘goons’ who stand behind him are to ensure those in the audience are listening. Meree is powerfully in control at this moment. There’s no messing with Boss, and Meree demands immediate focus and attention on him. It was an incredibly dominant moment that made me hold my breath, wondering what might happen if any of these individuals got out of line. It does happen later. And again, Meree remains a compelling force in how he ‘punishes’ the individual who disregards instructions. An ‘ordinary’ Balkan couple (Andrew Chown and Mahsa Ershadifar) try to make sense of this conflict around them. He comes home from work while she is busily preparing their evening meal. They snap at each other, rightly so, because the world they know remains tense. Without spoiling the dramatic impact, Chown and Ershadifar subtly and cleverly show how they will respond to the events surrounding them. A haunting moment comes from Parastoo Amanzadeh’s still performance as the young boy Elihu who will sell his body parts and limbs as capital for his family. I felt chills down my spine as it must be seen live to experience the full emotions. In a rather dark, comical turn of events, Keely Krall and Shannon Pitre become Shopping Channel spokespersons for a surveillance device that can instantly kill people. A few moments later, the two again become fashionista models for a barbed wire costume. Final Comments: One thing still puzzles me about the production. I don’t understand why the play's title is spelled as it is. The sentence after the title is harsh and cruel. Nevertheless, that harshness and cruelty remains issues newcomers have felt leaving their homeland. ‘Migraaaants’ is another essential story to experience. It’s plausible and believable. Running time: approximately 90 minutes with no interval/intermission. The production runs until January 28 at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto. For tickets: call 416-504-7529 or visit https://ca.patronbase.com/_TheatrePasseMuraille/Productions/MIG/Performances MIGRAAAANTS: There’s Too Many People on this Damn Boat by Matei Visniec with translation by Nick Awde Produced by two thousand feet up theatre company Directed by Siavash Shabanpour Set Designer: Kadi Badiou Costume Designer: Tessa Bourchier Lighting and Projections Designer: Duncan Appleton Sound Designer: Victoria Gallant Composer: Nariman Eskandari Stage Manager: Daniela Olmos Performers: Jamar Adams-Thompson, Parastoo Amanzadeh, Jeffrey Auminio-Mesidor, Jeysa Caridad, Andrew Chown, Mahsa Ershadifar, Silvana Herrera, Lean Jafari, Eric Kinsella, Keely Krall, Ahmed Meree, Daniel Motaharzadeh, Henry Oswald Peirson, Shannon Pitre, Henrique Santsper, Garrett Mallory Scott, Jona Villa Previous Next

Back Patti Lupone: Don't Monkey with Broadway Played Toronto's Meridian Hall November 17 and now on tour in the US Credit: Rahav and from TOLive website Joe Szekeres “Patti Lupone is far more than a diva of the theatre. Don’t label her that anymore. ‘Don’t Monkey with Broadway’ is a joyous event and a celebration of storytelling. She is an artist who remains eternally grateful for the opportunities in her career.” She might be billed as a diva of the theatre; however, ‘la grande dame’ Patti Lupone came across as far more than that label on November 17 for one night only of her ‘Don’t Monkey with Broadway’ tour at Toronto’s Meridian Hall. She’s one hell of a grateful lady for the opportunities she’s had and doesn’t take the critical acclaim and reaction of audiences everywhere for granted. When she walked out on the stage, the audience was on its feet in its first of standing ovations. Lupone appeared emotionally moved by this display of affection even before she sang or spoke one word. Billed as a love letter to the Great White Way, ‘Don’t Monkey with Broadway’ initially comes across as a masterclass in song delivered by the founding member of the Drama Division of The Juilliard School. The house programme did not carry the song titles. There’s a reason why, and it’s a good choice we don’t know. It’s the same reason why a vast orchestra isn’t backing her up. She doesn’t need one. Instead, her Music director, Joseph Thalken, beautifully accompanies her on the piano. He gets what she wants to do. In grateful appreciation for that, Lupone periodically acknowledges his work and playfully, at one point, pulls him up with her to take a bow. Instead, like a true teacher, Lupone wants the audience to hear and to listen, two key elements that sometimes appear to be lacking today. Through hearing and listening, Patti gets the audience to think about what they are hearing and listening. How novel! An artist who gets people to think through hearing and listening. Accoutered smartly in a black dress, the first act has Patti interspersing songs with moments from her career. In the second act, she enters wearing a tuxedo, which reminded me of Julie Andrews in ‘Victor/Victoria.’ Patti announced that sometimes men have incredible moments of song that women don’t have. Patti wants to sing them. And she launches right into them full steam ahead. She does so with the bold confidence of a woman who has survived the highs and lows of the theatre industry. When she begins ‘Trouble in River City’ from ‘The Music Man’ I couldn’t help but smile. Patti has caused some trouble in the River City of Broadway. She’s snatched phones from theatregoers in performance. She stopped ‘Gypsy’ when she knew pictures were being taken. She took batting practice in her UK dressing room when she learned she would not play Norma Desmond when ‘Sunset Blvd’ transferred to New York. Sometimes, causing ‘trouble’ gets results and gets people to think. Whether or not we agree or disagree with how she dealt with these troubles doesn’t matter to us. They mattered to Patti, and she dealt with it in the way she did. She cares. That’s why she’s caused trouble over the years. People know that about it. She’s vocal about stating how Broadway has changed in the last 10+ years. But the audience isn’t here to discuss these issues. We’re here to hear, listen to, and hopefully understand how music transforms Lupone and how she can transform an audience. And that’s why you don’t monkey with Broadway or her. Lupone showcases those incredible vocal pipes with some terrific musical theatre numbers. The audience went wild just before the intermission with the unmissable ‘Don’t Cry for Me, Argentina’ from ‘Evita’ for which she won the coveted Tony award. She will be remembered for two other numbers – Rose’s Turn from ‘Gypsy’ and Ladies Who Lunch from her Tony Award-winning performance in ‘Company’. The former suddenly burst forth as a segue from the end of one song to the next, sending the audience into a love frenzy mania for the songstress. But I was waiting for the latter as ‘Company’ has always fascinated me, and ‘Ladies Who Lunch’ is one hell of an eleven o’clock number that I longed to hear. I waited patiently…and waited patiently…and kept wondering if she would do it because we were approaching the second act's end. But the adage ‘Good things come to those who wait’ aptly applies in this case. Lupone didn’t disappoint. Not in the least. The reason why ‘Don’t Monkey with Broadway’ is more than just a masterclass in song? Patti remains a consummate artistic storyteller who inherently senses the power of words and their meaning. Someone who knows how to tell a story well will always make people pay attention and listen. This is Patti. She loves the sounds of words through speech and lyrics. Her rendition of ‘Hey Big Spender’ from ‘Sweet Charity’ is only one example where she incorporated laughter because she finds the humour in words, in the way she pauses and in the way she punctuates in delivering the song that makes the audience roar with approval. Final Comments: I’ve seen Patti live on stage twice – in the early 90s in ‘Sunset Blvd’ in London and the early 2000s in New York in ‘Sweeney Todd’—two very different roles, the former a stormy relationship with its composer Sir Andrew Lloyd Webber. But what an honour to see her, hear her and listen to her again. ‘Don’t Monkey with Broadway’ also means ‘Don’t Monkey with Patti Lupone’. She’s seen it all, heard it all, experienced it, survived it all. And she’s still here. And if ‘Don’t Monkey with Broadway’ plays in your city very soon, see it. CREDITS: Scott Wittman, Director and curator Joseph Thalken, Music Director Previous Next BACK TO TOP

Back 'Heroes of the Fourth Turning' by Will Arbery A Howland Company and Crow's Theatre Co-Production now onstage at Crow's Theatre Credit: Dahlia Katz. Foreground l-r: Cameron Laurie and Mac Fyfe. Background: Ruth Goodwin (sitting) and Hallie Seline (standing) Joe Szekeres ‘Heroes of the Fourth Turning’ is a challenging look at a dense text that disturbs on the human level. Piercing and raw, the production becomes refreshing to watch a skilled ensemble of actors tell one hell of a good story. After the curtain came down, I desperately wanted to discuss this opening night of Will Arbery’s ‘Heroes of the Fourth Turning’ right then and there in a talkback. The play has been called a daring look at a country at war with itself. I’ll take it one step further. A 2020 Drama Finalist for a Pulitzer Prize, ‘Fourth Turning’ becomes a daring look at the conservative view of the tenets of the Catholic faith and the characters who adopt hardcore stances that do not necessarily reflect the basic principles of what Catholicism asks of its followers. Arbery nearly crosses the line into Catholic/Christian bashing of strong conservative views, but he stops short and never does it. Why? These are likeable young people educated in the Catholic faith who have their whole lives ahead of them. Yes, each has crises of faith, turmoil, and personal regrets. They are also acutely aware of the recent ‘Unite the Right’ Charlottesville 2017 white supremacist rally; however, these four characters still believe they can make a difference in a world that continues to be divided and will ultimately become woke in the future. What frustrates me as an audience member about ‘Fourth Turning’? Another social ideology I had yet to learn. On a simple basic premise (which I hope I have right), the Fourth Turning involves dividing historical events into recurring generational personas. The twenty-century Western culture as we know it currently divides people on many controversially confusing social issues. Do we need to add more fuel to the fire of our already fragile world? It’s late at night in Wyoming, 2017. Teresa (Ruth Goodwin), Kevin (Cameron Laurie) and Emily (Hallie Seline) gather at a backyard after-party at Justin’s (Mac Fyfe) house. They have returned to their alma mater college home to toast their mentor, Gina (Maria Ricossa), Emily’s mother, newly inducted as president of a tiny Catholic college in town. The college reunion of these four young people doesn’t become uniquely special for them. Instead, the gathering spirals into far more destructive questions, thoughts, and accusations regarding religion and politics, leaving wounds that may never heal. Philip Akin directs with an assured hand of gritty and realistic conviction. Wes Babcock’s functional set design in the intimate Studio Theatre allows for maximum sightline views and a solid connection to the unfolding events of the plot mere centimetres away. Laura Delchiaro’s costume designs delineate each character's varied social strata levels. Jacob Lin’s sound design of what is the generator’s malfunction made me jump each time I heard it. Logan Raju Cracknell’s lighting design sharply focuses on many of the volatile conversations overheard between the characters. The five-member ensemble remains the solid highlight of the opening night production. They’re in blissful synchronicity with each other. They listen, respond, and deliver top-notch quality performances of natural believability. Mac Fyfe is towering and bold, yet quietly observing and listening as Justin, the eldest member of the reunion. Fyfe is riveting at the top of the show. He’s an outdoorsman. Watching his actions with a gun and what occurs immediately following is unsettling. It initially appears Justin might be someone to fear; however, that all changes when the audience sees how compassionate he is towards a chronically in pain Emily. Justin never seeks anything in return for assisting her in any way. Hallie Seline gives a sweet and lovely performance as an empathetic Emily, but there is that nagging question of what is causing such distress that it affects her physically. Emily has had to learn to suppress her emotions, especially in her work with Planned Parenthood. One client in particular left quite an emotional scar. Emily’s hesitant relationship with her bombastically belittling mother, Gina, also doesn’t help. As Gina speaks to the others in the yard, Seline watches the action silently unfold. She listens intently and may not say much. Nevertheless, her eyes and physical sitting stance powerfully convey far more about how she feels regarding her mother. Seline’s delivery of a monologue near the end of the play remains riveting in all its gritty vernacular. Maria Ricossa’s Gina is a deliciously pompous academic elite as a mother and mentor. She’s direct; she’s bold. She’s also a bully, but it’s understandable why as the play unfolds. Ruth Goodwin is terrific as Teresa, a mirror image of Gina. The latter provided mentorship and guidance years ago to the former. Teresa incorporates many of her mentor’s abrasive qualities now that she writes for a right-wing publication, which Gina bluntly questions. Goodwin’s Teresa, nevertheless, smartly goes one step further to create an underlying tension between her and her classmates. She becomes sarcastically bitchy even after she is cut off at the knees by Gina. Additionally, Goodwin’s Teresa is also hurtfully cruel and vicious. She shares a secret with someone present at this gathering, ultimately becoming known. Cameron Laurie’s Kevin is a pathetic, sad man when the audience first meets him. He’s an alcoholic who desperately craves a girlfriend and longs for a female to touch him—Laurie’s nuanced performance nails what it means to be a Catholic Christian. While Teresa, Justin, and Emily repress, retreat, and stifle their reaching out to others, Kevin, in his lonely, adrift, lost soul manner, becomes fascinated with the outside world. He is willing to take the hard knocks in connecting to others and would love to accept the ‘Dean of Students’ post that Gina offers him. Final Comments: ‘Heroes of the Fourth Turning’ remains disturbing and enlightening. It’s disheartening and invigorating. Director Philip Akin says in his Artistic Note, “Not all big ideas are easy to grapple with. So that is our challenge.” And what a challenge when a play makes an audience think. There are no immediate answers, only more questions. That’s a good thing. It’s also a good thing to go and see ‘Heroes of the Fourth Turning.’ Running time: approximately two hours and ten minutes with no intermission. ‘Heroes of the Fourth Turning’ runs until October 29 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. Call the Box Office at (647) 341-7390 ex for tickets. 1010 or visit crowstheatre.com. A HOWLAND COMPANY AND CROW’S THEATRE CO-PRODUCTION ‘HEROES OF THE FOURTH TURNING’ by Will Arbery Directed by Philip Akin Sets and Props: Wes Babcock Costume Designer: Laura Delchiaro Lighting Designer: Logan Raju Cracknell Sound Designer: Jacob Lin 林鴻恩 House Technician: Zach White Stage Manager: Hannah MacMillan Assistant Director: 郝邦宇Steven Hao Production Manager: Jeremy Hutton Performers: Mac Fyfe, Ruth Goodwin, Cameron Laurie, Maria Ricossa, Hallie Seline Previous Next

Back Jordan Laffrenier, Associate Artistic Director of Canadian Stage Looking Ahead Sandro Pehar Joe Szekeres There was quite a bit of positive buzz online I saw from other artists regarding Canadian Stage’s new Associate Artistic Director, Jordan Laffrenier. So, I thought I’d find out more and introduce myself to the new Associate. When someone has a new position within a company, I wasn’t certain if he would be available for an interview, but I was most thankful when I heard from Canadian Stage’s press rep that Jordan was able to chat with me via Zoom recently for a few moments in the morning before the crux of his workday began. When I congratulated Jordan on his new appointment as our conversation began, he was very thankful and stated his new position would be a lot of work and fun in the process. He completed his theatre training in 2015 at York University and specialized in playwrighting and Devised Theatre with a minor in Creative Writing. I began the conversation that has always made many of the artists smile because it gets right to the heart of who they are. Given the fact we’re still living with Covid, how does Jordan view his role as a Canadian artist within a five-year trajectory of where Canadian Stage is headed? First and foremost, he believes it’s important to prioritize everyone’s safety and remember that we are still in a pandemic. So, the way we move through rehearsal halls and the ways seasons are programmed along with audience relationships must consider the safety of everyone involved. He added further: “One of the things the pandemic asked people to do was to think about they make work, why they make work and how the work was being created. In some ways, I feel really emboldened coming back during this time because I think we’re coming back in a time where people are questioning the ways they are practicing theatre.” Jordan stated theatres operate in a place that works best when it asks questions. He’s also understood that he loves theatre but that it can be very harmful. And so, he thinks examining theatre practices right now, examining who belongs and how we make people feel that they belong is vitally important. What is it about the theatre industry and the art that still intrigues and excites him? “The theatre is the place that has always been about the sense of curiosity for me and a sense of wonder. I think there’s a lot of magic in the theatre. At its best, the theatre has this wonderful ability to speak locally and to the time in which it is speaking. I can make theatre at this moment right now about our conversation here on Zoom that will respond to each of us directly.” Jordan loves when this can be done as theatre works well when it’s played out in metaphor. He recalled ‘Wrecking Ball’. Monthly, there was a topic that related to Toronto in some way and what was going on in the city. Over the month, writers would be invited to work, and they would perform that show at the end of the month. One of the shows Jordan remembers was the raccoon issue and the writers had all written pieces about the raccoon problem. We laughed about this as Jordan reiterated that no other medium could respond as quickly to this issue as the theatre did. The rehearsal period in theatre is rather unique. Film rehearsals are short periods and artists are usually alone with the director and operators behind the camera looking at monitors. Theatre rehearsals involve people gathered in a room, experiencing, playing, and making art. And where does Jordan hope to see Canadian Stage move within the next five years? He became rather silent, and I wondered if I put him on the spot. He laughed and said even though he has just started in his role as the Associate Artistic Director it’s still a great question to ask. He hopes to see Canadian Stage continue to represent Canadian artists and our people and our stories and to find and make spaces for ALL people and voices. Since the company is called ‘Canadian Stage’ what does that mean? Whom do we need to represent as part of that? Whom do we need to hold space for? How will audiences respond to where Jordan hopes to see Canadian Stage move as so much has changed in our world over the last two years? He hopes audiences continue to grow with the hope to see more types of people. For Jordan, as a person of colour, one of the things he has found disheartening is the few people of colour in the audience when he attends the theatre. New ways are needed to be found in order to to bring new people into the theatre, and Canadian Stage is aware of this dialogue that takes place after the theatre production. If the five-year trajectory is one where we continue to tell our stories by our people, then Jordan hopes that includes a new set of listeners where dialogue takes place before and after the show with audiences. Of course, the play becomes a conversation itself between the audience and the actor. Along with that conversations need to take place with everyone at all levels; conversations need to happen with non-professional and community groups as well so future audiences can see the discourse happens completely throughout the entire theatre industry. With each step of the way in this process, there is work to be done to improve the processes of how we include people in those conversations. Jordan acknowledges he has been in many rooms where heated discussion has ensued over these conversations. Sometimes in those rooms, he has been the only person of colour. Sometimes he has been the youngest person in the room. Both situations have their power dynamic in terms of powerlessness. Jordan firmly avows this needs to change. He hopes this generation coming up after him isn’t in rooms where the people that hold all the power are all straight cis white men. That’s why the company is called ‘Canadian Stage’ as we need to see representation from ALL Canadian people. As we began to wind down our conversation, I asked Jordan what was next on the docket for him: “Right now, we’re looking at our onboarding process as to whom we onboard into our space. We’re looking at ways where we can make rehearsal halls more of a brave space. We’re looking at ways where we can be more transparent about our selection process – for example, how can someone become a writer within Canadian Stage? How can someone go about having a play selected and produced here? I’m also dramaturging a few pieces here at Canadian Stage that are about to happen." To learn more about Canadian Stage’s upcoming season, visit www.canadianstage.com . Previous Next

Back '42nd Street' Now onstage at Toronto's Princess of Wales Theatre Credit: Johan Persson. Pictured: The Company Joe Szekeres "Eye-popping and firecracker tap dancing are only some of the respectful nods in Jonathan Church’s homage to the ‘42nd Street’ show biz from long ago. Splashy and splendid with frivolous frivolity." ‘42nd Street’ is the story of every showbiz hopeful who wants to play on the New York theatre stage. It’s 1933, smack dab in the Depression. Breadlines are common, and that’s where many ‘wanna-be’ actors would probably find themselves if they weren’t cast in a show. Brusque taskmaster Julian Marsh (Adam Garcia) directs the new musical ‘Pretty Lady’ written by Maggie Jones (Josefina Gabrielle) and Bert Barry (Michael Matus). This new production of 'Pretty Lady' stars ageing theatre diva Dorothy Brock (Ruthie Henshall), who doesn’t believe she has to audition for anything and shouldn’t have to do so since she is a star. Because of her attitude, Marsh can sense that Dorothy might be a potential problem. He still insists Brock sings one of the musical numbers. Dorothy does, but it’s not her best. However, the diva reminds everyone that her ‘sugar daddy’ Abner Dillon (Anthony Ofoegbu) fronts $100 K for the show on the condition she remains the star. Dorothy is also fooling around on Abner with Pat Denning (Michael Praed), the man for whom she claims to be ‘genuinely’ in love. Marsh’s assistant, Andy Lee (Alyn Hawke), has put the chorus kids through their intricate tap dance audition routine at the top of the show. When the chorus is finally cast, newcomer hopeful and naive Peggy Sawyer (Nicole-Lily Baisden) enters. She couldn’t make the initial audition because she had to steel herself to walk through the doors of the building. Charming and full of himself, tenor Billy Lawlor (Olly Christopher at this performance) is smitten with Peggy and tells her not to fear that she missed the audition as he’ll do his best to get the young lady into the show. On a whim, Peggy is cast in the chorus. Peggy shares that she has always admired Dorothy Brock and hopes to attain that same fame. Brock has no time for the up-and-coming young actors in ‘Pretty Lady.’ During an out-of-town Philadelphia tryout, Dorothy accidentally becomes injured. She breaks her ankle during a performance when Peggy misses a cue and claims the young ingenue intentionally did so. The threat of cancelling the show looms. Out of shame for what happened, Peggy decides to return to her hometown thinking show business is not for her. After thinking of others who could possibly replace Dorothy, the other cast members believe Peggy can save ‘Pretty Lady’ by stepping into the star’s role. Will Peggy be successful and save the show? I had seen my first production of ‘42nd Street’ in London’s West End in 1986. A bit of historical information – a young Catherine Zeta-Jones performed in the ensemble. That 1986 production was splashy, peppered with frivolous frivolity and combined with beautiful young chorines who were all legs, all smiles, and all ready to enter the spotlight when places were called. Fast forward to 2023. This UK production, directed by Jonathan Church, is still all that. It’s splashy and splendid with frivolous frivolity. Beautiful girls (or dames as they’re called in a musical number) are dressed in spectacular and dazzling costumes designed by Robert Jones. The breathless and stunning choreography in Bill Deamer’s musical staging remains one of the primo highlights of this opening night. There’s something about seeing and hearing firecracker tap dancing performed in tremendously sharp syncopation by this impressive ensemble that transcends right to the very human soul. But is that all there is to ‘42nd Street’? Why are audiences still fascinated with this chestnut? I don’t believe labelling this ‘42nd Street’ with that term is fair. Some terrific musical numbers staged by Bill Deamer appear in the 1933 film - ‘We’re in the Money’ and ‘Lullaby of Broadway’ and, of course, the title song. Consider why ’42nd Street’ was popular in the 1930s. The world was in the throes of the Great Depression. Money was tight, prices soared, and people were out of work. Everyone wanted escapism, even for a couple of hours, from the grim reminders of the times they were in. Sounds somewhat familiar once again, doesn’t it? We’re not in a Depression (some might argue that), but we’re constantly looking for escapism from the reminders of the world we know right now with the return of the ‘C’ word and all that entails. This ‘42nd Street’ appears to be what we just need right now. Sure, the plot based on the motion picture is hokey, but again, who cares? If you’re not leaving the Princess of Wales with a smile, especially since the production plays through the Christmas/holiday season right to mid-January, then this splendid company has not done its job. Robert Jones's set design appears art deco (ish), sometimes with tubular and lean angles. Jon Driscoll’s projection designs of black and white news footage during the overture remind us of the theatre district of New York from the 1930s. Ben Cracknell’s sleek lighting design illuminates a sultry and sexy atmosphere at the beginning of the musical number ‘Forty-Second Street.’ The neon lighting is another wonderful throwback to the 30s. Campell Young’s Makeup and hair/wig designs and Jones’s costume designs are beautiful recreations of the 30s fashions, from the dark pinstripe suits on the men to the frilly and lacy notions on the ladies’ costumes. Kudos to Sound Designers Ian Dickinson and Gareth Tucker. The melodies and lyrics in ‘42nd Street’ deserve to be heard, and they are in all their glorious sound. The wondrous creative team charmingly takes the audience back some 90 years ago with a respectful nod to the era. Jonathan Church directs the production with heart, maintaining the classic verisimilitude look and sound of the 1930s and the film. There are nasal, bimbo-sounding chorus girls with hints of sexism evident in the theatre industry at that time. Bill Deamer’s choreography remains one of the resplendent highlights of the show. Musical Supervisor Jennifer Whyte, Larry Blanks’ orchestrations, and Donald Johnston’s additional orchestrations combined with Philip J. Lang’s original orchestrations sound exquisite. The cast is terrific. Ruthie Henshall remains deliciously catty, pretentious, and self-absorbing as diva Dorothy Brock. Henshall incorporates a gravelly-sounding gruffness in her voice which aptly works because it indicates an ageing star slowly recognizing that time moves on. She looks great in the array of costumes she wears. Nicole-Lily Baisden is quite lovely as budding ingenue Peggy Sawyer. Baisden is a remarkable triple-threat performer of acting, dance and singing. There is a line voiced by Henshall as Dorothy when she tells Peggy: “Now go out there and be so good it’ll make me hate you.” Baisden is quite good, and it is most appropriate she takes the final bow at the curtain call. Adam Garcia’s Julian Marsh initially didn’t ring true as headstrong director Julian Marsh in the first act. However, I am the first to admit when I’m wrong. In Act 2, Garcia scales the heights of the director who pushes and pushes because he wants the best performance out of someone. Garcia closes out the show with his finale of ‘Forty-Second Street,’ which made my jaw drop. I got goosebumps listening to him vocalize the title song. Fantastic. Supporting characters are solid. Olly Christopher sings and dances with charisma and charm as Billy Lawlor. In the second act, Josefina Gabrielle and Michael Mateus are hilarious in their rendition of ‘Shuffle Off to Buffalo.’ Anthony Ofoegbu pokes fun at the look and the vocal sound of the 30s proverbial ‘sugar daddy.’ Final Comments: Tremendous fun. Give yourselves a Christmas/holiday gift and see ‘42nd Street’. Travel back to New York and its show biz from long ago. Running time: approximately two hours and 40 minutes with one intermission. ‘42nd Street’ runs until January 21, 2024, at the Princess of Wales Theatre, 300 King Street West, Toronto. For tickets: mirvish.com or call 1-800-461-3333. 42ND STREET Music by Harry Warren and Lyrics by Al Dubin. Book by Michael Stewart and Mark Bramble Original Direction and Dances by Gower Champion Originally produced on Broadway by David Merrick Directed by Jonathan Church Musical Supervisor: Jennifer Whyte Choreography and Musical Staging by Bill Deamer Set and Costume Design: Robert Jones Hair/Wig and Makeup Design: Campell Young Sound Designers: Ian Dickinson and Gareth Tucker Projection Design: Jon Driscoll Lighting Design: Ben Cracknell Performers: Ruthie Henshall, Adam Garcia, Josefina Gabrielle, Nicole-Lily Baisden, Michael Matus, Sam Lips, Michael Praed, Anthony Ofoegbu, Erica-Jayne Alden, George Beet, Charlie Bishop, Kevin Brewis, Olly Christopher, Briana Craig, Jordan Crouch, Ashleigh Graham, Alyn Hawke, Aimee J Hodnett, Connor Hughes, Deja Linton, Sarah-Marie Maxwell, Greta McKinnon, Ben Middleton, Benjamin Mundy, Jessica Wright. Previous Next

Back Jordan Pettle Moving Forward 2017 headshot by Sian Richards Joe Szekeres Like most of the professional performing artists who were knocked sideways on account of this worldwide pandemic, several of them relayed to me in conversation they have had their good days and not so good days. What has kept these artists going has been a focus on the positive side of things while learning new skills. National Theatre School graduate Jordan Pettle and his family have also experienced those ups and downs during these last seven months like all of us, but they have tried to remain positive. I’m pleased to hear this down to earth and decent man and his family have done just that because I am looking forward to seeing his work again on stage very soon. I quite enjoyed his work at Soulpepper in ‘A Christmas Carol’, ‘The Heidi Chronicles’ and ‘Betrayal’, but a quick look at his bio showed me how extensive Jordan’s work is both as an actor and director in Toronto, across Canada and in television. When I interviewed Liz Callaway and Cynthia Dale several weeks ago, they were advising actors to find their entrepreneurial side during this grand pause from the theatre. I’m pleased to report that Jordan Pettle has done just that during this hiatus by making ice cream at his home. Freshly made ice cream sounds good to me. For local neighbours and families where he lives, Jordan has come up with ice cream subscriptions. He relayed he is in the process of deciding upon a web site, Instagram account (and hopefully a Facebook account too). Jordan did tell me a possible name for his business, but I will not divulge it in case there is a change. Hopefully Jordan will start expanding his ice cream service to many of the theatre goers who have seen his performances over the year. Once he has announced his business is up and running, yes, I will indeed take out a subscription and make sure I have some home made fresh ice cream in my freezer. We conducted our conversation via Zoom. Thanks again, Jordan, for the conversation. It has been an exceptionally seven long months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? Well, nervous about the climbing numbers, obviously. My wife, Shannon, and I have two kids in school now and they’re just getting back into the swing of things, so the thought of going into lockdown again is pretty hard given what Dr. Eileen de Villa was talking about today. We’re coping well as a family but there’s so much uncertainty and some anxiety wondering about another lockdown. Every day is something new to deal with. I do think we will emerge to a new way of living. I don’t know what it will all look like, but on some societal level it is strengthening us for the amount of creativity and how people are adjusting to all of this. There’s resilience and adaptability people are showing. To me, I try to draw inspiration from that because humans are incredibly adaptable and finding ways to make work and stay healthy, and that includes psychically and emotionally. Things are going to change. Things will start to get local. In my particular community in the neighbourhood where we live, my family and I are getting to know our neighbours more than we ever have. We have a park by our house and there’s a community which has really grown there. Depending on which day you get me, I try to remain positive no matter what. True, I do worry about the economy, my kids’ future, how my family is doing, the debt that our province and country will be in when we come out of all this. On my good days, I see strength and resilience on a societal level. I see it happening with my kids, their friends and the community here. How have you been faring? How has your immediate family been doing during these last six months? Ya know, overall, Joe, to be honest we’re doing well. We have a house, we have a backyard which has been a saviour for us. In the early days of the pandemic, we were out in the backyard a ton playing sports. I finally planted a garden that we’ve been wanting to plant for years. My wife has a part time arts administration job that she has been continuing to do. She has been working from home. If we were talking April 18, things might have been different as we were on a different path at the time with so much noise in the house. Yes, there were some hard days in the spring. We were on top of each other all the time. We’re a good family, but like all humans we need our own individual space at times, and we weren’t getting that in the early spring when it was challenging at times. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? The uncertainty about the state of theatre and its future. Job prospects for the next couple of years have just changed dramatically. Theatre was my bread and butter. I’m lucky that I do teach and that I do voice work as well, so I have been able to work throughout this. Theatre is my first love, my passion and where most of my work comes throughout the course of the year, so it’s very hard to see friends lose all kinds of work and all the anxiety that is coming out of our community. On a professional level it’s been so hard to watch how all of the performing arts have been hit so hard. 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 supposed to have started rehearsal for Studio 180’s production of ‘Indecent’. It was going to be a co-production with the Mirvishes. Rehearsals were to have started March 30. Right when all of this started, Joel Greenberg from Studio 180 started emailing all of us in early March that we were still going to go ahead; however, as the emails came more and it became clearer what was going to happen regarding the pandemic, the production was cancelled. That was my spring gig for a couple of months. Luckily, the Toronto Arts Council provided some money for artists who lost work plus I also got the CERB money. I’ve been very lucky there has been support for us. I had some singing lessons in preparation for this production as I was going to be singing in Yiddish. I was deep into preparation for this production, so it was really hard to lose work anytime. I don’t know if ‘Indecent’ will see the light of day, Joe. I hope so. Who knows when but I know Joel was very passionate about the project and, if he has his way, ‘Indecent’ will go ahead at some point. We had a reading of it in early May, a Zoom reading, with all of us and it was very bittersweet. It was a chance to get a taste of where we were headed, where we would have gone with it. What have you been doing to keep yourself busy during this time? Well, besides being husband, dad and friend, I’ve doing a little bit of voice work. My wife is also a voice actor and we set up a voice studio in our pantry. She says it looks like a tsunami hit a duvet shop. We’ve been wanting to do it for awhile and it was something that necessity forced us to do immediately. In the early days of the pandemic, our voice agents were saying if you don’t have a home studio you can’t work. We’ve both done commercials from our pantry right to Zoom. I’ve been doing lots of auditions from there. Voice work has continued. It hasn’t been a huge amount of work, like with every voice work it’s a bit of a crap shoot and audition for a bunch of things and some work does come in. I’ve been doing some teaching as well. Graham Abbey and Dylan Trowbridge started GhostLight. Vanessa Porteous, former AD at Alberta Theatre Project, pitched this class to Graham and Dylan for GhostLight entitled ‘Building the Actor-Director Relationship’. She and I co-taught this class for GhostLight which was great on Zoom. It was the first time I was learning to teach online. Vanessa and I taught an eight-week session over the summer with 6 actors and 6 directors. We built this structure where they would work on a monologue where I would have coaching with the actors and Vanessa would talk with the directors. We paired up actors and directors, they would come together, but the focus of the course was how to build that relationship between the two. Now I’m teaching at Wexford Collegiate for the Performing Arts, a performing arts high school in Scarborough. I’ve been doing it for several years now. The school has been bringing me in as a guest artist. I direct the Grade 12 show and I was just working with the Grade 11s on scene study, some online. The teacher has been doing a great job keeping the students engaged during this really strange time. I’ve also become obsessed with making ice cream. It’s my side hustle right now. I’ve started this ice cream business out of our basement. I make small batch ice cream and I’ve been selling it to friends in the neighbourhood. I’ve been using herbs from our garden, olive oil, rosemary. It’s been really fun. I’ve just wanted to experiment and create, and I love ice cream. I’m also learning and stretching my entrepreneurial muscles during this time. 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? It’s a good question. I do some teaching at George Brown and I’ve been thinking about those students. I completed an online video clip to say congratulations to them at their graduation. I can’t imagine how hard it is for them to be stepping into the world right now during this time. Where is the work? What am I walking into? What I’ve been trying to tell the students is the work is going to be really, really important in the years to come. There’s going to be a lot of healing that is going to happen and to be needed. A connection is going to have to be made where people are going to see theatre. Seeing live human beings on stage is going to be really important. Down the road once we get out of all this, we’re going to need storytellers about human connection. I imagine for a long time we’re going to be processing this entire pandemic as artists and playwrights, screen writers and story tellers. Be patient and know that the devotion we give and do to actors is going to be necessary in the long run. It’s hard right now where there is so much uncertainty and so little work. Do you see anything positive stemming from Covid 19? The sense and feeling of community that has grown in our local park is one positive element stemming from Covid. Socially distanced music is happening in our park now which is another positive element. Resilience is another factor. Humans are adaptable and are resilient. We actors are also a resilient group too. The strengthening of community, the bonds we’ve created in our neighbourhood, we’ve gotten to know our neighbours more than we ever have. I hope this will all continue, this sense of pulling together as a society, will continue. Hopefully, some delicious ice cream will come out of all this. (side note: I plan to place an order with Jordan and hopefully readers will also place future orders) My kids ask me if this pandemic will be in the history books 100 years from now or will people talk about it, and I believe this will happen. We’re living through an extraordinary time. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? That’s a great question as I’m sure it will. It’s going to take awhile to make audiences feel safe about returning to the theatre again. The creativity that is already happening will lead to different forms of story telling. I think we’re going to see a lot of small cast shows probably for awhile. When we do come back, it’s going to be hard for theatres to take risks on big, huge cast shows for awhile. So economically, there will be some impact. The majority of theatre goers at live theatres are an older audience. Is that audience going to be comfortable? My wife, Shannon, is an administrator for ‘Music in the Afternoon’. It’s a women’s musical club in Toronto and they do a chamber series of music, and they’re talking about how to keep audiences engaged and so are many of the larger professional arts organizations. Once there’s a safe vaccine in place, people will be craving to go back into the theatre. They will want to see something live. There’s a need for live story telling. I have to believe that. There will be small smatterings of live theatre socially distanced being offered, but I can’t foresee anything on a larger scale coming back until at least 2022. 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? That’s a good question. I did watch some stuff early on in the pandemic. I saw some of the productions from Stratford. To be honest, that’s not how I like theatre. I prefer my theatre live. As far as being an audience for streaming? I don’t love theatre to watch it in that manner. I would prefer to watch a good television or a great film, stories that are meant to be in that medium. I understand people wanting to put their work out as it’s the only way we can do it at this time. I’ve been learning to teach online. It’s not the ideal way to teach, but that’s what we have at the present. We adapt and we do it. If people feel the need to adapt and do it, then by all means. Again, I don’t search it out online. There are so many other things that I’m taking in right now. I don’t love it as a venue for theatre. Yes, some of the streaming has worked and some hasn’t, but I can’t imagine creating a project for myself that’s meant to be on You Tube or streamed. I’d rather put my creative energies in some other place. And yes, I need to find ways right now to bring in an income. Depending on the streaming and You Tube, there’s little to no payment involved. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? (a bit of chuckle) Well, I’ve loved acting for a long time now and that’s not going to go away. That’s not going to change on account of the pandemic. It’s been one of the biggest passions of my life since I was a kid and will continue to be. I’ll act and find ways of doing it. I do miss going to the theatre and that experience and my friends’ work, but I’m in it for the long haul as I have been for some time. I feel like this is big hiatus, a big pause in the trajectory of the performing arts. Other things will develop with the entrepreneurial side, but my love of acting is not going anywhere. Previous Next

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

Back 'The Glass Menagerie' by Tennessee Williams Now onstage at Atlantic Repertory Company Drew Murdock Aaron Kropf Atlantic Repertory Company’s second show of the season is Tennessee Williams's semi-autobiographical The Glass Menagerie. This production hits so many of the right notes but misses out on one key aspect that makes any show soar - the heart. With that said it should be noted that I did see a special performance the night before opening. Upon entering the BMO Studio Theatre the pre-show scene is set in an ally way filled with piles of garbage bags and a considerable dumpster. Key pieces of furniture are scattered throughout the stage: a Victrola, a kitchen table and chairs drawn to centre stage during the opening monologue, and a couch turned upright by Tom as he introduces the play. Brenda Chicas-Duran created a wonderful world for the Wingfields to reside for the two hours of the play’s run time. The stage is sometimes enhanced by some creative use of projection, while other times it distracts from the action on the stage. The projections center stage sometimes display key phrases, moments before they are spoken, and other times short clips of images that might be running through the minds of some of the characters. These too often pulled focus from beautiful work performed on stage. ‘The Glass Menagerie’ opens with Rachel Kidd strolling across the stage playing her violin. She’s just as present on the stage as the Wingfield family in enhancing the story with live music throughout the production. We meet Patrick Jeffrey as the ever-present Tom Wingfield. Jeffrey seamlessly moves from being the drunk narrator Tom to Tom who does what he can to keep his mother and sister happy and in a home. Martha Irving masterfully takes control of all situations in the Wingfield house as the dutiful matriarch Amanda Wingfield. The Wingfield family is rounded out with Kennedy McGeachy's stunning portrayal of Laura. I’ve seen some productions where Laura’s physical characteristics are dealt with heavy-handedly, but not with McGeachy who incorporates them with subtlety and care. Finally, this wonderful cast is rounded out with Tallas Munro as Jim O’Connor, the Gentleman Caller. Even though most of this production is wonderful and well worth seeing, this ‘Glass Menagerie’ is missing the heart needed to bring the whole show together. Unfortunately, the sum of the parts didn’t come together to provide the soul Williams gives us in the script. I hope this will come together before the end of the run on October 1. For further information, please visit atlanticrep.ca. Previous Next

Back Craig Francis Self Isolated Artist Julian Stamboulieh, Beanduck Productions Joe Szekeres The first time I saw Craig Francis’ name was in the programme for performing artist Rick Miller’s productions of ‘Boom’ in Montreal and ‘Jungle Book’ at Toronto’s Young People’s Theatre. I was pleased to learn as well that Craig was also following reviews from On Stage and the ‘Self-Isolated Artist’ series. Craig (he/him) is a writer, director, illustrator, and multidisciplinary creator. As a founding member of The 20K Collective, Craig co-created with Rick Miller the productions ‘Jungle Book’, ‘Twenty Thousand Leagues Under The Sea’, and ‘Game of Clones’, and he is adapting ‘Frankenstein’ with Rick Miller and Paul Van Dyck. He's a producer, dramaturg, and Stage Manager for Miller's solo works: the BOOM, BOOM X, and BOOM YZ trilogy (Kidoons/WYRD/Theatre Calgary). He performs improv comedy, and theatre credits include ‘The Refugee Hotel’ (Teesri Duniya). Craig’s animated digital shorts for the Kidoons Network and Not-for-Profit Organizations are seen by millions of viewers and are installed in museums in four Provinces. Craig lives in Montréal, has illustrated several books, and voiced games and animated series. How have you been keeping during this artist isolation period with no clear end in sight for the performer? I just hit 120 days isolation! That's a lot. Overall, though, I feel grateful and enormously fortunate. I had surgery for cancer in my leg in December and was pronounced all-clear before the pandemic hit, so I really feel for the people in the throes of other illnesses or suspended treatments during this time. The first shows I came back to in February 2020 were our Kidoons productions of Rick Miller's BOOM Off-Broadway, and Jungle Book at Young People's Theatre, which both had excellent theatres and audiences, and were well-received (including by yourself – thanks!). What has been most challenging and difficult for you during this time? What have you all been doing to keep yourselves busy? The most challenging thing has been moving my creative effort into new projects, and then finding their development also postponed. We had even cast our next project for rehearsal. I feel like I've gone through the Kübler-Ross "Five Stages Of Grief"... sometimes all in one day! There was the suspension of our Jungle Book run, then the remainder of the season, then the fall season for our 4 touring productions.... now we're looking at a solid year dark. Sometimes 2020 feels like a dream where you're standing on the side of a mountain and seeing a snowball rolling towards you, and it's getting larger and larger, in slow motion. But it's not snow, it's shit. And the mountain is also made of shit. The silver lining is getting to be off the road and back in Montreal with my husband, for the longest stretch in years. As well, all my biological family is in BC, and ironically, I've been seeing them more than ever before, as everyone learned video calling. I also recently upped my training with a terrific GhostLight directing class with Jillian Keiley. I will be creating the design of our third family production Frankenstein as a graphic novel. Most of my work is optimistically forward-looking, but some is deliberate distraction. Yet somehow RuPaul managed to foresee that need for distraction, and give us three overlapping series of Drag Race. Craig, I remember Rick saying one of the hardest things he had to do was to let the actors know from the touring company of ‘The Jungle Book’ that the production tour has been cancelled. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts and theatre scene? That was a bad moment; and we had to do it a second time for a different show, also cancelled. "Decimated" is not too strong a word, as one in ten artists or companies may not come back from this. It's not just us creators and performers who're suspended, but also the designers and technicians and crew who would work on the runs and tours. Further, given that programming happens 16 or months out or more, when our industry reopens, AD's will have to choose whether to run previously suspended shows or create new ones, but either way half the artists who might have expected to be in that season, won't be. Beyond that, how performers perform intimacy may well change; I think we've all had that pandemic experience of watching a TV show where someone is touching someone else's face and you scream at the screen "DON'T TOUCH THAT PERSON! Oh, for the love of God, now DON'T TOUCH YOUR OWN FACE!" We may well see a glut of COVID-isolation pieces and political tragedies, so I think my next script will be something maximalist, fun, and stupid. Meantime, online I'll be pursuing our video collaborations with Not-for-Profit Organizations, to help them tell their stories online. Do you have any words of wisdom to console or to build hope and faith in those performing artists who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? I would say it's a good time to practice self-care that is too often overlooked in the rush of this art form; to reconnect with the people who really matter, and to find your people. I recently looked out an old quote by Armistead Maupin that I love, about chosen family: "Sooner or later, though, no matter where in the world we live, we must join the diaspora, venturing beyond our biological family to find our logical one, the one that actually makes sense for us." Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? I do. The conversations I've been listening to in support of Back Lives Matter, and The Indigenous Circle, and the Queer community, might not previously have the opportunity to bloom, because under normal circumstances someone would go, "We don't have time to think about this, we have to get a show up and open!" Now, everyone has time to think. From better social justice to better backstage hygiene, we may come out of this with some new best practices. YouTube presentations, online streaming seems to be part of a ‘new normal’ at this time for artists to showcase their work. Nevertheless, I’ve spoken with some individuals who believe that online streaming or YouTube presentations destroy the impact of the moment of a group of people who have gathered with anticipation in one sitting to watch a particular production. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? With Kidoons productions, Rick Miller, and Irina Litvinenko, I already create digital shorts that help Not-for-Profit organizations deliver narrative content. That is not theatre, but it's creative storytelling that's very fulfilling to me, and also lets me pursue my visual art. Thanks to the covid-response streaming of theatre, my family in the UK has been able to see our "Jungle Book" and "Twenty Thousand Leagues Under The Sea" productions on Broadway On Demand, and I have also watched pieces that I otherwise wouldn't have been able to access. Of course, the best of these were filmed for cinemas, and so aren't really theatre. Filming in front of a live audience helps, but there's a shared energy in the room that can't be duplicated. Some theatre-makers have possibly been naïve, going "We're going to figure out how performance could work on social media!" as if there weren't an established ecosystem of performers doing that already. But one piece that I have enjoyed is using social to complement the production as outreach and behind-the-scenes process, generating interest in the art of theatre itself. I hope that continues. I have participated in a few readings on Zoom, and as a playwright I hope this will remain as a viable, non-public way to hear text delivered by terrific actors, for accessible work-in-progress performances and feedback. As far as "real live theatre" goes, I am optimistic people that will want to buy tickets and return as soon as possible. What is it about the performing arts that COVID will never destroy? The delight of a performer and audience in a room all suspending their disbelief at the same time, to create a shared reality. With a respectful acknowledgement to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests: 1. What is your favourite word? Kerfuffle 2. What is your least favourite word? deadline 3. What turns you on? A well-turned phrase well delivered. Failing that, Henry Cavill. 4. What turns you off? Using "gifted" as a verb; what did the word "gave" ever do to you? 5. What sound or noise do you love? Wind in leaves. 6. What sound or noise bothers you? The squeak of Styrofoam® packaging makes every hair on my body stand on end. 7. What is your favourite curse word? Fuckface What is your least favourite curse word? Homophobic slurs, anything demeaning because of gender or sexuality. Stick with fuckface. Or maybe asshole, everybody's got one. 8. Other than your current profession now, what other profession would you have liked to attempt? Muppeteer. 9. What profession could you not see yourself doing? Anything involving driving, I let my license expire because I'm really... not great. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Your friends are waiting for you downstairs.” To learn more about Kidoons, visit: www.kidoons.com . Previous Next

Back 'Living with Shakespeare' by Jeremy Smith and Steven Gallagher. Presented by Driftwood Theatre Now onstage at various park locales until August 27. Credit: Dahlia Katz. Pictured: Jeremy Smith Joe Szekeres A fitting and dignified conclusion to Driftwood Theatre’s Bard’s Bus Tour. But I’m going to miss this annual summer tradition tremendously. ‘Living with Shakespeare,’ The Final Bard’s Bus Tour marks the closing annual summer tradition of a thirty-five-year friendship with the Bard and thirty years of touring. For thirty years, Driftwood Theatre Artistic Director Jeremy Smith has worked unceasingly to bring the highest quality of Shakespeare productions, notably and sometimes on a shoestring budget and with great creativity and imagination. There were a couple of exceptions. In 2020, when the world changed due to Covid, Driftwood did not schedule any summer shows. Instead, Jeremy spent that downtime with his two daughters while his wife, Tabitha, worked. The following summer, 2021, he presented the ‘Motorcycle Monologues,’ where Shakespeare still figured but was not the central focus of the production. ‘Living with Shakespeare’ celebrates Driftwood’s place in the Ontario theatrical canon for over a quarter of a century. Driftwood isn’t going anywhere, but audiences have come to a change for the theatre company as we advance into 2023. As Director Steven Gallagher states in his programme note: ‘Living with Shakespeare’ is the culmination of [Jeremy’s] amazing legacy, and with it, [he] reveals the joys and challenges he has faced over these thirty years. It’s a very personal project and Jeremy has poured his heart and soul into it.” And he does so in a graceful, classy, and witty manner. At the top of the show, Jeremy motors onto the stage wearing the same costume he wore when he played ‘Puck’ in Driftwood’s production of ‘A Midsummer Night’s Dream.’ When he removes that clothing, he sports red sneakers, jeans, a white t-shirt with a hand-drawn picture of Yoda (with the words JUST DO underneath) and a short-sleeved checked t-shirt. He looks comfortable and unpretentious as he shares his story with us. Smith’s elementary school education was in the French language, not French immersion. When he started Grade 9 at an English high school in his hometown of Oshawa, his English language skills were probably at a Grade 5 level. A first encounter with ‘The Merchant of Venice’ did not bode well either. At that time, his teacher showed the class how to draw a large circle on the blackboard by standing beside it and extending his arm. The study of the play seemed to be secondary. It was a high school trip to the Ontario Shakespeare Mecca to see a production of ‘Hamlet’ with Stratford actor Colm Feore in the title role when Jeremy finally saw how the words of Shakespeare can genuinely live and flourish in modern times. Smith hilariously mimics Feore's entrance first and then the moment he stops the student matinee performance. Pennies were being thrown on the stage, a hazard for everyone involved. (I wonder where the teachers were, but that’s something else). Thus began Jeremy’s journey with the Bard. He enrolled in the Drama program at Queen’s University. In his third year of undergraduate, he thought of the idea of a touring Shakespeare summer production that would begin in Oshawa. He telephoned his father and told him what he wanted to do. It was another humourous moment when he told his father that he wouldn’t be earning money that summer but would probably spend much of it to get his dream going. Jeremy has a solid and loving relationship with his parents. His father, a chartered accountant, dove into his son’s idea. Jeremy’s mother also became part of the process. His parents have stood by their son and his dream. The basis for the friendship began when Smith was in high school but was solidified during his undergraduate years. The show’s programme contains the names of all those connected with the tour and summer shows for thirty years. Make sure you go through it carefully because it’s enlightening to see the names of many who now grace the stages of regional Canadian theatres and festivals. Smith and Steven Gallagher’s tautly written script becomes a fitting and dignified conclusion to the Bard’s Bus Tour. Gallagher directs the production with tremendous care. As the French say, Jeremy remains 'un raconteur vivant' (a lively storyteller). He shares personal details of his life and how Shakespeare has influenced him. He delivers heartfelt and meaningful monologues from several of Shakespeare’s famous plays. Smith doesn’t just recite them. He understands what he says and conveys the moment's meaning with deliberate refinement and clear purpose. He then connects some of these texts to moments from his personal life. For example, he recounts tenderly his marriage proposal to his wife, Tabitha, who was an actor in one of the summer shows. He proudly tells when his daughters finally saw him perform one summer. Tom Lillington provides lovely musical accompaniment throughout the 80-minute interval-less show. He also periodically becomes a silent comical partner to Smith, and their timing is seamless. Attention has also been paid to detail in Production Designer Carlyn Rahusaar Routledge’s design. In her programme bio, she writes that she has always admired personal storytelling as it is a peek into how someone’s brain works. She captures finely the workings of how Jeremy’s brain works. There is a sense of orderliness amid the piles and piles of books and reference materials around the stage. A comfortable-looking green easy chair (probably in the Smith family for years) sits centre stage atop a large copy of ‘The Complete Works of William Shakespeare’ text that aficionados of the Bard know. The book’s title on the spine is not entirely written, but the connection is obvious. Various props are discreetly hidden among the set pieces. I don’t want to give away any spoilers as to where some of them are, as this also becomes part of the enjoyment of the play. Final Comments: It has been an honour and treat to see many of the Bard’s Bus Tours over the last thirty years. When Jeremy told me he wanted to start a professional Shakespeare summer touring company years ago, I didn’t think it would work. Did he prove me wrong! And I will continue to admit it. Please go and see ‘Living with Shakespeare.’ A memorable evening at the theatre and fittingly performed with dignity. Yet I’m going to miss ‘The Bard’s Bus Tour.’ Running time: approximately 80 minutes with no interval. ‘Living with Shakespeare’ THE FINAL BARD’S BUS TOUR runs until August 27 at various locales throughout Ontario. Check driftwoodtheatre.com for information on where the tour stops. ‘LIVING WITH SHAKESPEARE’ THE FINAL BARD’S BUS TOUR by Jeremy Smith and Steven Gallagher Directed by Steven Gallagher and Featuring Jeremy Smith Dramaturg: Caitie Graham Musical Director: Tom Lillington Production Designer: Carlyn Rahusaar Routledge Lighting Designer: Connor Price-Kelleher Stage Manager: Sandi Becker Previous Next BACK TO TOP

Back Jillian Keiley The Self Isolated Artist John Arano. Joe Szekeres Jillian Keiley was the former Artistic Director of the English Theatre of Ottawa’s National Arts Centre who has led an illustrious career in the theatre. She is an award-winning director from St. John’s, Newfoundland, and founder of Artistic Fraud of Newfoundland. Jillian has directed and taught across Canada and internationally. She assumed her role as the Artistic Director of Ottawa’s National Arts Centre, English Theatre, in 2012, and her productions there have included A Christmas Carol, Twelfth Night, Oil and Water and Alice through the Looking Glass. Thank you, Jillian, for participating in this series as On Stage appreciates you taking the time in your busy schedule: We’re over the four-month mark now with most places entering Stage 3. How have you been faring during this time? How has your immediate family been doing during this time? Through a series of unlikely circumstances, I ended up in Newfoundland, where I’m from, at the very beginning of the pandemic and I haven’t left since. I live on a farm when I am here, and I get to spend time with old friends and my family, so I consider myself really lucky. The first few months were hard on my daughter, but now she is able to spend time with a few friends, so we are ok. Thanks for asking! As a performer, what has been the most difficult and challenging for you professionally and personally? I’m not a performer but as a someone who works very closely with performers I am really worried about my colleagues. We are losing some extremely valuable colleagues right now and it’s such a loss. We are working on making opportunities for audiences to re-engage in live performing arts again in a really serious way – and I hope we have at least a few more COVID Friendly works on the way in the very near future. I recognize how lucky I am to have a contract that keeps me deeply engaged and employed right now. I hope I am using this time to help make things a bit brighter for some other artists. 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? We were loading in for a beautiful production of ‘Copenhagen’ when it all came down around us. I’m sorry about that, it was a challenging, strangely beautiful version of the show, that surprised me in its emotional content. Everything is ready to go if we are ever able to remount it. I hope we can. What have you been doing to keep yourself busy during this time? At work we have been reinventing what we imagine theatre to be. Challenging our internal systems of white supremacy, reading, learning. All of that is deeply personal work, and work on behalf of the institution. Outside of that and the also large job of being a mother, I learned how to make good snowballs (the coconut and cocoa kind) and powerballs (the prune and mixed nut kind) and peanut butter balls (the oats and peanut butter kind) and I learned how to do a herring bone braids and fancy buns for my hair which is good because I can’t find a hairdresser who’ll take a new client. Otherwise I spend a lot of every day trying to do things in the theatre and undo things in the theatre. It’s been a greater labour than I’ve experienced in a long time, probably ever. I’m never bored. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? I’d suggest to them that they go make something. Somehow. And keep making the things. And then when someone has money sometime, they will say, “Hey that young person –they make things! Go ask them!” I find myself a lot of the time, seeking out people who are doing cool things that cost little in materials but were ingenious theatrical acts. Sometimes it is in theatres, sometimes it is posted to the internet. People who have contracts and grants to award eventually do find out who the people are who are doing things in towns and cities and communities. The people who are shining, especially shining despite these hard circumstances are so valuable. When I was younger we had no money to advertise this one show, but I knew someone who had an in at the hospital laundry, and I knew that they had these bags and bags of torn sheets going to the garbage on the regular. So to advertise the show, I got about 20 friend who pulled their shirts down and their pants up and made a giant toga parade using this sewn together band of old hospital sheets with the name of the show painted on it. It certainly brought a lot of attention to the show! I don’t recommend doing anything with hospital sheets these days but… .I’m always personally on the lookout for people who are willing to go the extra mile. Do you see anything positive stemming from Covid 19? I think the wakeup call of Black Lives Matter and addressing white supremacy in the arts is a tidal shift that will never let us return to where we were before. It’s a very positive shift. I hope we can see real change and I hope I am allowed to be some part of that change. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I don’t love it. I believe theatre has ritual around it, and I believe that there is a deeper spiritual aspect to it that disappears online. But I have appreciated the educational opportunities of watching shows online. I have tuned in to shows from theatres I haven’t been to before, and that’s interesting. But I am really, really looking forward to being with people experiencing some art and going through the spiritual, ritualistic aspect of theatre again. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? I love the creativity and resilience of performers. We have performers still doing their things on line, in cars, in drive ins, on roof tops, over the radio, in parking lots, in theatres with unprofitable configurations in the audience, for one person at a time, for pairs, for plants. Storytellers, mythmakers, meaning and metaphor purveyors- are simply amazing. You just can’t keep them down. 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? Yes (and here’s how) 2. What is your least favourite word? No (and here’s why) 3. What turns you on? Good puppetry. 4. What turns you off? Men who talk over women who are already talking. 5. What sound or noise do you love? My kid laughing. 6. What sound or noise bothers you? Harleys with holes in the muffler. 7. What is your favourite curse word? Gentle Jesus What is your least favourite curse word? Bullshit 8. Other than your own, what other career profession could you see yourself doing? I would like to go into palliative care, or Funeral planning. I’m a fairly upbeat person, but I feel like the dying aspect of living is not done well in our society and I think I could help. I used to do something like it years ago, and I felt useful. 9. What career choice could you not see yourself doing? A Butcher 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You used up 98% of it, girl! That’s pretty good!” Previous Next

Back Lisa Horner Moving Forward ... Joe Szekeres Lisa Horner’s professional life as a performing artist is quite extensive when I had the chance to peruse her resume. Along with her famous IKEA The Winter Sale commercial of “Start the car, start the car, start the car.”, I also had the opportunity to see Lisa perform the role of Beulah in the Toronto company of ‘Come from Away’. Lisa’s onstage appearances don’t stop here. I also saw her as Miss Gulch/The Wicked Witch in ‘The Wizard of Oz’ at the Elgin several years ago and in ‘Guys and Dolls’ at The Stratford Festival. Lisa has also appeared on CBC’s ‘Little Mosque on the Prairie’ and has worked at the Shaw Festival, Gryphon, Neptune and Grand Theatre (London, Ontario), and at Drayton Entertainment over the years. We conducted our interview via email. Thank you so much for the conversation, Lisa: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears we are slowly emerging to some new way of living. How have you been faring? How has your immediate family been doing during this time? I don’t know how to describe it really. At first, I took the opportunity to really slow down and check in with myself and my life. My husband is an actor as well, so we took the time, we cleaned and cooked, it was a novelty and relaxing. Honestly, I thought we would be back to work by the fall, which seems crazy now. My family is doing well, I have a family member who is quite compromised because he is diabetic so that’s nervous making. My nephews are heading back to school this week and I am thinking a lot about them right now too. As it goes on, I have good days and bad days. I’ve decided to just let whatever day it’s going to be and I don’t put pressure on myself. The bad days are good reminders of my privilege, I am so lucky. It helps me when I remember that. As a performer, what has been the most difficult and challenging for you professionally and personally? I think the biggest challenge was always to balance personal and professional life. Being an actor is an all encompassing 24/7 job and a passion. I’m sure any actor will say they’ve missed weddings, funerals, anniversaries, etc. Ironically, that is not the case now. it’s a different set of huge challenges we all face. 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 playing Beulah in ‘Come from Away’ for Mirvish Productions, so in fact we had been going for two years. I have (had) the best job in the world. The producers have been very reassuring that the story will have a life after our industry comes back. I believe them. I hope it won’t be a long time, but I suspect we have a ways to go. What have you been doing to keep yourself busy during this time? I made the decision to go back to school when it became clear what state our country and the world is in. I kept reading about the situation in the Long-Term Care Homes, the isolation people were facing and the danger that the staff were under and how short staffed they were. I couldn’t sit still; I was starting to feel helpless and depressed…so I am working on my Personal Support Worker accreditation. Exam in January! And again, my privilege of having a good job (which gave me good credit!) meant I could do that. I’ve been thinking about doing it for a few years now. It feels like we are in a war and I wanted to get on the lines, I couldn’t watch anymore. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? I am a teacher as well and I said to some of my students, “This is an intermission. A long one.” I don’t envy young actors trying to keep their mental health intact with all of this. A lot of promise, excitement and then this. But nothing, nothing ever takes away from what you are. We are artists. We are suffering as an industry, but we know what we are worth and what our purpose is in the global community, we’ll get through. Invest in yourself, be kind to yourself and be kind to others. Do you see anything positive stemming from Covid 19? Yes, I do actually. The pressure was clearly building and most of the world woke up to the injustices our BIPOC brothers and sisters have been facing. We should have seen it many, many years ago but here we are. Our theatre community is going through huge changes and I am very grateful to be here for that and help anyway I can. We have the time to gain clarity (if we want it) about how we got to this place. Social media is a lot of things, but personally I am grateful for the education and information that the internet can provide (good and bad). It is a powerful thing that internet. Critical thinking is a very necessary tool these days. Do you think Covid 19 will have some lasting impact on the Canadian/North American performing arts scene? Oh, I’m sure. I don’t know what it is yet. But if we don’t let ourselves be affected and grow how can we be better? Certainly, the BLM movement is going to be a huge force of change in our community. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I think that actors can put a box on a sidewalk and make magic. I am loving the ingenuity and imagination that is going into live online entertainment. There is such a technical aspect of it that eludes me and makes me frustrated sometimes. We have an expression in our house which is ‘don’t smash it Lisa’…we certainly can’t afford new computers, so I try to stay out of the entertaining and just be the entertained for now. I’m not sure what may come out of all of this, but it certainly is lovely to reach people with live performances who would never have watched before. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Nothing in this world will ever destroy performing for me. Covid has made me fearful and sad that we aren’t doing as well as we could as a global community. We haven’t taken care of each other and our planet as well as we could have. But in terms of my art and what I do, that is my mental health and my church (for lack of a better description). I am on an intermission, but I’ll see you back in the theatre when everyone takes their seats. Previous Next