Back Louise Pitre Self Isolated Artist Helen Tansey Joe Szekeres What’s not to love about Louise? She is a University of Western Ontario graduate just like me. (Go Stangs!) Even before she appeared in the iconic Toronto and Montreal productions of ‘Les Miserables’, I saw Louise first perform as Mrs. Johnstone at Toronto’s High Park in Willy Russell’s ‘Blood Brothers’. If you know the ending after the bodies of the brothers are lying on stage, and their mother stands between them, I remember wiping tears from my eyes watching and listening to a mother’s sorrowful lament over the deaths of her boys. That final song pierced the heart of everyone who sat around me on that warm summer night. What a glorious way to be introduced to one of Canada’s finest singers. And then to see Louise just this past fall in ‘Piaf/Dietrich’ as part of the Mirvish series. Absolutely heaven once again to see one of Canada’s finest chanteuses grace the stage and offer one hell of a performance as the legendary tortured soul, Edith Piaf. Louise was also nominated for a Tony award for her work in the Broadway production of ‘Mamma Mia!’ She is the recipient of the National Broadway Touring Award, a New York Theatre World Award, a San Francisco Theatre Critics’ Award, a Betty Mitchell Award and four Dora Mavor Moore awards, all for best performance by a leading actress in a musical. We conducted our interview via email: 1. How have you and your family been keeping during this two-month isolation? My husband and I are doing fine actually. We are feeling lucky to live where we live and to be able to be together, at home, with our dog. And we are deeply grateful to be good at spending a lot of time together. 2. What has been most challenging and difficult for you during this time personally? What have you been doing to keep yourself busy? The most difficult thing about all this is the lack of in-person visits with friends. We see a couple of friends once in a while in their backyards where we can maintain a good distance and still talk. I miss my dinners out with girlfriends!!!!! We miss our gym!!!!!!!!! As for keeping busy we are doing our workouts in our small condo with elastic bands and lots of floor exercises. We walk the dog 3 times a day. We try to add a powerwalk without the dog because we feel the cardio part of our workouts has gone out the window!!!!! And most of all, I am cooking up a storm. I cook a lot all the time but now I can devote more time to it and I admit I love that. 3. Were you involved in any professional projects when the pandemic was declared, and everything was shut down? How far were you into those projects? Will they come to fruition some time soon? Professionally, has Covid changed your life regarding all the work you have completed or may have had planned? Joe and I were in the middle of the run of our show THE TIMES THEY ARE A’CHANGIN’ at the Segal Centre in Montreal. Can you think of a better title for this situation????? We thought so! We got a call from Lisa Rubin, the AD, on Thursday afternoon (March 12) that there would be no more performances. We went in to get our stuff from our dressing rooms and packed everything in our rental apartment to drive back to Toronto. A surreal feeling to say the least. There was another production in final preparation to happen this summer but obviously that is gone, and I have no idea when it can happen now. I have some concerts booked in early 2021 but, as they are outside the country, I cannot assume that these will happen either. So basically, my work life has come to a grinding halt with no concrete end in sight. 4. Some actors whom I’ve interviewed have stated they can’t see anyon'e venturing back into a theatre or studio for a least 1 ½ to 2 years. Do you foresee this possible reality to be factual? I’m afraid I do. It will be prohibitive to put on most productions with only a portion of the seats sold in order to maintain safe distancing for the audience members. There is also the very challenging aspect of the backstage area. How can you keep a safe distance from dressers and crew members running the show…….not to mention keeping safe distance between performers on the stage. I am bracing for 1 1/2 years but at this point we should not even try to put a date on this. 5. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact, either positive or negative, on the Canadian performing arts scene? This strange time highlights the need for the arts. People are turning to music, theatre, dance, movies, television, documentaries, cooking, painting etc…….because they all realize it makes their life fuller. It feeds the heart and the soul. It brings solace. The arts always do this valuable work, not only in times of trouble and war. But that is when it is more evident. Can you imagine how everyone would be spending this incredible amount of time in isolation if none of the arts was there to be consumed?? Then why is it that in “normal” times budget cuts hit the arts so cavalierly????? I am hoping that the public at large will come out of this with a new appreciation for the arts and the people who create it. 6. Do you have any words of wisdom 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? Oh boy…….right now I find it very difficult to feel hope and faith in the world in general. I am struggling to believe that most people are good and fair and tolerant as my usual positive attitude has been shaken to the core this last while…and I am not talking about COVID 19…. I would say though to the recent graduates that although this is an insanely difficult time to start in this business it is actually an intense preparation for a performer’s life: it is feast or famine so often in this business; there is no guarantee of work; you make a great salary on one job and a shitty one on the next, etc…… This time can make you aware that you must keep working on your craft all the time because you want to be better and better and better and most of all ready when you are called upon. It makes you keenly aware that putting money aside is extremely important so you can afford to be out of work. This is the time to dive into learning all those songs you have been wanting to learn and memorize for auditions, reading all those plays and musicals you are not familiar with, watching all those on-line movies/musicals/plays to see those accomplished actors/singers/dancers at work and LEARN FROM THEM. I think this strange thing we are all living is making us all take a good look at our lives and what we want it to be. DO THAT. Think and visualize your wants and wishes. Make a plan for how you are going to get there. Look at what would have been done in theatres this coming season and pick the part you would like to play and learn it. And then believe that when things get back to normal you will be all ready to go to walk in and audition for that part and get it. 7. I’ve spoken with some individuals who believe that online streaming and YouTube 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 truly hope this is not the new normal but hey, it’s better than nothing……just like ZOOM is not as good as being face to face in person but you at least get to see each other and talk. I don’t think we can compare the experience of watching from your home on your laptop and sitting in a theatre with hundreds of breathing humans sitting next to each other. I will assume (call me crazy) that online streaming will not be the way of the future for theatre but rather the reason for a heightened, renewed appreciation of sitting in a theatre to see something LIVE!!!! 8. What is it about the performing arts that still energizes you even through this tumultuous and confusing time? Remembering the feeling of sitting in a theatre - that moment - the best moment of all - when the lights start to dim and you think “I have no idea what I am about to see, hear, feel” and then the show starts……..I convince myself that I will feel that again and that I will be on the stage again reminding myself that people sitting in the audience are feeling that very same sense of anticipation I feel when I am in a seat and not on stage. The concrete thing that is energizing me is a project I am working on with Joe and our friend Diane. We have had an idea for a musical for a couple of years. I work well under pressure. I like deadlines. I have neither so we have promised ourselves that we will have something to show for all this down time. It is difficult to feel highly motivated to work I will admit. It is constantly shocking to me how the days fly by……how is it 4pm already??? Where does the time go? How did I do everything I did before???? And with so little to do how the hell is it that I am finding it difficult to sit down and work/write/think?? It is the challenge of this bizarre time so to help that we are managing weekly work sessions in person in a big space (thanks to Diane) and that is making all the difference. For a couple of hours, it feels almost like regular life and we all agree that it does re-charge the creative brain. 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? Abandon 2. What is your least favourite word? Intolerance 3. What turns you on? Fantastic food/wine 4. What turns you off? Apathy 5. What sound or noise do you love? My dog’s tiny barks when he is dreaming 6. What sound or noise bothers you? Angry screaming 7. What is your favourite curse word? Fuck (Oh for fuck’s sake!!!!!) 8. Other than your current profession now, what other profession would you have liked to attempt? Chef (or dog trainer) 9. What profession could you not see yourself doing? Gynecologist 10.If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Tasting Menu with your husband through Door 1, and when you are done the orchestra is waiting through Door 2 with the chart of THE MAN THAT GOT AWAY.” To learn more about Louise, visit her website www.louisepitre.com . Previous Next

Back Orphans for the Czar by George F. Walker Now playing at Toronto's Crow's Theatre Now playing at Toronto's Crow's Theatre Dave Rabjohn This sterling cast combines years of experience and new talent It was a full and excited audience that took in the opening night of the world premiere of George F. Walker’s newest work ‘Orphans for the Czar’ at Crow’s Theatre in Toronto. A prolific playwright for decades in Canada, Mr. Walker chose Maxim Gorky’s ‘The Life of a Useless Man’ to suggest this play centering on the evils of class warfare, duplicity, and hypocrisy. Mr. Walker’s talent for mashing the horrific with the comic elevates this story about 1905 Russia and the seeds of revolution. The strength of this production comes certainly from the writing and from a sterling cast of actors that combines years of experience and new talent. Vasley is an orphaned fool who moves to the city to work in his father’s bookstore. Exceptionally performed by veteran Paolo Santalucia, he is furtive in his movements and indecisive at many turns. He grows impressed with the many shades of both the revolutionaries and czarists to the extent that he becomes a double agent which suggests no future. Eric Peterson, an audience favourite in any venue, plays the crude and foul-mouthed father with comic fervor. Other revolutionaries are Yakov (Christopher Allen) and Maya (Shauna Thompson) whose strong characters are more decisive. Vasley is foolishly playing both sides as he interacts with czarist henchmen such as the well-dressed professional Makarov (Patrick McManus) and his dim wit side kick Sasha played with comic abandon by Kyle Gatehouse. The cast is rounded out by the tragic blind girl, Rayisha, played with subtle strength by young newcomer Shayla Brown and the refined book enthusiast Olga, played with elegance by Michelle Mohammed. These two characters define the interaction between classes that fascinates Vasley and drives the plot. Lorenzo Savoini’s set design is a rustic wood planked stage with a high wall suggesting interiors. A lengthy staircase centres the set and is often the centre of the story as characters, at various times, ascend or descend with difficulty and confusion, reflecting the moods and struggles of the characters. Books are the other clear motif on the set. Mr. Walker cleverly weaves the story around the notion of books as instruments of learning, opportunity and hopeful achievement. The books are slept under, used as mini-stools, and thrown about symbolizing the chaos of events. Ming Wong’s costumes clearly, but subtly define the distinct classes. One highlight is Vasley’s long bedraggled coat thread worn to his ankles – it might once have been stylish but years of poverty have taken a toll. Thomas Ryder Payne’s sound design particularly enhanced the horrors of war with bombs and rifle fire. At times it was difficult to hear Miss Brown’s voice, but to her credit, much of the stage left dialogue for some reason was difficult to hear. Veteran director Tanja Jacobs lived up to the challenge of directing a very forceful play and orchestrating a large cast of limitless talent. In a conversation she has with Mr. Walker, they discuss the idea of blending the horrific with the comic. The director suggests that it comes partly from “the resilience of human beings and their capacity for wit.” Mr. Walker’s wit and an extraordinary cast combine for a powerful story and exceptional production. ‘Orphans for the Czar’ by George F. Walker Produced by Crow’s Theatre – Toronto Players – Christopher Allen, Shayla Brown, Kyle Gatehouse, Patrick McManus, Michelle Mohammed, Eric Peterson, Paolo Santalucia, Shauna Thompson Director – Tanja Jacobs Set Design – Lorenzo Savoini Costume Design – Ming Wong Sound Design – Thomas Ryder Payne Production runs through April 17, 2022. Tickets – crowstheatre.com 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 Andre Sills Looking Ahead David Cooper Joe Szekeres It was a couple of months before the pandemic hit where I first saw André Sills’ work in what I felt was a daring production of Shakespeare’s ‘Julius Caesar’ at Toronto’s Crow’s Theatre in 2020. I wanted to learn more about his work and was grateful when André participated in a profile series I was compiling at that time on how Equity artists were faring. You can read his profile here: https://bit.ly/3GTG7Dp. During a recent Zoom conversation, I asked him what he would like to say to the Covid/Omicron variant as we approach Year 3 of the pandemic: “Oh, God, I think we’ve had enough. I think we’ve all been traumatized enough. The big ol’ dream of trying to get back to normal? I’m just done with it.” Hopefully, according to the recent news reports, it looks as if the provincial government is done especially with premier Doug Ford reiterating what Sills said. Covid has not destroyed what Andre loves about the live performing arts. Although family time was very important to him as he helped his kids during homeschooling, Sills is glad they are back in school because kids being in person to learn makes all the difference. For Sills, the same thing exists for theatre. Audiences need to be in the seats and seeing the actors on stage with the artists feeling the audience there. It’s part of the experience. A resident artist of ARC (Actors Repertory Company), André is currently in rehearsals as Director with his cast preparing for a March 1 Canadian premiere opening of Branden Jacobs-Jenkins’s ‘Gloria’, an ARC production in association with Toronto’s Crow’s Theatre. Sills has always wanted to direct and had an interest in it for years, but the ‘actor-beast’ in him is always first. For Andre to direct a play, there would have to be something that inspires him so much that doesn’t have something for him in it. That play would have to give him the drive and challenge as if he was in it because that’s the type of theatre he likes to do. Plays that cost something of the actors and something to investigate within themselves is that challenge Sills craves. Sills then backtracks a bit to speak about ‘An Octaroon’ a play written by Jacobs-Jenkins at Shaw Festival. Feeling that experience to be on the inside of ‘An Octaroon’ was of prime importance and then trying to get a hold of the playwrights’ plays wasn’t an easy task. He finally got a copy of ‘Gloria’ but hadn’t read it until ARC was putting together a list of plays to produce. When he finally picked ‘Gloria’ up to read it, Andre felt there wasn’t necessarily anything for him in it, but he could direct it. He pitched it to ARC where everybody read it and loved it. Andre believes ‘Gloria’ is a good fit for ARC because it’s an ensemble piece that requires a strong cast to help tell the story together. The ARC website describes the plot of ‘Gloria’: An ambitious group of editorial assistants at a notorious Manhattan magazine office vie for a starry life of feature articles and book deals, all while the internet is completely upending their industry. When an ordinary humdrum workday becomes anything but, these aspiring journalists recognize an opportunity to seize a career-defining moment. Sills is fine with this play description, but he’s extremely careful about spoiling the plot for all audiences. ‘Gloria’ has been labelled as a satire. It’s the writing, the ‘echoes’, the questions, and the wit that drew Sills to this play and Jacobs-Jenkins’s dialogue is amazing especially from a recall of ‘An Octaroon’. Sills feels that we’re all living in a kind of satire right now. For him he compares ‘Gloria’ to putting up a mirror for ourselves and seeing ourselves through that mirror. Since we all want to get back to theatre, the one thing Andre is encountering right now is a lot of fear in how we take on theatre. He explains how we might be afraid of our audience and of offending them through Shakespeare and up to modern day stories. At the same time, the world isn’t afraid to offend us. So, putting the mirror up is showing ourselves on stage. There’s a line from ‘Gloria’ Sills remembers: “People don’t read magazines for the truth.” Hearing this from a playwright, Sills also hears that people don’t attend the theatre for the truth. It’s time to get back to the truth and stop beating around the bush so much. Jacobs-Jenkins isn’t writing anything to be grotesque in ‘Gloria’ or any of his plays. He has an intent. By working on ‘An Octaroon’ at Shaw and helping with ‘Everybody’ (by Jacobs-Jenkins) at Montréal’s National Theatre School, and then with the satire of ‘Gloria’, the intent has stayed the same in all three plays. There should be no fear in showing the world as it really is while challenging us to be better. I’ll list the cast at the end of this profile, but André continues to tell the artists to continue being bold and brave, and anything that the characters do that the artists might be afraid of, the acting partner needs it for their part to continue. André continues to tell the actors to trust the play as opposed to us judging it. For the journey of ‘Gloria’, the actors have to step into it and do it for their acting partner in order to see where the journey ends. Did the cast have to undergo any preparation before rehearsals began? Andre spoke about something he believes in when he prepares for a role himself. He calls it the building of a foundation. He added that ARC likes to have an ‘open room’ meaning it is a workshop week in November where there is a read through of the play where community collaborators and design team come in regarding themes of whatever the play is about. With reference to ‘Gloria’, a woman from Macleans and Chatelaine came in to explain and share what office life is like, and how people either take care of each other or they don’t within the office. Having this particular reference of what the office climate life was like was valuable to the cast. What’s next for André Sills once ‘Gloria’ is done? I’m hoping there is a Season 2 of ‘Private Idiots’ and was imploring there to be one. If you haven’t seen it, do a You Tube selection. For now ‘Private Idiots’ is on hold, but the aim is to find a way to take these two cops a step further by getting them out of their cars. After ‘Gloria’ opens, André heads to Stratford to step into rehearsals for ‘Richard III’ and ‘All’s Well that Ends Well’ this summer at the Festival where he looks forward to continuing telling the truth on stage. DETAILS: ‘Gloria’ an ARC production in association with Crow’s Theatre runs March 1 – 20 in the Guloien Theatre, 345 Carlaw Avenue, Toronto. For further information and to purchase tickets online, visit www.crowstheatre.com . The Cast: Deborah Drakeford, Carlos Gonzalez-Vio, Jonelle Gunderson, Savion Roach, athena kaitlin trinh, Nabil Traboulsi. Previous Next

Back Slava Polunin "[Slava's Snowshow], just like all the others, is my favourite child. It’s been bringing me joy over these 30 years and I just love going on tour with it each and every time.” Credit: Anna Bogodist (Carol Fox and Associates Public Relations) Pictured: Slava Polunin in performance Joe Szekeres ‘Slava’s Snowshow’ returns to Toronto for the Christmas/holiday season from December 22-31, 2023. I was elated when I heard the show was returning. It has already been to China, France, Italy, and the Arab Emirates this season and, from what I have read and heard, it will continue to have a busy touring schedule in different parts of the world in 2024. According to a recent press release I received, the show is the recipient of more than 20 international awards including an Olivier Award for Best Entertainment, a Drama Desk Award, and a Tony nomination. In addition to widespread public acclaim, the production is a darling with critics who have declared it “a thing of rare theatrical beauty not to be missed” (London Daily Telegraph), “a meditation on lost souls and a red-nose spectacle with heart” (Toronto Globe and Mail), “one of the most innocent and simply beautiful pieces of theatre” (Herald Sun) and "Dazzling! Guaranteed to make even the glum thaw with happiness" (The Observer) with the New York Times confessing, “my heart leapt... [‘Snowshow’] induces waves of giggles and sighs of pleasure” and the Daily Telegraph advising, “if there’s only one show you get to this year, make it ‘Slava’s Snowshow’ and take the whole family. I concur with everything in the previous paragraph. I saw the show at Toronto’s Bluma Appel Theatre in December 2018, a couple of years before our world changed on account of COVID-19. I remember calling it at first a puzzling theatrical art form, but strangely alluring to watch as I couldn’t take my eyes off the performers. Their movements are precisely choreographed and timed to the music or the sounds echoing throughout the auditorium. Most importantly, from what I remember, the Toronto audience loved it at the performance I saw. And that's the most important thing. I researched online later about the art of clowning incorporated into the production. Clowning is an art form that requires stamina, endurance, and concentration in its execution of theatrical magic. I’m sure I’m missing other requirements. Artist Slava Polunin was available for an email interview about the show's return to Toronto. I am most grateful he could answer my questions about the show. A bit of background information about the artist himself intrigued me even further. According to that same press release, Polunin discovered the art of pantomime in high school. As he grew to adulthood, he developed an eccentric version of pantomime and dubbed it lovingly ‘Expressive Idiotism’. I can’t help but smile and laugh at that term. Polunin has also been involved with Canada’s Cirque du Soleil as a featured performer from 1993-1995. He has been involved with ‘Slava’s Snowshow’ since 1993. What about the production keeps drawing him back to tour with it? I smiled when I read Slava’s response: “This show, just like all the others, is my favourite child. It’s been bringing me joy over these 30 years and I just love going on tour with it each and every time.” He added the show is strong, in very good health and resistant to viruses. It never had COVID-19 and will arrive in Toronto in perfect shape. What is it about the art of clowning that still appeals to a twenty-first-century audience? According to Polunin, the art of clowning is an ancient form. The forebearers of modern clowns, such as various satyrs, jesters, jugglers, and histrionics, skomorokhi and Pagliacci, have performed in front of the public since time immemorial. The art of clowning is democratic for Slava. It’s not very difficult to understand and most often provokes laughter and brings a good mood. People have always loved clowning and continue to love it. I remember the absolute joy of watching the production in 2018. There’s a windstorm and a snowstorm during the performance that filters towards the audience. It will take you by surprise when it occurs. And when it does…just sit back and let it take you wherever it wants to take you. Yes, the art form of clowning is a unique theatrical form, but it’s fascinating to experience. It truly made me smile and laugh and just be a young child again. Slava reassures the main line of the show remains unchanged. There are surprises born out of improvisations at each show. However, in Slava’s words once again: “I don’t know what patterns the actors will begin to embroider around the show because that differs with every performance. Improvisation is key in the show and will depend on the particular actors involved at that matinée or evening. ‘Slava’s Snowshow” has never had two identical performances.” I am really looking forward to seeing it. I’m thinking I might even go twice. Show One Productions presents ‘Slava’s Snowshow’ at Toronto’s Elgin Theatre, 189 Yonge Street. Performance dates and times: · Friday, Dec. 22 | 7 p.m. · Saturday, Dec. 23 I 2 pm. · Saturday, Dec. 23 I 7 pm. · Sunday, Dec. 24 I 1 pm. · Tuesday, Dec. 26 I 7 pm · Thursday, Dec. 28 I 7 pm. · Friday, Dec. 29 I 7 pm. · Saturday, Dec. 30 I 2 pm. · Saturday, Dec. 30 I 7 pm. · Sunday, Dec. 31 I 1 pm. To learn more about Show One Productions, visit www.showoneproductions.ca . To learn more about ‘Slava’s Snowshow’, visit www.slavasnowshow.com . To purchase tickets, please call 1-416-366-7723 or go to TOLive. Previous Next

Back [title of show] Book by Hunter Bell and Music & Lyrics by Jeff Bowen Produced by Whitby Courthouse Theatre and now on stage at the Whitby Centennial Building 416 Centre Street South Credit: Sam Moffatt L-R: Benjamin Conroy, Carly Richard, Nicole Strawbridge, Barrett G. Moore Joe Szekeres “Hey, Whitby Courthouse Theatre. You’ve a jim dandy summer show going on.” [title of show], a unique identification label, was selected as a production by the Musical Theatre Festival and premiered there in September 2004 in New York City. In 2006, it ran off-Broadway at the Vineyard Theatre and finally made it to Broadway in 2008 for 102 regular performances. The story is a one-act musical written by two ordinary guys, Jeff Bowen and Hunter Bell, who want something more from their artistic lives. The musical centres on two guys named Jeff and Hunter who are writing a musical called [title of show]. Rather than getting bogged down by a title at this early stage of composition, [title of show] indicates the writers and composers will return to it later. Throughout the musical, the characters of Jeff and Hunter (originally played by Bowen and Bell) acknowledge they are appearing in the finished show that they have not yet written. Along with two actress friends, Heidi and Susan, [title of show] follows the struggles and triumphs of these two ordinary guys as they do their best within three weeks to bring the show first to the Musical Theatre Festival with the ultimate goal of transferring it to Broadway. In this opening night Whitby Courthouse Theatre summer production, Barrett G. Moore (who also appears as Jeff) directs with a creative purpose and good vision. The production also features Benjamin Conroy as Hunter, Nicole Strawbridge as Heidi, and Carly Richard as Susan. The pianist Larry (played by Colin Frotten) is situated upstage behind the keyboard and says very little during the show. He becomes that keen observer, an unseen friend we all need when life can sometimes be challenging. What’s unique about Frotten? He brings his adorable dog to the stage and keeps him company while the show’s going on. The dog even takes a curtain call bow. (Sam Moffatt will play the keyboard at the August 16 performance.) Moore has been kept rather busy during the rehearsal. He’s also listed in the programme as Set and Technical Designer. In his Director’s Note, he writes that the show has been challenging, enriching, and inspiring, as it’s about the journey of creation and bringing it to fruition through all kinds of testing. But what a solid challenge he has set for himself. I’d like to see more of Moore’s work in the future, whether as a director or actor, as he has potential and an eye for live performance. The set amply fills the intimate playing space of the Whitby Courthouse Theatre stage—four chairs (three rolling, one easily pulled, and a keyboard). There are three doors: stage right, stage left, and just off-centre. The pianist’s keyboard is located upstage right. From where I sat in the house, there was something far stage right that I couldn’t distinguish. I discovered later it’s an answering machine. The characters will leave messages on it, usually for Jeff or Hunter. This Whitby Courthouse Theatre production is very New York and adult-oriented in its dialogue and humour. There are many cultural references to the Big Apple, and Moore ensures that the connection is never lost. I smiled because I recognized many of these references. The actors appeared to know who or what they were, so they’d done their homework. During the pre-show, as the audience enters, various theatre show tunes blare from the speakers as the audience takes their place in their seats. I understand why the songs are blaring. It’s Manhattan and the creative team wants us to know this is New York. It’s a good choice; however, the volume could be adjusted as it’s extremely loud, almost bordering on deafening. Let’s not forget that audience members like to talk to each other or read that terrific-looking programme while waiting for the show to start. Try not to make it uncomfortable even before the evening begins. While a few sound issues and shadowy lighting glitches exist, these can be remedied for the next performance. I’m willing to overlook these quibbles. Why? Music Director Sophia Daunt has adroitly captured some solid vocal numbers and pleasing-sounding harmonies in Jeff Bowen’s often clever and witty lyrics. I closed my eyes for a couple of moments because I wanted to listen intently to the harmonies this committed foursome sang. Barrett G. Moore shows promise as a stage director. He keeps the pace moving, and it never appears rushed. He creates four likeable and realistic New York characters. He had some interesting stage business during the pre-show that I particularly liked. The four actors are engaged in hushed stage conversations that appear natural. As one of them is engaged in speaking, the other listens attentively and responds in kind. The other actors create uniquely distinct characters. Moore is level-headed Jeff. Benjamin Conroy’s performance as ‘wanna-be famous’ gay friend, dreamer and collaborator Hunter is sometimes over-the-top. Still, Benjamin makes his performance work as Hunter because the other three recognize and respectfully accept that ‘he is who he is’ (with apologies to Stratford’s current production of LA CAGE AUX FOLLES and my pal, Steve Ross, who plays Albin and sings the closing Act One number “I Am What I Am.’) By the end of the show, Conroy’s Hunter also becomes a friend. Carly Richard’s Susan is the only one with a stable day job so that she can do her artistic work at night. Nicole Strawbridge’s Heidi is the only one who appears to have ‘made it’ on Broadway (albeit as an understudy/swing/ensemble). Richard and Strawbridge offer lovely work as juxtapositions to the guys. Strawbridge’s Heidi is level-headed like Jeff, while Richard’s Susan is the dreamer like Hunter. At one point, about halfway through the show, Moore has Heidi move towards Jeff, and Susan moves towards Hunter. That’s a compelling picture moment because that’s the dream all wanna-be artistic people want – to work with other like-minded individuals and be happy in what they are doing. A Final Thought: Creating art is never easy, whether it’s done professionally, non-professionally, or community theatre-based. Art needs to be seen nevertheless by an audience. It makes the efforts of everyone involved worthwhile. [title of show] needs to be seen. If this is the quality to be expected from Whitby Courthouse Theatre’s summer shows, I hope to see more in the future. Running time: approximately 90 minutes with no interval/intermission. [title of show] runs to August 23 at the Whitby Centennial Building, 416 Centre Street South, Whitby. For tickets: whitbytheatre.ca or call (905) 668-8111. WHITBY COURTHOUSE THEATRE presents [title of show] an original broadway musical Book by Hunter Bell. Music & Lyrics by Jeff Bowen Produced by Amanda Walchuk Directed by Barrett G. Moore Music Director: Sophia Daunt Set and Technical Designer: Barrett G. Moore Properties Lead: Shannon Widdis Sound Design and Operator: Sophia Daunt Lighting and Sound Effects Operator: Mack Gillies Stage Manager/Projection Design: Mack Gillies Performers: Barrett G. Moore, Benjamin Conroy, Nicole Strawbridge, Carly Richard, Colin Frotten, Sam Moffatt (August 16) Previous Next

Back The Shaw Festival 'The Secret Garden - A Play With Songs' Now on stage at the Royal George Theatre, 85 Queen Street, Niagara on the Lake, Ontario Michael Cooper Geoffrey Coulter, actor, director, adjudicator, arts educator "Shaw’s “The Secret Garden” reveals its beauty, charm and whimsy but is genre conflicted." What happens when you take a 112-year-old classic children’s novel, mix in a few dusty old British folk tunes, add some clever puppetry and several inspired performances? You get a delightful world premiere adaptation of a family-friendly show that bogs itself down with songs, providing little support to its narrative of optimism, transformation, relationships and rebirth. Frances Hodgson Burnett was a prolific British-American novelist and playwright whose career flourished throughout the Victorian and Edwardian periods. She’s best known for her three children’s novels, “Little Lord Fauntleroy”, “A Little Princess” and “The Secret Garden”. The latter proved a huge success and saw numerous adaptations; multiple film versions in 1919 and 1949 and a third 1993 film starring Maggie Smith as the housekeeper, Mrs. Medlock. The best-known stage version is the Tony-Award winning Broadway musical written by Marsha Norman and Lucy Simon (Carly’s sister). This is where the genre conflict comes in. This current world-premiere production doesn’t really have a “score”. No themes and power ballads so it’s not really a musical, yet there is too much music to call it a play. Thus, director Jay Turvey and musical director Paul Sportelli dub their dubious hybrid a “play with songs”. More on that in a moment. The Secret Garden tells the story of Mary Lennox (Gabriella Sundar Singh), a spoiled young English girl being raised in India at the turn of the twentieth century. After the death of her parents, she is sent to live with her haughty and dismissive uncle Archie (David Alan Anderson) at his estate in the Yorkshire moors. Mary is disagreeable and used to being waited on. Her maid Martha (Jacqueline Thair) even needs to show her how to dress herself. Housekeeper Mrs. Medlock (Sharry Flett) is cold and unsympathetic with secrets to hide. Mary is mostly ignored and left to wander outside in the gardens, where she meets groundskeeper Ben Weatherstaff (David Adams). The manor is full of secrets as Mary soon discovers she has a cousin in Colin (Gryphyn Karimloo) and friend in Dickon (Drew Plummer). Mary hears rumours of a mysterious garden locked up for over a decade after the death of her uncle’s wife. Together with her two friends, she sets out to discover the secrets of the manor and bring the garden back to life. Director Jay Turvey’s creative direction and clever staging is wondrous. The Royal George is a small theatre but by having actors walk through an ornate door frame rolled about the stage by the ensemble, we are given a sense of moving through vast spaces and locations - from a train station to the Yorkshire moors, to Misselthwaite Manor and its many bedrooms, studies, and hallways. This is stagecraft of the most illusory kind, and it works beautifully. The same can be said for the various birds and land animals that appear as puppets controlled by the ensemble. In this adaptation, the adult characters are almost incidental. The focus is most certainly on the children, boldly played by young adult actors. I wasn’t sure about this choice at first, but their fine committed performances and diminutive stature of some had me sold on their juvenile portrayals. In his program notes, Turvey confesses, “I love the children in ‘The Secret Garden.’They are imperfect: headstrong, scared, sneaky, adventuresome and full of longing. They learn to parent each other where death hovers over their heads.” His focus on this trio is evident and their chemistry is palpable. I wonder why, with such a clear vision of connecting the audience with the modern relevance of so many of the play’s themes – mental health, resilience, preservation of ecology for future generations – that he chose to collaborate with Sportelli to add obscure traditional British folk tunes to an already provocative script? Whither Must I Wander, I Sowed the Seeds of Love, Sumer is Icumen In, Little Robin Redbreast - Does anyone today know these tunes? Turvey claims they “echo an appreciation of the natural world that runs through the story”. Unfortunately, there’s no echo. There’s nothing. The songs in Act 1 in no way enhance the story. In Act 2 they are so vague and esoteric, with lyrics incomprehensibly sung in the Yorkshire dialect, that the pace faltered, and I found my attention wandering. The cast all have vocal chops and are accompanied by a fine sounding quintet in the pit below. But they aren’t given any real chance to show their vocal range, so it’s not a musical per se BUT there are choral numbers with beautiful harmonies and the cast gesture to the musicians at curtain call so it’s not really a play. Like Shakespeare’s ‘Hamlet’, it just can’t seem to make up its mind. Performances are compelling overall. This is one hardworking company, onstage and off. With one exception, the nine-member cast plays multiple ensemble roles as well as principal parts. It’s more than a challenge to keep the energy and pace quick and bright for this show. Unfortunately, there was a noticeable wane in energy and enthusiasm in the second half. As Mary Lennox, Gabriella Sundar Singh effortlessly exudes the air of a spoiled 10-year-old rich kid who slowly comes to know the power of family and friendships. Her subtle shift in maturity as she realizes nature as a calming and redemptive force is finely nuanced. Gryphyn Karimloo as Colin plays a long-suffering and morose boy, resigned to a life of sickness and confinement, until Mary helps him deal with his melancholy. Dickon, the moor boy with a unique relationship with the land is played adequately by Drew Plummer. Though engaging enough, I was missing a spritelier demeanour, as his character should have an almost ethereal connection to the land and animals. The adult characters serve as supporting roles. As Ben Weatherstaff, David Adams is thoroughly charming as the stodgy but loveable groundskeeper who teaches Mary about gardening. Mrs. Medlock is gloriously played by Shaw veteran Sharry Flett, who seems to delight in her stern, unmoveable portrayal as the housekeeper loyal to the Craven family, intent on keeping its secrets. Jacqueline Thair plays the spunky and spirited maid Martha, whose Yorkshire dialect was so thick as to be mostly incomprehensible. Regarding the accents, they’re mostly consistent. I appreciated that some of the Yorkshire vocal patterns were dialed back for Canadian audiences. Perhaps Thair didn’t get that memo? Note to voice and dialect coach Jeffrey Simlett. Having David Alan Anderson play both the wistful Archibald Craven and his officious doctor brother Neville is a curious and inexplicable choice. Perhaps it’s because the role of Neville is so brief and paltry or perhaps there was no other cast member available. Whatever the reason, Anderson’s portrayals were not different enough in demeanour or appearance, making both characters dull and unconvincing and confusing. Rounding out the cast are Patty Jamieson as Dickon and Martha’s sage and sensible mother, Mrs. Sowerby. Lithe, balletic moves from the exquisite Tama Martin adds mischief and mystery to her ever-present robin and garden nymph. Beyata Hackborn’s minimalist set perfectly places us in the cold, stark hallways of Misselthwaite Manor. Sections of wood panelling seem to be growing shrubs at their bases while large columns flank a large multi-paned window looking out to an abstract landscape of the rolling moor. Garden trellises festooned with vines and leafy branches lean on the left and right edges of the proscenium. Beds, wheelbarrows, suitcases, bookshelves and flower planters are easily slid on and off by the adroit and efficient ensemble. Kudos to the innovative use of full-length panels with the tops cut out revealing ensemble members as creepy portraits of hallowed ancestors. The abstract follows through into the garden with suspended hula-hooped trees while small bushes and flowers are brought on by the cast. Judith Bowden’s costume design nails the Edwardian contrasts of aristocracy and servitude. From crisp suits to nightdresses, capes and top hats to outdoor workwear, her attention to detail is immaculate. The train station scene with everyone clad in black is a powerful opening image. Costuming of the ensemble puppeteers to evoke their animal counterparts is genius! Sharry Flett’s black riding suit with wing swept fascinator as the crow and Patty Jamieson’s red argyle trousers as the fox – marvelous! The lighting for a moody, dark and mysterious show like this one is critical. Kevin Lamotte delivers a superbly atmospheric design. Harsh beams of white light create a shadowy foreboding in the train station and at Misselthwaite. It’s all colourless and cold. Ingenious use of white moving rectangles projected on the stage floor create a labyrinth of corridors as Mary moves throughout the house. I won’t soon forget the powerful image of Mary glaring from a distance at a mysterious door at the end of one of these long corridors. The only thing I was missing was the flicker of a candelabra somewhere – ah well! The garden is starkly contrasted with shades of blue slowly replaced by bright amber as Mary brings her dead aunt’s garden back to life. This new adaptation has moments of sheer creative brilliance. Adding music is not one of them. The main message of healing is something that resonates loudly today. Mary and Colin heal their relationships with themselves and those around them, make their world a better place. It’s all so powerful, so relevant. Why attempt to make it more than it is with folk songs? There’s already a wonderful musical adaptation out there. It’s no secret. This play is moving, Running time: approx. 2 hours 15 minutes including one intermission. Production runs until October 13 at the Royal George Theatre, 85 Queen St, Niagara-on-the-Lake, ON. For tickets call the Box Office at 1-800-511-7429 or email shawfest.com The Shaw Festival Presents “The Secret Garden – A Play with Songs” Directed by Jay Turvey Music direction by Ryan deSouza Set designed by Beyata Hackborn Costumes designed by Judith Bowden Lighting designed by Kevin Lamotte Movement Direction by Linda Garneau Performers: David Adams, David Alan Anderson, Sharry Flett, Patty Jamieson, Gryphyn Karimloo, Tama Martin, Drew Plummer, Gabriella Sundar Singh, Jacqueline Thair. Previous Next

Back 'Spit' by Noelle Brown Presented by Here for Now Theatre at Falstaff Family Centre, Stratford, Ontario Cover artwork by Marion Adler Joe Szekeres An enthralling production of genuine and honest emotions that cut deep to the heart. Only four more productions remain of playwright Noelle Brown’s extraordinary riveting work performed by three tremendously talented artists and directed with uber dignity and compassion by Seana McKenna. I’m still in astonishment at what I’ve just seen. Sisters Nicole (Seána O’Hanlon) and Jessica (Siobhan O’Malley) have just returned from their mother’s funeral. This is Nicole’s home in Cork, Ireland. They are doing their best to keep their emotions in check with each other as it has been an exhausting day. Eldest Nicole starts sweeping the floor to help her pass a few minutes while Jessica removes her black dress to reveal she wears yoga clothes and proceeds to do some yoga to help her relax. Jessica puts on ethereal-sounding music much to Nicole’s chagrin who then brings out a dust buster to drown out the music. We are then introduced to Alannah (Fiona Mongillo) who begins speaking to the audience about some of the discoveries she has made concerning DNA and all it entails. It’s not made clear to me whether Alannah is giving a lecture or a presentation. As the plot unfolds, Nicole and Jessica learn Alannah is their half-sister. Before their mother passed away, she had been communicating via email with Alannah who found her birth mother through one of those DNA test kits where one simply ‘spits’ (thus the name of the title) into a tube and sends it away for analysis. Depending on whether there is a match somewhere and people make the connection, lives can be forever changed depending on the outcome. This performance opened my eyes wide to an important issue to me. Before the performance begins, make sure you read the important historical information in the programme about Mother and Baby Homes in Ireland. I am ashamed to say I had no contextual knowledge of these horrible institutions and the Catholic Church’s involvement in these homes where many young women were horribly mistreated in surrendering their babies for adoption. It is here where Nicole and Jessica learn about their mother giving birth to Alannah in one of these homes. A few telephone voice messages from their Aunt Alice (I thought I recognized Seana McKenna’s voice) concluded all that Nicole and Jessica needed to know about Alannah and why she was at Nicole’s home. Before the production began Cyndi Lauper’s ‘Time after Time’ played, and I wondered what the connection between the song is and what I was about to see. Trust me it does make complete sense. I made a few quick notes in my book on Bonnie Deakin’s realistic-looking living room. When O’Hanlon and O’Malley entered the scene and I watched both magnetically capture the tension of the moment at the top of the show, I closed my notebook, put it down and just watched, experienced, and breathed in the very human element of the moment. Absolutely captivating and a joy to watch three skilled actors who were always in complete emotional control. They never ventured into histrionic or uncontrollable weeping or unbearable shouting but simply let the words of the dialogue speak for themselves. And these words cut deep into the heart. The fluid and natural pacing of the scenes are seamless. I cared about these three women, and I listened to and heard their stories told with passionate conviction. Final Comments: I’m staying at an Air BnB here in Stratford and was telling the homeowner about this production. I think I may have encouraged her to see this production. She then proceeded to tell me about the Magdalene Laundries in Ireland that were run by Catholic orders. Again, I am ashamed to say that I had no knowledge about these horrible atrocities and I’m going to have to learn more about them. I’ve been reading some reviews posted that are calling productions CRITIC’S PICK. I’m calling ‘Spit’ one of my picks. See it before it closes. The production runs approximately one hour with no intermission. ‘Spit’ runs to Sunday, September 4 at the Falstaff Family Centre in Stratford, 35 Waterloo Street. For tickets, visit www.herefornowtheatre.com or call 519.272.HFNT(4368). ‘SPIT’ by Noelle Brown Director – Seana McKenna Stage Manager – Patrice Bowler Lighting and Sound Designer – Stephen Degenstein Costume and Set Designer – Bonnie Deakin Cast Nicole – Seána O’Hanlon Jessica – Siobhan O’Malley Alannah – Fiona Mongillo Previous Next

Back 'The Red Priest' (Eight Ways to Say Goodbye) Guild Festival Theatre at the Guild Park, Scarborough Raph Nogal Joe Szekeres A smartly directed production of two distinctly unique individuals from different social standings who movingly connect through music, art, and words. A wonderful musical treat at the end finely provides the proverbial nightcap. Enchanting to watch on a gorgeous opening night summer evening. Fun fact I did not know. I had to look up the meaning of ‘the red priest’ and its connection to the Italian composer Antonio Vivaldi. He had a crop of red hair inherited from his father. Ah, the things we can still learn in retirement. Mieko Ouchi’s ‘The Red Priest’ (Eight Ways To Say Goodbye) is the story of a fictional relationship between Vivaldi (David Whiteley) and the wife of one of the most powerful noblemen of the French court simply known as The Woman (Sierra Haynes). Her husband has wagered the King of France that Vivaldi can teach the countess to play the violin in six weeks at which time she will then play for the French court. This boorish behaviour by the Woman’s husband to treat her in such a cavalier manner remained unseemly to me, but it’s also the era when everyone had secret lovers while married, and no one batted an eye at this reprehensible behaviour either. Period piece settings always fascinate me and I’m curious to see how a theatre company uses and dresses the space appropriately. I’ll acknowledge Production Designer Wasifa Noshin’s astute work here in creating simple but elegant touches that allowed me to fill in my mind the grandiosity of the French drawing rooms in this outdoor Greek theatre setting. A nice touch was the lighting of the flames over the portcullis entrance centre stage. They didn’t stay lit for too long for the beautiful summer breeze, but no quibble there for me. Costume designs are splendid re-creations of the period. Helen Juvonen’s clear-sighted direction made me care about these two individuals from their appropriately different social strata. What fascinated me about Mieko Ouchi’s script is listening to the highly detailed monologues Whiteley and Haynes deliver to the audience as we see the world from their points of view. It does take time to warm up to Vivaldi and the Woman, and that’s a good thing. David Whiteley becomes a fastidious Antonio Vivaldi who recognizes, at times, an improbable task he has at hand to teach the haughty unfocused countess who initially wants events to unfold the way she desires them. While maintaining that air of superiority of social class structure in Vivaldi’s presence, Sierra Haynes makes an interesting choice in developing the Woman’s character. Haynes affirms a ‘street smart’ sense about the Woman in some of her monologues to us while maintaining her proper place within the French court. She knows she is played by her husband over this wager with the King. To maintain her dignity about learning to play the violin in an unheard-of time allotment over which she ultimately has no control, the Woman does what she can do to maintain control. She goes toe to toe with a man who will either make her look foolish in front of others or make her the envy of others through her musical talents. I don’t believe it’s spoiling the plot to say the latter wins out. One moment that spoke volumes to me was the silent look Vivaldi and the Woman gave to each other during a shared dance. It was that compassionate and caring moment between two individuals who get what the other person is all about. It’s that moment where two individuals allow each other to look into their eyes and their souls of who they are despite the call of fame, fortune or societal duty, as Juvonen stated in her Director’s Note of the programme. Those moments where actors just inherently connect with each other make live performance the extraordinary craft it is. Both Whiteley and Haynes are extraordinary musicians as well, and what a bonus it is they play the violin and fiddle. I put my book down at the end where I was making notes and just listened and watched these gifted artists share their talents with us. What a wonderful way to cap off the evening. Where I do feel bad for the company and through no fault of their own is the noise spilling out from the nearby clubhouse on the grounds. On this opening night, a wedding celebration was in full swing with loud tunes blaring for what seemed an eternity. I can’t even begin to imagine the frustration Sound Designer Sean Meldrum experienced as he did his utmost to adjust the levels of the underscoring Vivaldi music when Whiteley and Haynes began speaking. The noise level did abate about fifteen minutes into the performance, but c’mon. It has been an empty two years without live theatre and GFT gives us a welcome back gift of a wonderful show and experience we’ve been sorely missing. Can something be done in future to ensure it’s a win/win situation for all? Final Comments: I’ve heard the judges on ‘Britain’s Got Talent’ and ‘America’s Got Talent’ say, “It’s a yes from me.” “It’s a yes from me” to see ‘The Red Priest’ (Eight Ways to Say Goodbye). Running time is approximately 90 minutes with no intermission. The production runs to August 7 on the grounds of Guild Park, 201 Guildwood Parkway, Scarborough. For further information on dates and times, visit www.guildfestivaltheatre.ca . THE RED PRIEST (Eight Ways To Say Goodbye) by Mieko Ouchi Presented by Guild Festival Theatre. Director: Helen Juvonen Stage Manager: Tara Mohan Production Designer: Wasifa Noshin Sound Designer: Sean Meldrum Assistant Director: Alecia Pagnotta Performers: Sierra Haynes, David Whiteley Previous Next

Back 'Infinite Life' by Annie Baker Presented by Coal Mine Theatre and now on stage until September 20 at 2076 Danforth Avenue, Toronto Credit: Elana Emer. Pictured: Christine Horne and Ari Cohen Joe Szekeres “A throbbing and pulsing ache of a play. ‘Infinite Life’ is driven by exceptionally controlled emotional performances of humour one minute and pathos the next. Outstanding.” In Northern California, five women find themselves at a fasting and health resort, each battling their chronic ailments and illnesses. Each of them stays at the resort for a specific allotted time. As they recline on matching chaise lounges, the women engage in deep conversations about their ‘aches and pains’ and life stories. The arrival of an unexpected man with his own health issues disrupts their routine, leading to a shift in the future for everyone involved. Coal Mine takes many risks in showcasing the terrific talent of some of Toronto’s finest actors. From my experience attending and reviewing productions here, I see that these risks have paid off in tremendous artistic talent. In celebration of Coal Mine Theatre’s 10th anniversary, Jackie Maxwell directs the season’s opening night performance of Annie Baker’s ‘Infinite Life’ with astute understanding. The script is demanding, and Maxwell acknowledges that reality in her Director’s Programme Note. Maxwell also states ‘Infinite Life’ is absolutely rewarding. From a male perspective, it certainly is. She casts some of the ‘crème de la crème’ of Ontario’s theatre scene. They deliver outstanding work, sometimes with grace but more often with humour and pathos (and a little dirty talk, too). She knows these women; she gets them. Maxwell clearly understands how important it is to pay close attention to the dialogue and what is implied in the words, especially in playwright Annie Baker's work. In this fine opening-night production, pauses and stillness remain paramount as they add much to what is said and not said. The last few productions I’ve attended at Coal Mine had the audience sitting on opposite sides in the auditorium. This time, designer Joyce Padua blocks one part off where the space becomes a traditional theatre setting. She creates a serene setting of muted bright colours that amply fits the playing space nicely lit by Steve Lucas’s design. The resort's lanai resembles the Greek taverna straight out of ‘Mamma Mia.’ The six matching chaise lounges look comfortable. Padua has also selected individual costumes and prop pieces that reflect the individualities of each woman. Outstanding performance work from all six actors propels the plot’s action forward to its heart-rending final moment between Christine Horne and Nancy Palk, which left me momentarily bereft of words. Why? Physical pain appears to be something none of us will ever be able to avoid in our lives. It will come for us. If we have someone like Eileen to help us, even momentarily, then that makes all the difference. As Sofi, Horne becomes a quiet, trustworthy narrator who breaks the fourth wall to speak to the audience, letting us know how much time has passed, either day by day or hour by hour. Her Sofi finds it challenging to express how her pain feels. Her bits of cell conversation with an unnamed individual on the other end are tell-worthy and often graphic sexually in nature. Sofi’s connection with Ari Cohen’s spaced-out whacko Nelson is bizarre at first glance. Cohen is terrific in the part. He first appears shirtless wearing silk pants. His wide-glazed eyes and slow speech responses probably indicate his Nelson smokes weed to help with his pain. Slowly, Horne and Cohen develop an existential link to each other that Sofi’s rather odd request of him remains shocking even after the curtain comes down. Nancy Palk’s Eileen appears to be the matron of the group. There’s a regal, respectful nature about her, and Palk naturally assumes this persona with defined grace. Yet, Palk’s Eileen is also the one whose pain threshold is most visible among all those present. Her gait gradually slows down. Palk painstakingly shows how much effort it takes for her Eileen to cross the stage and sit on the chaise lounge. Her joints ache constantly, and Eileen is eternally grateful when Sofi helps momentarily to alleviate the pain. It’s a touching scene between the two, and the look of gratitude on Palk’s face, which shows that her pain has subsided, remains noteworthy. Jean Yoon and Kyra Harper respectfully provide a great deal of needed and necessary humour, as Ginnie and Yvette. They’re offbeat and unusual. They sometimes often share a bit too much about themselves. I’ll be honest and say that I am grateful Yoon and Harper allow us those crucial moments to laugh out loud. Brenda Bazinet’s Elaine is sometimes content to sit in the chaise lounge and either draw or colour as she listens and participates in the conversations and vignettes around her. Bazinet’s Elaine becomes that one person we all need– someone to listen. Not offer any advice or comments but merely to listen. A Final Thought: ‘Infinite Life’ struck a chord within my own life at this time. My late brother suffered tremendous pain from his cancer diagnosis in 2009. My late mother, who passed away in May of this year, had her own ailments that left her sometimes in pain. I’m just back up on my feet after having my left thyroid removed, and yes, there was pain in recovery from that. A comment from Virginia Woolf in the house programme resonates with me and my connection to ‘Infinite Life’: “Pain is a part of every human being’s experience. It enhances our perceptions and reduces self-consciousness. It is the great confessional.” I don’t wish for anyone to be in any pain at all. But when we are, we finally get it. We finally are part of the human experience. To be part of the human experience is what we all want. For that reason, go and see ‘Infinite Life.’ Running time: approximately one hour and forty minutes with no interval. ‘Infinite Life’ runs until October 6 at Coal Mine Theatre, 2076 Danforth Avenue, Toronto. For tickets: coalminetheatre.com. THE COAL MINE THEATRE presents ‘Infinite Life’ by Annie Baker Director: Jackie Maxwell Set and Costume Designer: Joyce Padua Lighting Designer: Steve Lucas Sound Designer: Olivia Wheeler Stage Manager: Katie Fitz-Gerald Performers: Brenda Bazinet, Ari Cohen, Kyra Harper, Christine Horne, Nancy Palk, Jean Yoon. Previous Next

Back 'Mamma Mia' presented by Thousand Islands Playhouse Now onstage until August 10 at the Springer Theatre, 185 South Street, Gananoque Credit: Randy deKleine-Stimpson. Pictured: Jessica Sherman & the cast of Mamma Mia! Joe Szekeres ‘Destination Thousand Islands Playhouse has done it right yet again. ‘Mamma Mia’ is a bona fide hit. Silly and absurd? Yes, but who cares? This production is joyously fun-filled. I had a terrific time watching this diverse cast do their thing passionately.” On a beautiful sun-kissed turquoise Greek taverna, Sophie (Annika Tupper) prepares for her wedding to fiancé Sky (Brandon Antonio). After reading her mother Donna’s (Jessica Sherman) diary, Sophie is still unaware of who her real father is. The diary refers to at least three men with whom Donna was intimate. Writing in her mother’s name without letting her know, Sophie invites all three, hoping it will become clear who her real father is. There is Sam (David Leyshon), an American architect and divorced father; Bill (Jeremy Legat), an Australian wandering writer and adventurer; and Harry (Rob Torr), a British banker. Years ago, Donna was the star of a musical trio, Donna and the Dynamos, along with her friends Rosie (Laura Caswell) and Tanya (Louise Camilleri). The latter two have arrived to share in Sophie's joyous day. However, the unexpected arrival of the three potential fathers, much to Donna’s surprise and anger, adds a delightful and unexpected twist to the proceedings, keeping the audience engaged as the plot unfolds toward discovering Sophie’s real father. What is it about this 25-year-old jukebox musical that still transcends generations and draws audiences of all ages in droves? ‘Mamma Mia’ is a product of the twentieth century. At times, the plot becomes silly and absurd. Some twentieth-century references will probably go right over young people's heads in the audience. At times, some of the sexual overtness might not sit well. Let’s face it – many years ago, during my undergraduate years, the term ‘hoe bag’ would aptly fit Donna’s behaviour. Director/Choreographer Stephanie Graham states in her Director’s Note why the show still works: “There are many atrocious events happening on this planet. Sometimes, we need a couple of hours to escape, sing some familiar songs and dance together in a theatre so that we can recharge and face the world again tomorrow.” Graham’s right. We gotta lighten up and take ‘Mamma Mia’ for what it is—celebrating the pull-and-tug relationship between mothers and daughters everywhere while hearing and dancing to some terrific ABBA songs. At the performance I attended, a young girl in front of me put her head on her mother’s shoulder during ‘Slipping Through My Fingers.’ The mother wiped tears from her eyes at the end of the song. That, my friends, is the power of theatre and this Thousand Islands’ production. Brandon Kleiman’s terrific set design spans the entire Springer stage. It’s breathtakingly washed in Amber Hood’s sun-kissed lighting designs of aqua blue. Bex Tralli’s pleasant soundscape of waves lapping against the shore with the echo of gulls flying overhead transported me away. Another note of commendation to Tralli – I heard every single lyric of every song this afternoon. The sound balance between the orchestra and the performers is perfect. Julia Kim’s summer clothing designs and choices appropriately create a colourful visual panorama. To the creative team of director/choreographer Stephanie Graham, music director Nick Burgess, stage manager Dustyn Wales, and all crew members behind the scenes. Thank you all for allowing me to experience vicariously being taken away from our hot summer Gananoque afternoon to the serene heat and serenity of the Greek islands. Graham’s evenly balanced direction never slows the show’s pacing. Set changes with ensemble members remain fluid and seamless. Nick Burgess’s solid music direction allows these nostalgic ABBA songs to soar to the heights of the Springer Theatre thanks to Bex Tralli's fine-tuned sound balancing between the orchestra and performers. Graham’s choreography remains sharply and tightly executed throughout. One moment where it shines is ‘Money, Money, Money.” It’s a hole-in-one shot for this terrific cast. They’re having the time of their lives on the Springer stage. That kinetic energy spills over to the audience, and I’m right there with them. Graham has assembled a diverse, spirited ensemble of young performers who contribute to the piece's whimsical and absurdist fun. With hips swivelling, torsos gyrating, and pulses racing, these ensemble members are ones to watch for in future productions. David Leyshon's robust stature adds strength to his performance as Sam. Jeremy Legat’s Bill is a throwback to Paul Hogan’s Crocodile Dundee from the mid-1980s. Rob Torr’s gentlemanly Harry nicely balances Donna’s, at times, temperamental behaviour. Laura Caswell’s Rosie’s hilarious and flirtatious duet of ‘Take a Chance on Me’ with Jeremy Legat, as they play musical chairs hopping, remains one of the show's highlights. Louise Cammilleri is a sexy and seductive Tanya. Her cougar-like flirting with hotel pool boy/boy toy Pepper (Tyler Pearse) in ‘Does Your Mother Know’ comically addresses the age gap between the two. Annika Tupper offers a unique performance as Sophie that works. I’ve seen other productions of ‘Mamma Mia’ with a sweet and demure young woman. Here, Tupper shows a feisty and sometimes tough-as-nails Sophie. Given her unique life with Donna on the island and the distinct challenges of living with a single parent, Sophie has probably grown up experiencing many hardships and challenges. Brandon Antonio’s young hunk of a Sky offers a dramatic complement to Annika Tupper’s feisty Sophie. When Tupper (as Sophie) finally comes clean about what she has done regarding the three invitations, Antonio’s look at his fiancée clearly shows he has thought through the consequences of Sophie’s actions. Sky is not pleased at all with her. It’s a highly intense dramatic moment that speaks volumes, especially when Sam tells Sophie not to go after Sky because he’s right in what he said. Jessica Sherman is one of the reasons to run and get tickets. Her Donna is grounded in complete emotional intensity. She’s gutsy, spirited, and bold as a single mother. Man, oh, man, Sherman also sings and sells a song with complete conviction. Her ‘Winner Takes It All’ remains sublime. Her anger, hurt and frustration with Sam for leaving her spill out with rage, love and hate. This moment became a masterclass in acting and singing as I heard myself quietly say ‘Wow’ at the conclusion of the number. And Another Thought: The production focuses on women's strength and desire to discover their identity. It’s there if you want to look for that. I’m posting a challenge. I dare anyone who does not have a smile come across his/her/their face at least once during this bona fide hit of a show at the Playhouse. It’s a dare and challenge. I hear tickets are scarce, but I have also heard there is availability for the first week of August. Run, beg, plead to get a ticket. ‘Mamma Mia,’ I’m sure, will be one of the highlights of this 2024 season. Running time: approximately two hours and 30 minutes with one interval/intermission. ‘Mamma Mia’ runs until August 10 on the Springer Stage, 185 South Street, Gananoque. For tickets, www.1000islandsplayhouse.com or call the Box Office at (613) 382-7020. THE THOUSAND ISLANDS PLAYHOUSE presents ‘MAMMA MIA’ Music and Lyrics by Benny Andersson & Bjorn Ulvaeus and some songs with Stig Anderson’ Book by Catherine Johnson Originally Conceived by Judy Craymer Directed and Choreographed by Stephanie Graham Music Direction by Nick Burgess Stage Manager: Dustyn Wales Set Designed by Brandon Kleiman Costumes Designed by Julia Kim Lighting Designed by Amber Hood Sound Designed by Bex Tralli Performers: Jessica Sherman, Annika Tupper, Laura Caswell, Louise Camilleri, David Leyshon, Rob Torr, Jeremy Legat, Brandon Antonio, Tyler Pearse, Taylor Garwood, Eva Petris, Jen Fong, Marco DeLuca, Ali Hand, Jaden Kim, Ryan MacDougall, Kyla Musselman, Michelle Nash, Demi Oliver, Patrick Stiles 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 'Sizwe Banzi Is Dead' by Athol Fugard, John Kani and Winston Ntshona Presented by Soulpepper and now onstage in the Young Centre for the Performing Arts in the Distillery District Dahlia Katz. Tawiah M'Carthy (kneeling) and Amaka Umeh (standing on chair) Joe Szekeres An emotionally gut-wrenching production that hits the core of my being. The beauty of Amaka Umeh and Tawiah M’Carthy’s gifted performances shamefully reminds me I still have a long way to go in learning more. ‘Sizwe Banzi Is Dead’ opens in Styles’ (Amaka Umeh) photography studio in Port Elizabeth, South Africa. He reads a newspaper and has finished an article about an automobile plant and then, in a fascinating monologue delivery, begins to tell the audience a funny story about the time he worked at the Ford Motor Company. The audience also learns that Styles had a former job before becoming a photographer. Sizwe Banzi (Tawiah M’Carthy) enters and would like to have his picture taken. When Styles asks his customer’s name, Sizwe hesitates momentarily and then uses the fictitious name of Robert Zwelinzima. Sizwe confidently addresses the audience, delivering a monologue in the form of a letter to his wife. He reveals that he will inform her of his death upon arriving in King William’s Town, where he plans to search for employment with the assistance of his friend, Zola. Despite facing difficulty finding work, Sizwe persists and stays with Buntu (Amaka Umeh), a friend of Zola’s, in order to continue his job search. One evening, Sizwe and Buntu visit a local bar, during which Sizwe steps outside to relieve himself and discovers the deceased body of Robert Zwelinzima. Upon noticing the man's passbook, which grants permission to work, both Sizwe and Buntu decide to take it, with Sizwe now assuming the identity of the deceased man. At this part of the play, an intriguing question is raised: What motivates someone to take on the identity of a deceased individual? According to Assistant Director Tsholo Khalema's I never thought about “the proverbial deaths of Black persons who were forced to modify their behaviour in order to avoid being perceived as aggressive or threatening.” I never knew they were required to carry a passbook dictated by the Dutch colonial government indicating the individual’s right to work or reside in a specific town. To assume the identity of a deceased individual with the proper passbook would be the only option for safety. And that’s exactly what happens when Buntu removes the photo on Robert's passbook and replaces it with Sizwe's. Buntu convinces Sizwe to burn his passbook and adopt Robert Zwelinzima's identity. He assures Sizwe that he can always remarry his wife. Do I blame either of these individuals for doing what they did? Absolutely not. That’s why the play resonates with me emotionally as I was not fully and compassionately aware of what was transpiring overseas. Seeing ‘Sizwe Banzi’ makes me deeply regret my lack of knowledge about this dark period in history and wish I had taken more initiative to educate myself. Mumbi Tindyebwa Otu clearly focuses her inspired direction on the value of all black human lives. A story like this requires two gifted performers who tell with the utmost grace, keen humour, frank observation, and candid reactions. Amaka Umeh and Tawiah M’Carthy magnificently do just this. As Styles, Umeh’s recounting of the photos she has taken of individuals over the years is riveting to watch. There is such happiness and confidence in the way she speaks about those whom Styles has photographed. As Sizwe, M’Carthy is the exact opposite of Umeh’s Styles. Sizwe appears initially hesitant and nervous when he enters the shop. Much-needed humour occurs as Styles poses Sizwe in some unnatural stances for the camera. But Amaka and Tawiah also do more for me. Their impactful performances continue to remind me I still have a long way to go in learning more about “how we can learn from our past to move forward” as Director Tindyebwa Otu writes in her programme note. Ken Mackenzie's set design effectively immerses the audience in a different era and location. Raha Javanfar's enigmatic lighting design establishes a foreboding tone. Richard Feren's sound design serves as a stark reminder that we are not in North America. I particularly admired Ming Wong's costume design for Tawiah M'Carthy, as his suit's pinstripes and pristine appearance conceal the true identity of Sizwe from the audience initially. Final Comments: Although I remember during high school and completing my undergraduate degree that the situation in South Africa was bad, I never fully understood the immense human suffering caused by apartheid. Tindyebwa Otu’s Director Notes reveal South Africa’s apartheid laws were inspired by Canada’s own policies towards Indigenous people. I felt tremendous anger at this realization and sadness in recognition I didn’t learn more. ‘Sizwe Banzi is Dead’ is one very important theatrical work to see. I hope there might be some audience talkbacks before the show concludes its run. Continued work and guidance need to be evident after the performance. Running time: approximately one hour and 45 minutes with no intermission. ‘Sizwe Banzi is Dead’ runs until June 18 in the Michael Young Theatre at the Young Centre for the Performing Arts, 50 Tank House Lane in Toronto’s Distillery District. To purchase tickets: visit soulpepper.ca, youngcentre.ca or call 1-416-866-6666. Soulpepper Presents: ‘Sizwe Banzi Is Dead’ by Athol Fugard, John Kani and Winston Ntshona Director: Mumbi Tindyebwa Otu Set Designer: Ken Mackenzie Costume Designer: Ming Wong Lighting Designer: Raha Javanfar Sound Design and Composition: Richard Feren Stage Manager: Sarah Miller Performers: Tawiah M’Carthy, Amaka Umeh Previous Next

Back 'Cockroach' by Ho Ka Kei (Jeff Ho) Now onstage at Tarragon Theatre Anton Ling and Karl Ang. Photo by Joy von Tiedemann Joe Szekeres ‘Cockroach’ becomes a tightly compact emotional script of tremendous sensory highs and lows that rarely allows time to breathe. At times it became intensely riveting while at other moments I went into overload and couldn’t process it as quickly as I could. You’ll have to pay close attention because Ho Ka Kei’s script is jam-packed with layers upon layers of xenophobia, prejudice, and racism. We meet three resolutely focused individuals: Cockroach (Steven Hao), Bard (Karl Ang) and Boy (Anton Ling). That intentional reference to Bard is William Shakespeare. We follow Boy’s story and what happens to him during a traumatic evening. Director Mike Payette never allows the emotional intensity to unravel out of control. Instead, he and Hanna Kiel maintain a clear focus on Ho Ka Kei’s sharp dialogue and reactive, yet carefully choreographed, movement and allow their visceral intensity to speak for themselves. And it spoke to me most certainly as a theatre admirer. However, there were times when I lost focus because so much back story and plot was delivered to me through these (what director Payette calls in his programme note) ‘extreme’ sensory highs and lows that I got tired of watching the production periodically. I really had to study Christine Ting-Huan Urquhart’s set for a few moments during the pre-show and tried to make sense of the playing space. There is an entryway centre stage with two towers the actors will climb on throughout the show. Bard and Boy make their initial entrance through two transparent-looking moving platforms. During the production, Arun Srinivasan’s sharply confined lighting design gorgeously adds to the darkness of Ho Ka Kei’s story. I walked out of the Mainspace theatre opening night strongly affected by two stagecraft elements woven meticulously together that became engrossingly hypnotic for me. The incorporation of silence while intimately linked to dance and movement conveyed a rather grandiose meaning. What might have appeared to look initially as a movement that men may not perform is handled with such grace and ease. There was complete silence in the house as we watched the movement. After a complete blackout, approximately the first ten minutes involve tremendous physical movement where I felt myself holding my breath in awe of what I was witnessing. We are then introduced to Cockroach’s world of how he arrived in North America and what his place is within this society. Steven Hao’s grounded-in-the-moment performance as Cockroach made me fearful of him in the beginning. There are specific times when Hao speaks so quickly that I’m sure I lost a few elements of the plot. Why would a playwright want to call a character ‘Cockroach’? When we, as North Americans, hear this word, all these horrific pictures come to our minds about these insects. Make sure you read the Audience Advisory Guide for background about the word ‘cockroach’ in Asian BIPOC culture and where this term was used derogatorily by the police in Hong Kong. Enlightening indeed, and I do hope this information is also shared in any talkbacks following performances. Karl Ang’s Bard becomes a masterful storyteller of forceful precision who, like Steven Hao’s Cockroach, also commands the stage when required. We do know the Bard is a renowned storyteller who instinctively just writes extremely well. But the caveat –Bard’s stories for some reason are not truly universal. Anton Ling’s Boy and their experiences during this traumatic male sexual assault are heartbreaking to witness. They uses their eyes in conveying a poignant depth of anger, hurt, fear and shame. Their resulting tears I believe have stemmed from Ling digging deep into his very being to convey such power. Final Comments: In his Director’s Note in the programme, Mike Payette writes the following that made me wonder if I should return to see ‘Cockroach’ again: “The extremes [of survival in the world] exist synchronously within us…it is a complex negotiated journey…Sometimes we simply need to be reminded of what we have in order to redeem what was lost.” Perhaps it’s time to return to see ‘Cockroach’ again and attend when there is an Audience talkback to learn more. Running time: approximately 80 minutes with no intermission. ‘Cockroach’ runs to October 9 at Tarragon Theatre, Mainspace, 30 Bridgman Avenue, Toronto. To purchase tickets and other information call the Box Office (416) 531-1827 or visit tarragontheatre.com. ‘Cockroach’ by Ho Ka Kei (Jeff Ho) Directed by Mike Payette Choreographed by Hanna Kiel Set and Costume Design: Christine Ting-Huan Urquhart Lighting Design: Arun Srinivasan Sound Design and Original Score: Deanna H. Choi Stage Manager: Emilie Aubin Performers: Karl Ang, Steven Hao, Anton Ling Previous Next

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

Back 'Slava's Snowshow' created and performed by Slava Polunin Now onstage until December 31 at Toronto's Elgin Theatre, 189 Yonge Street Vladimir Mushikov Joe Szekeres “A whimsical journey performed with wide-eyed, childlike innocence and a knowing, worldly and wise experience of adulthood. Tremendous joy emanates from the artists. A holiday treat.” I saw ‘Slava’s Snowshow’ in November 2018 at the Bluma Appel. When I heard it was returning for the Christmas/holiday season, I wanted to see it again. This time, I took two friends with me to share the tremendous joy of this story. There were moments from this production of 'Slava's Snowshow' that made my eyes well with tears. I became a young, wide-eyed, innocent child again, watching this absurd and surrealistic dream world. The programme note describes them as ‘idiots on the loose.’ Alright, I’m not sure I’d call them ‘idiots’; nevertheless, they’re adorably dressed foppishly in clown garb with bright red noses and huge feet with what I call winged floppy ears. Alistair Kerslake’s terrific soundscape of a train can be heard upon entering the Elgin Theatre auditorium. (I wish I could have placed the annoying couple sitting in front of me on that train to take them out of the theatre. They were taking pictures when the announcement was made not to do so. My friend and I had to tell them twice to stop taking pictures. That’s another discussion). Alexander Pecherskiy and Rebecca Lore visually set the Elgin stage in shadows. It’s a nice touch when juxtaposing that with the loud, but not deafening, sound of a train transporting us somewhere. Since the title indicates a ‘snowshow’, I assume we are travelling someplace cold. There’s no mention of a set designer but a technical director, so I’ll credit Vanya Yarpolskiy. His setting suggests a bleak and cold environment, making me smile as I write this article. Yesterday's (and today’s) weather is more of an April or November setting. Once again, I’ll credit Kerslake’s impressive selection of music to accompany the artists in telling the story. The music never seemed overpowering to my ears because the Elgin is a large auditorium. The actors want to ensure the audience in the back row of the balcony can also hear the music and songs. Those musical interludes also became earworms for me as I hummed them the next day as I wrote this article. ‘Slava’s Snowshow’ has been poetically created and staged by Slava Polunin, dressed in an oversized yellow onesie. There’s a sad sack quality about his eyes that you can’t help but wish you could go and hug him. He has performed this show for over 30 years in countries worldwide and doesn’t seem to be slowing down. He’s still nimble and agile and moves with a bodily dexterity that is fun to watch. I’m still amazed that Polunin can walk on the backs of the seats in the house, and neither he nor any of the artists involved at that point slipped off the chairs with all of the water being splashed about. This return Toronto engagement is not disappointing (again, save for those audience members who felt they were obnoxiously above listening to advisories not to take photographs during the performance). Polunin and his eight ‘on-the-loose idiots’ continue to captivate with charm and charisma. I couldn’t help but smile and laugh out loud. The art of clowning is not an easy one to master. It’s not merely The Three Stooges or Lucille Ball (yes, I’m showing my age here). There’s a reason why clowning is considered an art form. It takes years of study and practice to master its focus of continually remaining in the moment and not being distracted if something goes wrong. At this performance, an audience member sneezed during silence. It didn’t break the concentration of the artists onstage. They went along with the noise and made it part of their shtick, making the audience laugh even harder. In this ‘Snowshow,’ the varied series of moments may look initially unscripted with no apparent connection at all to each other. However, a connecting feature does run through each moment of the show, and you must pay attention to discover what it is. Some amusing and poignant bits that are part of this feature are lovingly captured on stage. That’s part of the magic I don’t want to destroy here. The only hint I will give is that the spider web created on stage plays an integral part in connecting everything. Judging by the response from the audience around me, most notably, the children and young people appear to have understood the connection. They were indeed highly taken with the magic and antics of Polunin and his gang. One girl was pulled from the audience in the second act, and she became part of the storytelling for a few minutes as the audience began to settle in their seats following intermission. There are gigantic helium-filled balloons and large balls that fill the house thoroughly. Everyone has a turn being able to bounce these gigantic monstrosities throughout the auditorium. It is the moment involving a coat rack on a railway platform with the heartbreaking goodbyes where the audience witnesses the knowing the worldly view of adulthood and how goodbyes do become part of our lives. Final Comments: At times, the show is puzzling, while at other times, it is brilliant in its simplistic gestures. ‘Slava’s Snowshow’ is another holiday treat to give yourselves and see the production live. Running time: approximately one hour and 45 minutes with one intermission. ‘Slava’s Snowshow’ runs until December 31 at Toronto’s Elgin Theatre, 189 Yonge Street. For tickets, https://www.ticketmaster.ca/slavas-snowshow-tickets/artist/907448?venueId=131082&utm_source=SOP&utm_medium=Website&utm_campaign=SlavaTO23 SHOW ONE PRODUCTIONS presents ‘Slava’s Snowshow’ created and performed by Slava Polunin Technical Director: Vanya Yaropolskiy Sound: Alistair Kerslake Lights: Alexander Pecherskiy, Rebecca Lore Company Manager: Eerika Yaropolskiy Ambassador: Gwenael Allan Performers: Slava Polunin, Robert Saralp, Dima Merashchi, Bradford West, Oleg Lugovskoy, Georgiy Deliyev, Nikolai Terentiev, Christopher Lynam, Jaime Rebollo Previous Next

Back The Rez Sisters The Stratford Festival David Hou David Rabjohn Congratulations to The Stratford Festival for insightful creativity in developing live theatre for a covid world. A soaring brilliant white tent was only a part of the unique outdoor experience that subtlety embraced social restrictions. The Festival could have found simple vehicles that would easily adapt to required new measures. They went the other way. With courage and boldness the festival produced Tomson Highway’s 1986 searing story of ‘The Rez Sisters’, a complex and weighty play concerning the lives of seven sisters on a Manitoulin reserve. Highway’s already distinguished writing is further elevated by an ensemble cast of diverse talent, energy and unremitting power. We first meet Nanabush who stumbles on stage, unkempt and ill, crawling under a tarpaulin and sits, eyes furtive and suspicious with birdlike movement, skillfully played by Zach Running Coyote. Going through wild throes as a sickly patient, he sets the stage for tragedy and suspicion throughout the story. Nanabush develops into a kind of muse or indigenous Greek chorus symbolically reflecting many of the more horrific moments of the sisters’ lives. Running Coyote’s brilliant physicality offers the choreography that punctuates the many struggles on the reserve. Pelajia is the first of the slow train of sisters on stage – some actual sisters, others half sisters or sisters-in-law reflecting the close-knit community. Played with crackling energy by Jani Lauzon, she is a contractor equally comfortable with both hammer and knitting needles. Like many of the sisters, she hates the reserve and longs for a better life, perhaps in Toronto. Her sister, Philomena (Tracey Nepinak) can be both dark and brooding (she longs to know anything about the child she gave up) and equally hilarious as she also longs for the gleaming porcelain toilet bowl that is her holy grail. Annie Cook, played joyfully by Nicole Joy-Fraser enters frantically and is teased for non-stop energy as she yearns for a singing career. The complexities of relationships start to form as we meet Marie-Adele, perhaps the most tragic figure, played by Lisa Comarty, who has fourteen children and is clearly dying of cancer. She stole her sister Annie’s boyfriend and the wounds are still raw. Scenes begin to break down into raucous battles as various tensions are exposed and fight director Anita Nittoly’s remarkable choreography mirrors the many conflicts. The cacophony of anger rises, while lights flash until it is halted by Zhabooningan. Played subtlety and sympathetically by Brefny Cariboo, Zha is intellectually disabled and has been horribly raped by two white men. She is embraced by her sisters and is adopted by the unpopular Veronique (Christine Frederick) who portrays her dark character with both meaness and hope for more understanding. Bingo becomes the epicentre of dreams, hopes, and delusion. Never far from their minds, bingo is not a social occasion. It is the vehicle for moving forward in big or small ways – that shining toilet, a huge new stove, or an entire island of life. Learning of “the biggest bingo in the world” the sisters put their conflicts aside and plan a masterful odyssey to Toronto. A leitmotif of marching, they make their way to Toronto, experiencing obstacles and pain reminiscent of their reservation lives. The bingo day climax ends with an audience participation surprise, the hollowness of smashed dreams and ultimate death. The circle returns to Manitoulin. Some part of this tragedy slightly softens anger and hate. Sophie Tang’s set design offered a thrust stage with multiple surprises. Each of the many chairs was unique – sometimes representing the fourteen children, other times cleverly manifesting a symbolic prison. The translucent tarp diversly served as hospital bedding, a babe in arms, or a funereal shroud. Wayne Kelso’s sound design was delicate and haunting – rash only when it had to be. Director Jessica Carmichael wielded a heroic baton. She found a delicate balance between letting her dynamic ensemble spin and create at will and finding a focus that roots the story. Ms. Carmichael’s own recent pain gives authority and intimacy to this production. Using all the tools offered by Tomson Highway – Cree or Ojibway language and indigenous dance – she made us understand the circles of living. As mentioned in the program, this production properly gives a nod to recent tragic discoveries and young people who now yearn for a better future as the sisters do. Some circles should remain and some circles should be broken. Upon discovering Emily’s pregnancy, Zha creates slivers of mirth as she sneaks up on her friend and says hello to the little unknown. What an honest way to peer into this world – with both unrelenting sadness and with mirthful silliness. ‘The Rez Sisters’ by Tomson Highway Produced by The Stratford Festival Players – Brefny Caribou, Lisa Cromarty, Nicole Joy-Fraser, Irene Poole, Jani Lauzon, Kathleen MacLean, Tracey Nepinak, Zach Running Coyote Director – Jessica Carmichael Sound Director – Wayne Kelso Set and lighting design – Sophie Tang Fight director – Anita Nittoly Stage manager – Bona Duncan Tickets at stratfordfestival.ca Previous Next

Back Bahareh Yaraghi Self Isolated Artist Anita Alberto Joe Szekeres The first time I had seen Bahareh Yaraghi’s work onstage was during Stratford Festival’s 2018 production of Oscar Wilde’s ‘An Ideal Husband’. Her confident performance as conniving Laura Cheveley certainly made me pay attention to this character and to the story itself since Wilde’s tale of the context of cheating in Victorian England took on a different meaning in our #metoo world today. I then saw Ms. Yaraghi as daughter Emmy in ‘A Doll’s House Part 2’ when central character, Nora, knocks on that same door she slammed years ago. For me, it was interesting to watch from an acting perspective just how Ms. Yaraghi approached the daughter-mother relationship in ‘A Doll’s House Part 2’. Well, the mother-daughter relationship was taken to an entirely complex level of intrigue in female empowerment when I saw Bahareh’s divine performance (as I called it in my review) in ‘Oil’ at ARC just this past February. The audience viscerally witnesses a mother’s tumultuous relationship with her child (as a baby waiting to be born, a young person and adult) at three extremely different time frames. For me, Ms. Yaraghi has always captured a natural and convincing vocal delivery which makes me want to listen to the story she is telling and the journey she is about to take me on with her. I am most certainly looking forward to her next performance once the pandemic is lifted. She received her BA from McGill University and then trained at Humber Theatre School. A six time Dora award nominee, Ms. Yaraghi has performed on numerous stages in Toronto and across the country. She has been an ARC company member since 2012 and has appeared in past ARC productions since then including ‘Bea’ ‘Moment’ and ‘Pomona’. We conducted our interview via email: 1. How have you been keeping during this crisis? How has your immediate family been keeping during this crisis? I’m grateful to say that all my family and loved ones are all safe and healthy around the globe. We are so privileged in so many ways to be living in Canada, so my husband and I try to keep our focus on the positives, as opposed to all the uncertainties and sadness out there in the world. I’ve learned that if I literally take it one day at a time, my spirit feels much happier that way. 2. As a performing artist, what has/have been the most challenging and difficult element (s) for you? I MISS PEOPLE!!!! I miss interacting, hugging, talking, and collaborating with PEOPLE! Ok, I got that out of my system. As an artist, one of my biggest joys is to be in a room filled with fellow artists, creating work together and ultimately sharing that work with our community. Not being able to do that right now – or for the unforeseeable future – is of course extremely challenging and scary. But all artists around the globe are in the exact same position – so, staying patient and shifting my focus to my TODAY is what is most important right now. The rest will fall back into place when the time is right. 3. Were you in rehearsals, pre-production or performances of any production was the pandemic was declared and a quarantine was imposed? What has or will become of any of those productions in which you involved directly or indirectly? Yes, I was in the middle of ARC’s production of OIL. We had begun the 2nd week of our run, when we quickly realized we had to make the tough, but necessary, decision to cancel our 3rd week of performances. It was such a beast of a show and I was so proud to be telling it with such a wonderful group of humans. It was heartbreaking to have to close it early, but we considered ourselves very lucky to have had 2 weeks with it and to be able to share it. I was also supposed to start rehearsals for Soulpepper/Necessary Angel’s WINTER SOLSTICE that following week which, of course, was sadly cancelled as well. Fingers crossed you will see both productions programmed in the future. 4. What have you been doing during this time to keep yourself busy? I’ve kept myself quite active, socially. Zoom, phone, and FaceTime conversations with friends and family that I always feel I don’t have enough time for. Now I do and that’s a great feeling. I’m finding that physical exercise and meditation are vital to me right now, and they help me feel strong, calm and light. Otherwise, lots of cooking!! Which I absolutely love (I read cookbooks like they’re novels), lots of catching up on movies/tv shows with my husband, and lastly, I’ve been keeping busy working on the future of ARC with my fellow collaborators. There’s lots of exciting ARC news in the works, so stay tuned! 5. Do you have any words of wisdom or sage advice to other performing artists/actors who have been hit hard by this pandemic? Any words of advice to new actors out of theatre schools? The other day a good friend of mine said, “I don’t think I’ve got this covid thing figured out yet.” I understood exactly what he meant: he doesn’t know how he’s ‘supposed’ to feel, how he’s ‘supposed’ to use all this new-found free time, how he’s ‘supposed’ to feel creative when he’s not necessarily inspired, how his perspective ‘should’ be changing because of all this world change. However, I don’t think most of us do. My only advice to anyone would be to keep yourself strong and healthy – physically and mentally – as best you can. Stay hyper-sensitive to the things that truly bring you joy and peace, that truly enrich your spirit, and perhaps start contemplating on the things you will choose to reintroduce back into my life, or the things you’re ready to part ways with, when life and society picks back up. I think this “covid thing” can be a great opportunity for change. But it will require great thought, great strength, great belief and bravery. OR… Netflix and a bag of chips to ease the soul is also time well spent in my books! 6. Do you see anything positive stemming from COVID 19? The earth and the animals are much happier. The air quality is much more refreshing. And the rat race has been calmed. There’s so much relief in all of that. On a simple level, what I love is that we’re being reminded over and over again that we are all connected, that we need one another, and that we need to take care of each other otherwise we all fall. 7. In your opinion, will COVID 19 have some impact on the Canadian performing arts scene? I have no idea what the future of theatre looks like. Or sport events. Or concerts. Or any event where the energy from a live audience changes everyone’s experience. All I know is that we need immense patience. And the need, desire and hunger to tell and hear stories will come back strong and it will be powerful. I look forward to the re-emergence. 8. Some performing artists have turned to online streaming or You Tube presentations to showcase and/or share their work. In your opinion, is there any value to this presentation format? Will online streaming or You Tube presentations become part of the ‘new normal’ for performing artists? I haven’t watched any of them. I haven’t had the desire yet. I admire the artists testing the waters and finding new ways of sharing their work. Some artists may need to keep creating; and some artists might need stillness and time to process. Everyone has their own pace and might need different creative outlets (or none at all) during these extraordinary times. There is no right answer. But the search is necessary, and I appreciate that very much. 9. What is it about the performing arts community that you still love even though it has been tremendously affected by this pandemic? Oh, it’s one of the best communities in the world! I feel so lucky that I’ve devoted my life to it, even with all its challenges. My husband is not in the performing arts community and he always says, “theatre artists are some of the most intelligent, humble, hilarious, compassionate, well-spoken, and worldly people I’ve ever met.” And it’s true. The theatre community is rich in heart. And if your heart is full, it gives you a different kind of energy. And that energy remains strong, even through a pandemic. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests usually at the conclusion of the presentation: 1. What is your favourite word? Love 2. What is your least favourite word? (It’s two) Shut up 3. What turns you on? Wisdom 4. What turns you off? Excuses 5. What sound or noise do you love? Laughter 6. What sound or noise bothers you? Someone in pain that I cannot help 7. What is your favourite curse word? F**K 8. Other than your own at this moment, what other profession would you have liked to do? I wish my parents had put me in dance when I was a child. I think I’d be good at it. 9. What profession could you not see yourself doing? A surgeon 10. If Heaven exists, what do you think God will say to you as you approach the Pearly Gates? “Let’s dance, B”. Previous Next

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

Back 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 Ted Dykstra and Diana Bentley The Self Isolated Artists Melissa Renwick/Toronto Star File Photo Joe Szekeres When I received an email from Ted Dykstra (Chief Engineer) today, I noticed at the bottom under his name he calls his Coal Mine Theatre, “Off-off Broadview theatre”. Very classy and clever, indeed, as he and his wife, Diana Bentley (Co-Chief Engineer of Coal Mine) have modelled their 80 seat theatre after the intimate, exciting and often daring productions that can be found in New York City’s ‘off-off Broadway scene’. To this day, I have never, ever, been disappointed with any of the intriguing and enthralling productions I have reviewed at Coal Mine. I must attribute its success to Diana and Ted, their dynamite slate of plays, and the outstanding actors/production crew members who continue to grace the stage here on Danforth Avenue. I have had the honour to have seen both Ms. Bentley and Mr. Dykstra perform at some of Canada’s finest theatres, and I must include Coal Mine here as well. Ms. Bentley gave a daring and brave performance as Filigree at Coal Mine in ‘Category E’. I will always remember how moved I was the first time I saw Mr. Dykstra’s co-creation of, what I believe is, one of Canada’s most famous plays, ‘Two Pianos, Four Hands’. I was pleased when they agreed to be interviewed via email: 1. How have you and the kids been doing during this tumultuous time of change and upheaval? Ted: Pretty well. We have an 18-month-old named Henry who thinks he hit the jackpot, as he of course has us to himself 24/7. Diana: I think, like most people, there are good days and then there are harder days. We are enjoying having this time at home together and with Henry, but of course we miss the other parts of our lives that we love like the Coal Mine. 2. What has been the most difficult or challenging for you during this isolation? What have you been doing to keep yourself busy during the time? (I know with children your attention will have to be on them first and foremost) Ted.: My son and daughter Theo and Rosie are with their mom, and we miss them very much. They miss us too, but I think they and Henry miss each other most of all! The other thing would be speculating on the future, which is “a mug’s game” but I sometimes do it anyway. Diana: We split the days so that one of us takes care of Henry while the other works. Right now I’m working on a television show that I’ve been wanting to pitch for a few years, and a one woman show that I have had sitting inside me for a year. Both are exciting and I’m happy for the time to draw my focus to them, but also trying to be gentle with myself. Right now we’re gearing up for a Coal Mine Zoom Board meeting so we’re still working too! 3. I believe ‘Cost of Living’ was in pre-production and intensive rehearsals when the pandemic was declared, and the quarantine imposed. How many weeks were you into rehearsals? Can you possibly see ‘Cost’ perhaps being part of this upcoming 2020-2021 season or a later season? Ted: We were to start rehearsals March 17. Our New York based actor Christine Bruno arrived March 15, a Sunday. We had her set up in an air bnb close to the theatre, had rented her a mobility scooter, (the play involves two characters who are physically disabled) and stocked her place with groceries. Because she needed to isolate for two weeks on arriving from the states, we decided that we would delay the whole show by a week. So she would isolate for a week, then we would begin rehearsals at the theatre, skyping her in for the first week. But two days after she arrived, we knew it was game over due to the acceleration of the virus’ spread. So we sent her back on the Tuesday. It was very sad of course. Diana: We are very committed to making sure ‘Cost of Living’ happens. The big question is when, but that’s the question for everything right now. When we return to making live theatre, when audiences feel safe to come back and then of course what shows we will program. Lots of questions and bridges to cross 4. Any words of wisdom or sage advice to performers/artists/actors who have been hit hard during this time? I’m sure this pandemic has hit hard on the new graduates of theatre schools. Any words of wisdom for them? Ted: Our jobs have never been assured, by anyone. This is a golden opportunity to learn this. I don’t think any of my neighbours in East York have thought once that they miss the theatre at this time. Rightly so. They have far more important things on their minds. So why are you wanting to do it? It’s an important thing to know for yourself. Good time to think about it! And if you have to do something else other than your heart’s desire to live for however long, like the rest of the world does, show yourself and the world you can do it well and without complaining. We are so lucky to be living the lives we are. And you can still write, read, create, dream - all the things you love. Don’t stop. Diana: Have faith. Go inward. Listen. 5. Do you see anything positive stemming from COVID 19? Will COVID 19 have some lasting impact and influence on the Canadian performing arts scene? Ted: Well if I were the environment, I’d be wishing the virus would stay a good long time, so there’s that! A life doing theatre has taught me a lot about humankind. Unfortunately, one of the conclusions I have reached is that no society, country, nation, continent has ever learned the lessons necessary to stave off their end. And this is, I think, a truth about humanity. We survive. We change, but usually only because we have to. As soon as we stop “having to”, we start to forget why we were doing it, and comfort and greed once again come to the foreground. Flip side of that? We keep inventing, writing, discovering, expanding in as many good ways as bad. But there isn’t anything we know now about being human on the inside then the Greeks knew 2500 years ago. Maybe we are waiting for a worldwide “aha!” moment. I sure hope it comes. But any time soon? I don’t think so… And would I love to be wrong? Of course! Theatre will continue, and some great plays will come of this time, as they have of every other time. But that’s nothing different. That’s what theatre does. So it will continue to do that. Diana: Gratitude and not taking anything for granted. 6. Some performing artists have turned to streaming and/or online/You Tube presentations to showcase or perform their work. In your opinion and estimation, is there any value to this during this time? What about in the future when we return to a sense of a new normal. Will streaming and online productions be the media go to? Ted: It’s not my cup of tea. Theatre to me is meant to be experienced in a room full of people. Theatrical performances are meant to take place in front of people. This raises the stakes, makes it so much more exciting. Watching a live play online, where actors are performing for no one, is what I would call television. And real television is an awful lot better. In fact it’s fantastic right now in terms of variety and excellence. No contest. Diana: For some people/ artists I am sure that will be exciting and essential. For Ted and I the Coal Mine is very much about the live experience so I’m not sure we’ll follow suit- but anything is possible! 7. What is it about performing and the arts scene that you still always adore? Ted: Great plays. The community. Great artists. My colleagues, friends. Memories. Moments. The anticipation excitement and hope on the first day of rehearsal. Working with designers, volunteers, stage managers, bartenders who are all infinitely better at their jobs than I could ever be. And the audience. The people who pay good money to see what we do because they love it and want it in their lives. Without them we are nothing. And after 45 years doing this, I can say without reservation that no matter what happens to The Coal Mine, we have been blessed with the finest patrons I have ever had the privilege of working for! Diana: The artists. I miss them so much. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests at the conclusion of his interview: 1. What is your favourite word? Ted: Geselig. It’s a Dutch word that has no direct translation that describes the feeling of comfort, coziness, acceptance, serenity given by say a fireplace in the winter with your favourite drink in hand and a blanket and two or three of your most favourite people in the room who share the feeling and are enjoying it as much as you, with no worries present whatsoever. And it’s snowing outside. The big, slow, thick flakes. Diana: Cantankerous 2. What is your least favourite word? Ted: The N word. Diana: Bitch 3. What turns you on? Ted: My wife. Diana: The Giggles 4. What turns you off? Ted: People who can’t laugh at themselves Diana: Narcissism 5. What sound or noise do you love? Ted: My kids’ laughter. Diana: The sound of our son talking to himself in his crib in the morning. 6. What sound or noise bothers you? Ted: Anything whatsoever no matter how small that I can hear when trying to go to sleep. Diana: Loud crunching. 7. What is your favourite curse word? Ted: It’s a phrase I came up with when I was directing Shakespeare in Calgary. “Fuck my balls.” Diana: F**k 8. What profession, other than your own, would you have like to do? Ted: Astronaut. Diana : Fiction writer. 9. What profession could you not see yourself doing? Ted: Easy. Stage Management. Diana: Dentist 10. If Heaven exists, what would you hope God will say to you as you approach the Pearly Gates? Ted: “You were a good dad, so we’re gonna let the other stuff slide.” Diana: “High Five!” Photo of Ted Dykstra and Diana Bentley by Melissa Renwick/Toronto Star File Photo To learn more about Coal Mine Theatre and its upcoming season, visit www.coalminetheatre.com . Previous Next

Back 'Cock' by Mike Bartlett Produced by Barrie's Talk Is Free Theatre and now onstage at 80 Bradford Street, Barrie. Produced by Barrie's Talk Is Free Theatre and now onstage at 80 Bradford Street, Barrie. Joe Szekeres (Photo Credit: Matthew MacQuarrie-Cottle. L-R: Michael Torontow and Jakob Ehman) “Mike Bartlett’s play is ‘Cock of the Walk’ in Barrie.” I have to hand it again to Barrie’s Talk Is Free Theatre. TIFT pushes boundaries to provoke its audiences' thinking and nudge them out of their comfort zones. Artistic Producer Arkady Spivak pointed out in his pre-show remarks that the play’s title cocked a few heads in Barrie. That’s a good thing when theatre can do that. TIFT’s latest unabashed production of British playwright Mike Bartlett’s darkly comic ‘Cock’ made me do the same thing a few times on this opening night. John (Jakob Ehman) is a gay man who has been in a relationship with his partner, ‘M’ (Michael Torontow), for seven years. They have quarrelled lately, and John has moved out of the apartment. But when he meets and falls in love with a woman, ‘W’ (Tess Benger), John is forced to contemplate the boundaries of his identity and decide what he wants for his future. A dinner party that ‘M’ holds at the apartment to finally see if John is serious about his future intentions becomes the climax for his future choices. ‘M’ has invited his father, ‘F’ (Kevin Bundy), for moral support. The play examines an important question: are fidelity and monogamy still possible in a permissive twenty-first-century context? That’s puzzling when you look at Bartlett’s script. For instance, after being sexually intimate twice with ‘W,’ John is head over heels for her and then runs back to ‘M’ to be forgiven. Is John hinting that he’s no longer gay? Is that why he runs back to ‘M’ to be forgiven? I didn’t think one can be cured of being gay. This comes across as selfishly unfaithful. Three out of the four characters are identified as initials. Many people will have the same initials, so there’s no sense of individuality, whereas a name like John denotes a particular character. Therefore, does using initials instead of names mean people are dispensable and thrown away once we’ve used them? How is it possible to remain monogamous, then, in a world where initials identify many people? It finally dawned on me why Bartlett’s script is not puzzling. It’s not afraid to hit right at the heart of a permissive society and ask point-blank questions. By doing so, it’s riveting, gutsy and sexy theatre. It’s the ‘Cock of the Walk’ in Barrie. First, let’s not get all schoolgirl giggly and intimating the play’s title means only the male appendage. British slang indicates ‘cock’ is a rooster. A cock fight is two roosters battling. Cock can also be used as a derogatory term towards someone else, usually from one male to another male. It also means to tilt one’s head to the side (see example above). Cock also means to get a gun ready for firing. These meanings have been intricately woven into director Dylan Trowbridge’s bold treatment of a play that he believes concerns the human heart. His vision deals with love’s capacity to make us feel euphoric, joy, brutal pain, desperate fear, and overwhelming confusion. Love transcends sexuality and gender. It ignites primal fear both between individuals and within individuals. This theatrical vision has been courageously and confidently stamped on TIFT’s production, which Trowbridge believes will differ in each performance. Production designer Kathleen Black does not set ‘Cock’ in an upper-class-looking setting of familiarity. Instead, it plays in the underground dust, dust bunnies, and cement storage space at 80 Bradford Street. We gather in front of a garage door. An audience member knocks, and John (Jakob Ehman) opens the door. Dressed in a white undershirt, silver pants, and black dress shoes, John stares at each audience member as we enter. There’s a sense of discomfort walking past him. What’s he thinking about each of us? It appears John has ensconced himself as the first cock of the evening. It’s a tightly intimate theatre in the round performance space. The audience is up close to the action. A white drop sheet at the front allows some plot action to occur behind. Periodically, I like to mention when I can sense a production becomes an actor’s play. ‘Cock’ is one of them. What makes it easy and challenging for any theatre company? There are no cumbersome sets, props galore, or flashy costumes. There is the odd miming at the ‘dinner’ table. The challenge would be to ensure ‘Cock’ does not become the typical sitcom fare of a screaming and shouting match in playing for control of the moment. Trowbridge does not allow that to happen. He confidently ensures his actors focus on the words' meanings and connotations, what they add to each moment, and how to deliver them so the context is clear. These four talented artists measure up to this mammoth task of telling a good story using words. Jakob Ehman and Michael Torontow open the show with gritty rawness and candour. There’s a sense of sexual chemistry of ‘hawtness’ (yes, I did teach high school for 30 years) and guts between John and M. They try to one-up each other while vying to become the cock of the moment to control. Torontow’s height, dark, swarthy Freddy Mercury look, complete with black nail polish, tattoos, and muscles, contrast robustly with Ehman’s shorter height, lighter-coloured pants, a white undershirt, and dress shoes. As ‘W,’ Tess Benger becomes an appropriate foil to Torontow’s ‘M.’ Torontow is demanding and overbearing, while Benger is inviting and patient. John and ‘W’s sexual activity is most definitely euphoric in its static staging. It’s not graphic in its depiction on stage, yet it allows Benger and Ehman to use words and guttural sounds to indicate their pleasurable ecstasy. This encounter would set ‘M’ ready to fire a gun out of jealous rage. Kevin Bundy ‘F’ is father to ‘M.’ Although he only appears in the final scene, ‘F’ is not of secondary importance but becomes more of a peripheral understanding of Trowbridge’s vision of the capacity of love transcending. A widower, ‘M’ has experienced confusion and difficulty in accepting his son’s relationship but is appreciative of what John has brought to ‘M’s’ life. However, one of ‘W’s’ conversation starters towards ‘F’ changes the course of events. The ending of ‘Cock’ is visually powerful. The look on Ehman’s face when ‘M’ asks him a question to do something remains haunting. Will he or won’t he? I’m not saying a word. You have to see it for yourself. And Another Thought: In the Programme, Talk is Free states it doesn’t just make theatre in Barrie. It works to redefine it, to redefine our relationship to it, and to redefine how artists thrive as they create it. When you’ve solid Canadian theatre artists at work in Barrie, driving outside Toronto to see terrific work makes it all the more worthwhile. That’s why you should go to Barrie to see ‘Cock.’ Running time: approximately 90 minutes with no interval/intermission. ‘Cock’ runs until April 27 at 80 Bradford Street, Barrie. Enter via Sign #3. For further information, visit tift.ca or call (705) 792-1949. Talk is Free Theatre presents ‘Cock’ by Mike Bartlett Director: Dylan Trowbridge Assistant Director/Sound Designer: Nolan Moberly Production Designer: Kathleen Black Production Supervisor: Crystal Lee Stage Manager: Koh Lauren Quan Performers: Tess Benger, Kevin Bundy, Jakob Ehman, Michael Torontow Previous Next

Back 'In Seven Days' by Jordi Mand. World Premiere of a comedy about death A Co-production with Harold Green Jewish Theatre Company. Now onstage at London's Grand Theatre Credit: Dahlia Katz. Pictured: Mairi Babb and Ron Lea Joe Szekeres ‘A commendable and smart world premiere that tackles life and death issues with grace, wit and dignity.’ Philip Akin shares in his Director’s Programme Note that ‘In Seven Days’ is a play of fine balance between people, between families and the seriousness of life and the laughter of that same life. One of the characters from the play states: “Sometimes things change when they change.” Isn’t that the truth? The valued principle of upholding the preciousness of life has now flipped upside down on its head in playwright Jordi Mand’s story. That sacred gift can now be terminated immediately and efficiently with the consent of any adult individual and supporting medical team. Heavy stuff to consider for a world premiere, whether one approves or disproves of the action. The bottom line is: Does this delicate subject matter make for good theatre? Under Director Philip Akin’s skillful hands, this wonderful ensemble cast tells Mand’s affecting story with grace, wit and dignity. The production never feels rushed in its pacing. Set in present-day London, Ontario, thirty-year-old Rachel (Shaina Silver-Baird), a big-time successful Toronto lawyer, has returned home for Shabbat dinner to see her ill father, Sam (Ron Lea), who lives with his much younger girlfriend and partner Shelley (Mairi Babb). Rachel is very close to her father. Her personal life is in upheaval. She and her DJ boyfriend, Darren (Brendan McMurtry-Howlett), are estranged. He has moved out. Upon her arrival, Rachel brings six bags of poppy seed bagels, which sends Shelley into highly comical paranoia of frenzy because it’s her turn to bring snacks to temple. Very few people at the synagogue don’t care for the poppyseed bagels and prefer sesame seeds. Watching these two ladies bicker over the bagels' differences is a hilarious opening. The story takes a serious turn when Sam enters. His health has deteriorated over the last few years. Sam has been in remission from cancer twice; however, he’s finding it more and more challenging to carry on because he’s in constant pain. He has chosen to die by medically assisted death in seven days. Even his dear friend and Rabbi Eli (Ralph Small) finds it difficult to talk to Sam about his choice. ‘In Seven Days’ confronts the audience with a serious question – do loved ones try to change the minds of those who have chosen to travel this path as Rachel does, or should the wishes of the ailing Sam be honoured? Sean Mulchahy has created an extraordinary set design of the upscale living room in Sam and Shelley’s home, beautifully lit by designer Siobhán Sleath. Mulchahy has also selected appropriate clothing for each character, from Shelley’s designer-looking fashion to Darren’s DJ grunge t-shirt, torn jeans, and sneakers. Lyon Smith’s sound design is perfectly timed for a comical effect with telephones (yes, there is a landline in the kitchen) after Sam announces wanting to end his life. When serious and complicated moments rear their heads (as they often do), it’s vital to maintain as much of a genuinely compassionate perspective as possible. Akin continues to underscore this reminder gently many times throughout the play. At one point, a heated discussion ensues between Rachel and Shelley over her father’s care. One complication arises for Rachel: is Shelley only interested in Sam for what she can gain financially in this common-law relationship? That may sound harsh since personal emotions are running high, but it’s also a fair question for any family member to ask. Mairi Babb handles that moment with class and self-respect as Shelley, and the look on Shaina Silver-Baird’s face as Rachel indicates how genuinely touched she is with the response. Wonderful work. This strong ensemble cast is the reason to see the production. They perform in believable synchronicity, listen to each other genuinely and respond believably. At the end of each scene, Siobhán Sleath places one of the characters in the spotlight, which I found visually appealing. That character has been most affected by events from that scene. Thankfully, Ron Lea does not play Sam as curmudgeonly. Instead, his Sam heartrendingly shows gradual exhaustion in his physical stance on stage, and that’s not easy to do. At the top of the show, he walks with one cane, but as the seven days pass, the character saunters with two canes. Lea’s Sam is gruff and point-blank. He either likes or dislikes a person, as there’s no in-between. Sam likes to call the shot even though he may be wrong periodically. Rachel’s mother died while she and Sam were separated, but they never divorced. For that reason, Sam calls himself a widower. Well, legally speaking, he is. At first, Sam never cared for Rachel’s estranged boyfriend, Darren, because he wasn’t Jewish. That drew a few giggles from people sitting around me, but there’s more behind Sam's feelings about Darren. As Darren, Brendan McMurtry-Howlett is hesitant. He instinctively knows Sam doesn’t care for him because he’s not of the faith. Near the end of the play, that all changes. There is an amusing episode of ‘male bonding’ over a tub of ice cream shared between the two, where each begins to understand and accept the other for who he is. This moment does not become teary-eyed because, realistically, that’s not how men would behave. Instead, Lea and McMurtry-Howlett emanate tremendous respect for each other through their facial expressions. Once again, wonderful work to watch. The religious faith perspective behind this touchy issue is bravely handled in Ralph Small’s Rabbi Eli, one of Sam’s oldest friends since childhood. As a religious leader in the faith, Small’s Eli is kind and sympathetic and genuinely wants what’s best for his friend. However, there is also the humane side. Eli and Sam are old friends. Eli tries hard to listen and accept his friend’s request, but it’s tough. Again, a top-notch stage moment of respectful male conversation between Small and Lea is strongly shown. The two keep their emotions in check as men do. However, I noticed Small possibly wiping a tear from his eye. Smartly handled if so because the reference is felt without emotional overkill. There’s strength and resilience behind the two important women in Sam’s life. Shaina Silver-Baird’s Rachel loves her father dearly and only wants the best for him. She’s a fighter and wants Sam to ‘Rage, rage against the dying of the light’ as poet Dylan Thomas once wrote. Mairi Babb’s Shelley is every bit of a fighter who indeed reveals her strength, resilience and love for Sam. Babb’s Shelley is not a pushover, nevertheless. As mentioned earlier, that moment between the two women over the insinuation of a gold-digger becomes pure stage magic. And Another Thought: I always believed the Hippocratic Oath by medical professionals is to prevent disease whenever possible with obligations to all human beings, those of sound mind and body, and the infirm. ‘In Seven Days’ alters this thinking. The subject material of medically assisted death charters into a world of more unknowns post-pandemic. This is good theatre. If you get a chance to attend a talkback following the performance, I hope you walk away further enlightened about an issue in our country that will continue to pose challenges no matter what we may think. Running time: approximately one hour and 45 minutes with no interval. ‘In Seven Days’ runs until March 2 on the Spriet Stage at The Grand Theatre, 471 Richmond Street, London. For tickets, grandtheatre.com or call the Box Office at (519) 672-8800. IN SEVEN DAYS by Jordi Mand. The World Premiere A Co-Production with Harold Green Jewish Theatre Company Directed by Philip Akin Set & Costume Design: Sean Mulchahy Lighting Design: Siobhán Sleath Sound Design: Lyon Smith Religious Consultant: Rabbi Debra Dressler Stage Manager: Suzanne McArthur Performers: Mairi Babb, Ron Lea, Brendan McMurtry-Howlett, Shaina Silver-Baird, Ralph Small Previous Next

Back Kim Blackwell Self Isolated Artist --- Joe Szekeres What’s the old saying for ‘The Hyde House’? It’s worth the drive to Acton. Well, I’ll tell you, for the last two summers, it has been well worth the drive to 4th Line Theatre in Millbrook, Ontario to see some phenomenal surprises at this gem of an outdoor summer theatre. There’s good stuff going on here. I remember writing the first review for 4th Line the first summer I attended and figuratively kicked myself in the behind why I hadn’t made it out there before. I’m saddened at the fact audiences might not have the opportunity to be there this summer. Sigh. Managing Artistic Director, Kim Blackwell, is still hopeful there will be a change as the first show is only postponed. I am truly praying the theatre gods will change things for the better. I know it sounds corny, but 4th Line has been one of the highlights of my summer for the last two years, and I’ve always looked forward to it. And the fact that next summer will be the 30th anniversary makes this company’s work even that more special to attend. Thank you so much, Kim, for having this interview with me via email: 1. How have you been doing during this period of isolation and quarantine? Is your family doing well? Thanks for asking. I have been ok - no one in our family is sick so that is of course the best possible news. My daughter is doing school remotely and she like waking up at 8:55 am and going downstairs to the den to do school in her PJs. She loves that. My husband is working at home as well, as he works in IT. We miss seeing my parents and my husband’s mom but obviously everyone is being careful about staying at home as much as possible. As an interesting side note - I had a stress related heart issue in January of this year and now I laugh and say, “I thought my heart attack was going to be the biggest thing to happen in 2020.” :) We went to Mexico on March 10th and then the entire world went crazy and we had to fly back a week early. The stress of that was quite something. My husband, daughter and I spend days and days just seeing each other. That has been quite a time of getting to know each other all over again. We have all been so busy for several years and running around almost non-stop. This sudden stop has forced us to slow down and cook together, eat together and talk to each other more. 2. Tell me briefly about the shows that were to have been presented this summer at 4th Line. Were any of them in rehearsal or pre-production before the pandemic was declared and everything had to be shut down. Will these shows be a part of the 2021 summer slate? We have only postponed the first show so far. That show was Alex Poch-Goldin’s ‘The Great Shadow’ which was to be directed by Deb Williams. We have moved this world premiere play into the opening slot for the 2021 summer season - which will be our 30th anniversary season. The Board of Directors will make a decision about the fate of the 2nd show on May 22nd. That is Maja Ardal’s ‘Wishful Seeing’ based on the book of the same title by Janet Kellough. When the pandemic started to hit in February, we slowed all pre-production work right down to see how things would develop. As such, very little planning had started in terms of designers, etc. We had not gone into rehearsals. For either production In ‘The Great Shadow’, set in the roaring '20s, the stars of the silver screen are heading to Canada as Trenton, Ont. embarks on a quest to become Hollywood North. Sparks fly in this world première when small-town Ontario residents collide with the Hollywood elites. From Alex Poch-Goldin, the playwright who brought you ‘The Right Road to Pontypool’ and ‘The Bad Luck Bank Robbers’, ‘The Great Shadow’ is a raucous comedy, packed with romance and intrigue in the golden age of film. ‘Wishful Seeing’ tells the story of saddlebag preacher Thaddeus Lewis played by 4th Line founder and creative director Robert Winslow, who stumbles upon a murder mystery on the shores of Rice Lake. It's a historical thriller set in 1853, with a colourful cast of characters set against the backdrop of a rapidly growing pre-Confederation Canada, and reminiscent of the popular television series "Murdoch Mysteries." 3. What has been the most challenging part of the isolation and quarantine for you personally and professionally? Well, personally, it has been that we bought a house right before the lockdown and are moving to Peterborough in June of this year. And we are preparing to rent out our house in Toronto. This move, after living in Toronto for 20 years, would have been a wild ride in normal situation, now it is so crazy. And my daughter is missing the last 40% of grade eight, she’s been at the same small school for 10 years. She is missing the typical grade eight celebrations. My heart hurts for her. We miss hugging our parents - my husband and I - I worry about them being so isolated. My mom has Lewy Body dementia and the isolation and lack of mental stimulation is not good for her, especially. My parents are in a retirement residence in Peterborough and the staff are so vigilant about keeping COVID out of their home. So I am deeply grateful for all that they are doing but we really miss seeing them. And with my husband’s mom - she is alone in her home with our dog. Thankfully she has the company, but we miss her and we miss having our dog with us. Professionally, I am gutted by the loss of the first show of the season and the possibility of losing the entire season. I am sick for all the artists who have lost work. I worry about future of our theatre and theatre in general. 4. What have you been doing to keep yourself busy during this time of lockdown? There are lots of meetings around creating multiple different plans and budgets, meetings with staff, board, stakeholders. There is planning and programming decisions to make. We have created some initial online programming including Artist Talks and a reading. We will be developing more online work to keep engaged with audiences. I workout as much as I can. I am binging shows on Netflix, Prime and Crave. The best so far have been ‘Chernobyl’, ‘Once Were Brothers’ and revisiting ‘The Wire’. I am cooking and baking like crazy. I baked bread for the first time in about 20 years. I am trying to meditate and read. And some days I lay on the couch and am terribly sad about it all. I am mourning the many losses… 5. What advice would you give to other performing artists who are concerned about the impact of COVID-19? What words of advice would you give to the new graduates emerging from the theatre schools? Oh gosh - I am not sure I’m a good person to give anyone advice. I think we are going to be in this for the long haul. Theatre will be one of the last sectors to come back online during this pandemic. I think patience will be needed. I do think people will come back to the theatre eventually, because we all have an innate need to gather together and share stories and communal experiences. 6. Do you see anything positive coming out of this pandemic? I think people were in a severe state of burn-out going into the pandemic. I saw people being terribly frazzled and run off their feet. I think the pandemic has allowed people to stop and breath. Of course they have been saddled with many new stresses - financial and job related primarily. Perhaps coming out of this, people will be able to slow down and prioritize their lives and say no to things more often. 7. Do you believe or can you see if the Canadian performing arts scene will somehow be changed or impacted as a result of COVID – 19? I guess people are getting more savvy at digital interaction and disseminating their work in a digital platform. There is already so much digital work to chose from, it’s amazing. I think the pandemic will reaffirm that we all love the relationship between art and audiences which is at the core of our art practice. And we will be much more sensitive to that innate relationship when we can be together again. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts and comments about this? Are there any advantages or disadvantages? Will streaming/online/ You Tube performances be part of a ‘new normal’ for the live theatre/performing arts scene? See above - I know that government funders really want us to explore digital platforms for our art, especially in the short-term. And of course we will/are. But in the long term, theatre needs to be experienced live. That is what makes it transformational for audiences and artists alike. 9. As 4th Line Theatre’s Managing Artistic Director, where do you see the future of 4th Line headed as a result of this life changing event for all of us? Well, that is the $64,000 question isn’t it? I hope we return to a version of normal in the not too distant future. I hope to welcome audiences back to the farm as soon as it is safe. I think we, at 4th Line, are ideally suited to do that earlier than some theatres because we are outdoors, and we can achieve social distancing without much fuss. I worry about the theatre’s fiscal viability, of course. But I know that when we started the theatre in 1992, we started small and very community based. And if we have to, we can go back to that simplicity. 2021 will be our 30th season and I am trying to imagine that a return to our roots might not be the worst thing that ever happened. When audiences are ready to come back to the farm, we want to ensure we are there to welcome them. With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: 1. What is your favourite word? Daughter 2. What is your least favourite word? Taxes 3. What turns you on? Funny people 4. What turns you off? Lack of personal and professional integrity 5. What sound or noise do you love? It’s a tie between the sound of my daughter’s voice and the roar of an audience’s laughter. 6. What sound or noise bothers you? Many sounds - I have moderate misophonia - especially candies being unwrapped in the theatre. ;) 7. What is your favourite curse word? The ‘c’ word 😉 8. What profession, other than your own, would you have liked to attempt? Criminal law 9. What profession would you not like to do? Garbage Collector 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “ I know, I am surprised as you are!!!” To learn more about 4th Line Theatre, visit www.4thlinetheatre.on.ca . Previous Next

Back Allen Macinnis Toronto Profile Young People’s Theatre Facebook page. Joe Szekeres Sadly, as I write this, I never had the opportunity to meet Allen in my short time reviewing at Young People’s Theatre (YPT) for On Stage Blog. I only began reviewing for YPT in May 2019. I wished I had now. “Le sigh”, as my niece says. Why the glum sound? The company press release showcases Mr. MacInnis’ extensive forty-year theatrical career in which he has devoted nearly half of it (nineteen years, specifically) to YPT. I had no prior knowledge of the impact he has left on the face of Canadian theatre across the country most notably on the youngest audience members, including babies. However, as Executive Director Nancy Webster stated in this same release, Allen will first program YPT’s 2020-2021 season as well as direct before he steps down. It will be a “long good-bye in order to allow for a smooth transition into the company’s next chapter with a new artist at the helm.” I better get moving in YPT’s new season to track him down, to introduce myself, and to wish Allen well in the new chapter of his life. Hey, as a retired high school teacher, I will let him know that this new phase opens endless possibilities and further opportunities. But I’m certain he’s already aware of them. When I taught high school English and Dramatic Arts in the late 80s and 90s, I remember bringing my students to YPT especially if a play we were studying was to be performed live. I always believed it was important for students and young people to see the world of literature come alive dramatically. That was then. Today, Ontario schools have shifted tremendously in their development of meeting overall and specific curricula expectations. This year, in consideration of reconciliation to our Indigenous people, the YPT slate of productions was to have focused on the Seven Ancestral Teachings of the Anishinaabe. No one could have ever predicted how two major events this season – unrest in the provincially funded education system and the pandemic of COVID – 19 – would turn all live theatre seasons upside down. Despite these tumultuous months provincially, MacInnis’ artistic vision in joining YPT in 2002 has remained steady. YPT took these Ontario Ministry of Education expectations and fully brought them to fruition and focused on the emotional, social and intellectual development of young people which influenced all artistic choices as well as the company’s core values of purpose and audience. Additionally Mr. MacInnis, together with Executive Director Nancy Webster, established the company’s ‘Innovative Education & Participation Department, connecting every element of YPT’s educational work with the company’s professional productions. This job and calling taught Allen it’s “all about maintaining an authentic relationship with young people and the people who care about them.” Ah, there’s the key word right there – authenticity. As a retired schoolteacher, I also saw firsthand that young people truly do know when something or someone is authentic and genuine and when they’re not. You can’t pull a fast one on youth because they will automatically sense and know if it’s done. They just somehow do. I reviewed five YPT productions this year, four of them during the current upheaval of teacher unrest and threat of COVID-19: ‘Antigone’ (from the 2018-2019 season), ‘The Mush Hole’, ‘A Million Billion Pieces’, ‘The Adventures of Pinocchio’ and ‘The Jungle Book’. The last four believably, genuinely, authentically and realistically appealed to the diverse audiences of children and adults specifically in the following four out of seven teachings of the Anishinaabe – Love, Honesty, Truth and Respect. If anything, on a personal note of reflection, these four teachings became ironic reminders of how important it is to maintain them especially in this time of the COVID-19 pandemic in which we now find ourselves worldwide. I will most definitely track down Allen MacInnis to speak to him more about where he believes our Canadian theatre industry is headed. He is quoted as saying in the company press release that “it’s time for someone like me to get out of the way for a new generation, especially those who face barriers to accessing leadership roles.” You have me intrigued, Allen, about this statement. I can’t wait to pick your brain and to talk theatre with you. Young People’s Theatre can be found at 165 Front Street East, Toronto. Visit www.youngpeoplestheatre.org for further information or their Facebook page: Young People’s Theatre Previous Next

Back Vikram Dasgupta Canadian Chat Sandro Miller Joe Szekeres Normally I like to send interview questions to a guest a few days before, so the artist has a few days to think about how to formulate an answer. Independent film maker and Indo-Canadian Vikram Dasgupta told me he prefers an ‘off the cuff’ conversation because he said he is “all about documenting and documentary with genuine interaction” so he felt it was good he wasn’t prepared for the questions. Born in New Delhi, India, Vikram was born into a family of artists, musicians, dancers, and scientists. A gold medalist in Fine Arts from Kolkata University, Vikram came to Canada to pursue cinema. Some of the titles of his short films and documentaries sound interesting. For example, his short film, the multi award winning ‘Calcutta Taxi’ funded by Bravofact! and NFB Canada, was in the races for the Academy Awards in 2014 after winning the Oscar Qualifier at the Aspen ShortFest 2013 and was screened at over 50+ festivals worldwide. Vikram’s commercial on Paralympanians for the PanAm TO2015 entitled ‘Are you ready’ was nominated for the Cannes Lions in the Film Category. His debut feature documentary ‘Beyond Moving’ premiered at the HotDocs theatre in February 2020 with theatrical and VOD distribution through Blue Ice Docs. His upcoming feature documentary ‘Dog-Ma’ – a deeply personal journey about his mother feeding 500+ stray dogs on the streets of Delhi was set to release in summer 2021. We conducted our conversation via Zoom. Thank you so much for the conversation, Vikram: I see from your bio that was sent to me states that you come from a family of artists of all kinds and scientists, and yet the biggest influence on you as an artist was your grandmother’s storytelling. Tell me a little about your grandmother and the art of her storytelling. In my family we have such a beautiful, weird mix of people. My immediate family is 75 people. I’m raised from a really big village. My grandmother was the storyteller of that village, and she would just make even the most little of things seem spectacular. I remember when she first came to visit my uncle in the US, they visited Niagara Falls. When she returned, she told me about that story when she exited the car in the parking lot and she could hear this roaring sound of a monster. The more she was wondering what the sound was, the more my eyes widened as I was a kid hearing this story for the first time. She revealed how the monster was this healing body of water. I was blown away by it. When I finally visited Niagara Falls, my visit fell short of what her story was to me when I was a kid. For me, that is the power of storytelling, and that’s what I was raised on. I wanted to get into a profession and do for a living what my grandmother did. I wanted to tell stories as well. In my immediate family of 75 people, I grew up hearing stories and discussions for example about God versus the atom. I’m very lucky that way in that I grew up in that cross section of society, that I had access to all these stories and conversations. I had to be a filmmaker. I had to find the medium ground to tell without any kind of prejudices stories on either side. I feel it is all just one story and we have dissected them, kept them, and made boxes, but it is all just one story. Every story is a human story. That’s why my field of work is from Paralympians to dancers to musicians to orchestra. It doesn’t have that boundary. We don’t have that boundary, we created them. Stories see past these boundaries and unite us all. Stories make us feel that way. Your biography states that you are a gold medalist in Fine Arts from Kolkata University, and then you came to Canada to pursue cinema. Did you continue some of your studies in cinema when you came to Canada, or did you move right into cinematic work immediately? I actually studied Fine Arts because I wanted to be a storyteller. I had this conversation with my late father who passed away a few months ago. I told him I wanted to study film making and he said perhaps I should focus on one frame at a time instead of 24 frames per second, and perhaps to study fine arts and painting and understand the content of telling stories through one frame before you go and take cinema. That’s why I studied fine arts on the advice from my late father. I like water colours, drawing and painting to eventually be a filmmaker. It’s funny that this makes me connected to the artists with whom I work in all different fields. After my father’s passing, I returned to doing some painting. But I’ve not had the chance to do it for a long time as being a filmmaker is time consuming. When I came to Canada, I was here to study film. My post graduate work is here. I see that premiering on October 13 is the three-part performance film directed by you for Fall for Dance North. What specifically is it that film can capture regarding choreography, dance, and movement? This is a very loaded and yet a very good question. I will tell you what I try to hopefully bring. So, what is it that cinema can bring to dance that there is something for us to strive for? Personally, I feel that when I film dance I actually like to be in the dance and not from the way the audience watches it from the stage. When we watch a dance on a stage, we watch it in a perfectly set theatre and framed the way it is projected. I actually am with a camera and running around with the dancers and trying to give the audience and myself how does the dancer feel. For me, it’s always about that connection be it with someone feeding dogs in India, be it a Paralympian trying to strive for a gold medal, or be it with a dancer, I want to try and connect in the closest, subliminal way possible from an angle that the stage might not be able to give a vantage point to the audience and what they can see. And that’s what film making is all about as it offers the audience another vantage point to see, and what is normally portrayed to the audience. If I’m filming dance, then I’m going to film it from a vantage point that the audience cannot see. It’s a challenge because if the camera is going to be with the dancer, then we have to choreograph ourselves on the choreography of the dancers, and we have to make sure that at the end of it, the filmmaker has to ensure there is not any visible footprint from him/her/them. Eventually, you cannot see the hand of the director and nobody should know that it is filmed. The second we are too self aware of the presence of the filmmaker we take away from the actual creation of the dance and the dancer. So it’s a very thin line for the filmmaker in deciding how to be there and not be there. I never want to see myself in it. Every documentary I film, I don’t want to see myself in it. I hate it when I can see myself because it looks crafted, it looks like a reality show and I don’t want to see myself in anything. If I do it right, then I disappear and that’s my goal. The goal is to allow the art to be in its truest form. If I can do that right, then I’m on the right path. When I was filming Siphe for my documentary ‘Beyond Moving’, he was developing the choreography and we were filming as he was developing it. We developed our movements in the way Siphe was developing the choreography. We grew with Siphe as he developed the choreography. We were discovering our movements with the camera as Siphe was discovering his movements, and that is the synergy that helps us to disappear. On a side note, my aunt is an extremely celebrated Indian classical dancer. She won the President’s award; she’s a big deal, but I’ve never filmed Indian dance before. It’s been interesting for me coming back home to film classical Indian dance form. My aunt has always me to be a dancer as a kid, and I told her I don’t want to be a dancer. She would make fun of me now because I am filming dance. What drew you to want to film this kind of material? People. I fall in love with people, and I just want to understand and learn about them. I work with people that I love and, for me, that love really shines on the screen in whatever the field whether it be dance, athletics. I’m doing a film about widows as there are about 30,000 widows who live in India. Tell me about your connections with Fall for Dance North in Toronto and how you came about to relate and connected to them. I fell into filming dance for about 7-8 years. I never used to film it, but I fell into it during the Pan Am Games. I filmed Peggy Baker and then at Canada’s National Ballet School I ended up filming Siphe November for 7 years which made the documentary. Ilter Ibraimhoff, Artistic Director for Fall for Dance North, saw the documentary from the National Ballet School of Canada and asked if I wanted to do a piece with Siphe and his brother because the documentary ends with Siphe’s desire to work with his brother on the world stage. So, I said to Ilter I would love to do it, but I couldn’t do it in the months he wanted as I was in India. Ilter then said that since I was in India if I was going to be near Bangalore. I said yes that’s where my late father was going to pick me up from. There’s a dance village in Bangalore called Nrityagram, and maybe I could film there. So that’s how the second project came about. The third one was with Aszure Barton in Cuba. That’s how I got into Fall for Dance North. While I was doing a promotional piece for the National Ballet School one day with Siphe, I fell in love with this kid. The way he looked at the camera, he looks through the lens and it looked like Siphe was seeing our soul. Both my cinematographer and I thought, “Wow, this kid, Siphe, is so profound to be able to do that.” We went to South Africa as well to film Siphe. We stayed with his mother, met his brother who’s amazing and another brilliant dancer (and whom you will see in the program). Their story became a part of my story and I started recording the journey. This is how I made ‘Beyond Moving’. Ilter saw the film and ‘Beyond Moving’ concludes with a quote from Siphe saying that he looks forward to that day he can share the stage with his brother and Fall for Dance North wanted to provide that for the first time. This process has been organic and unplanned and that’s how I like to work. I’m intrigued by the title +(DIX) – how is it pronounced and the exploration of the Odysseus myth about journeying far but always desiring to return home. Tell me about the rehearsal process so far into the performance on September 23. I’ve been involved in the rehearsal process for the last few weeks. We’ve been working with the dancers and trying to understand the best way because it also comes philosophically from a point of Guillaume Côté watching the piece emerge. There are instances in the filming that I would like to show Guillaume when he has left the stage and gone off, and I would like to show from his perspective watching the dancers from afar. Because I’m filming the whole theatre, I want the theatre to also be a character in the piece. Let’s see how far we can achieve it. I haven’t had a great deal of training in the art of dance and movement. I’ve noticed many of the professional dance companies want to encourage people like myself and others who haven’t had any experience at all in the art of dance and movement to come watch and to experience a production. What would you say to individuals like me, others who have very little background who have little understanding of movement and dance, why is it important for us to watch, through cinema, the art of dance. Do you think that will allow us to accomplish something? This is a lifetime of a question. I think it boils down to not just the immediate question of how people can appreciate dance through cinema. It’s a much deeper and philosophical question regarding what exactly is the purpose of art. I think that is the bigger question. Why art and why is it important? I think I was very lucky that way being raised in art. I didn’t realize that art is a thing because that’s what happens when you’re raised in art. I never realized that dance is for dancers; painting is for painters; singing is for singers; science is for scientists. I never knew that. And I think we lack that because we in society put things in certain boxes and that you have to be a certain kind of person to appreciate art. I don’t think so. I think understanding and appreciating art is comparable to understanding and appreciating life. Everyone needs to do that, and everyone should be born in it. That should be a part of our inherent diet of ideas. If we are to think of it that way, then that makes sense why no matter where you are or who you are, where you’re from, what race, what religion, what part of hierarchy or class, we all need to understand about life. We all need to figure out why we’re here. It’s not an immediate or direct question. It’s such a bigger universal question. I’ve been dealing with a lot of existential questions and things about my late father’s passing away, and there are times when everything seems absolutely pointless and immediate. And there are other times when things have a purpose and things go far beyond my existence. Art kind of rounds off the edges. It’s that nice, warm embrace that we all need and want after a hard day of life’s reality check. It makes you feel at home in whatever you are and wherever you need to be. That’s why art, dance, cinema or poetry is important as it allows us to be honest as to who we are. Previous Next

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

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

Back 'Million Dollar Quartet' Book by Colin Escott and Floyd Mutrux Presented by Tweed and Company in co-production with Dreamco Theatre and now onstage at the Whitby Centennial Building Credit: Heather Cardle Photography. Pictured: Liam Lynch as Elvis Presley Joe Szekeres VOICE CHOICE “A celebration of iconic rock and roll numbers performed with joy, commitment and heart. Some intense and believable dramatic moments of the cutthroat music industry propel this ‘Million Dollar Quartet’ beyond the simple jukebox musical format.” Near the end of this standing ovation-worthy production of ‘Million Dollar Quartet,’ Carl Perkins tells the group gathered on stage: “Don’t forget what we have all done here tonight.” To this stellar company now on stage at the Whitby Centennial Building, I certainly won’t forget the joy, the grit and the heart of what you brought to me tonight. ‘Million Dollar Quartet’ recounts the evening of December 4, 1956, at the dingy Sun recording studio in Memphis. Colin Escott and Floyd Mutrux’s Book dramatizes the recording session of rock and roll/rockabilly stars Carl Perkins (Griffin Hewitt), Elvis Presley (Liam Lynch), Johnny Cash (Alex Smith) and Jerry Lee Lewis (Shaemus Swets). Sun Records producer Sam Phillips (Jacob James) becomes the story’s narrator as he is the one who brings these four rock music titans together for this one incredible night. There is also Elvis’s fictional girlfriend, Dyanne (Jessica Wilson). Backup musicians Carl Perkins’ older sister Jay (Summer Kodama) on bass and Fluke Daniel Verdecchia (drums) are keenly along for the ride. Along with a fine musical underscoring, Kodama and Verdecchia constantly listen and watch what’s happening while never upstaging the moment. Escott and Mutrux probably took some liberties with what occurred on that recording night for theatrical purposes, and that’s perfectly fine with me. Tweed and Company and Dreamco’s ‘Million Dollar Quartet’ is pure joy and heart, performed with commitment and believability. Mary Williams (Scenic Painter), Jocelyn Perry (Costume Designer) and Alaynah deKleine (Technical Director, Lighting and Sound Design) magically transport the audience back to 1956. Williams creates a sense of tightness in the space within the studio. The era has been carefully recreated with attention paid to detail in many of the visual items, from Perry’s tight-fitting skirts and blouses, gelled hair, baggy pants and rolled-sleeved short shirts right down to prop items such as the gold records meticulously placed on the back wall. deKleine’s lighting purposefully focuses attention on where it needs to be, especially in those downstage moments when the characters smoke a cigarette and converse outside the studio. Spoken dialogue can be heard in the auditorium. There were moments when I couldn’t hear all the lyrics. However, that didn’t bother me as I already knew them. It didn’t seem to bother some of the audience sitting around me either, as several nodded their heads in keeping time with the music. Dreamco Artistic Director Phil Nero directs the production with class, style, and a strong sense of dramatic purpose why this story needs to be told. He keeps the pacing briskly moving along, and it never feels rushed. In his Program Note, he writes that rock and roll’s inception is complicated and, in many ways, unjust. Still, it gave birth to a sound that has been the soundtrack to numerous generations and a foundation for everything that followed. Nero’s assessment is entirely apropos. The vocal numbers remain terrific under Music Director Peter Aylin’s assured hands. Jessica Wilson’s rendition of ‘Fever’ becomes sultry and sexy. Alex Smith’s ‘Folsom Prison Blues’ uncannily sounds like Johnny Cash. Liam Lynch’s swivelling and gyrating-hipped Elvis Presley accentuates his apt timing in ‘Hound Dog.’ Shaemus Swets’ rendition of ‘Great Balls of Fire’ as Jerry Lee Lewis smokes the Centennial Theatre stage. Griffin Hewitt’s ‘See You Later Alligator’ comes dangerously close to blowing the roof off the Centennial Building. And the four-part harmonies in some of the songs! They're perfection to my ears. I closed my eyes, listened, and enjoyed it for a few seconds. The performances are memorable and unique. Nero and his cast did not merely create carbon copies of these rock and roll giants. Yes, there are hints and shades of some of their trademark moves and looks, but Nero allows his actors to make choices that naturally fit the moment. Jacob James’ Sam Phillips powerfully conveys a sense of purpose and reason for his belief in the talent of these four artists. James’s Sam has a lot riding on this recording session, namely his reputation as a producer, as he tries to decide what to do regarding what another record company has offered him. Dressed in black pants, shirt, and shoes, Alex Smith finely captures a brooding Johnny Cash. That becomes intrinsically clear when we learn what’s happening between him and Phillips. Liam Lynch nicely finds that balance in his performance as Elvis Presley. We see the gentlemanly Elvis in the way he behaves with Dyanne. We also see the humble Elvis in the way he speaks about his relationship with his mother and manager, Colonel Tom Parker. The sometimes-simmering tension between Shaemus Swets’ Jerry Lee Lewis and Griffin Hewitt’s Carl Perkins remains taut and suspenseful and never once ventures over the top into histrionics. Swets and Hewitt inherently know when to build the tension. I thought there would have been fisticuffs a couple of times. Final Thoughts: This opening night performance is an absolute joy. The downside? It’s only running until September 22. Last night and this morning, I wondered if I should give the production a VOICE CHOICE because it is so good. Let’s say near the end of the production I knew the answer. Swets and Hewitt physically do something on stage that makes this ‘Million Dollar Quartet’ a VOICE CHOICE. Please go and see it. Running time: approximately one hour and fifty minutes with one interval/intermission. ‘Million Dollar Quartet’ runs until September 22 at the Whitby Centennial Building, 416 Centre Street South. For tickets, visit www.dreamcotheatre.com . TWEED AND COMPANY in co-production with DREAMCO THEATRE present ‘MILLION DOLLAR QUARTET’ Book by Colin Escott and Floyd Mutrux Directed by Phil Nero Musical Direction: Peter Aylin Technical Director, Lighting and Sound Design: Alaynah deKleine Costume Designer: Jocelyn Perry Scenic Painter and Production Assistant: Mary Williams Stage Manager: Emily Mewett Performers: Griffin Hewitt, Jacob James, Summer Kodama, Liam Lynch, Alex Smith, Shaemus Swets, Daniel Verdecchia, Jessica Wilson. Previous Next

Back Hannah Moscovitch The Self Isolated Artist Alejandro Santiago Joe Szekeres I have either read or heard of Hannah’s name over the years in the entertainment section of the newspaper (is there such a section anymore?) or in discussion with others who have a keen interest in Canadian theatre. When I sat on play reading committees for various amateur theatre groups years ago, I can’t recall if I had read anything by Hannah or not. After reviewing two extraordinarily fine productions of her plays ‘Sexual Misconduct of the Middle Classes ‘and ‘Old Stock: A Refugee Love Story’ at Toronto’s Tarragon Theatre, I certainly want to keep aware of Hannah’s upcoming works. I found both productions exceptionally theatrical while crossing boundaries of all sorts with a fine mixture of psychological drama added to pepper character development. While a prolific and exceptional playwright, Hannah is also a TV writer (‘X Company’ which I did watch on CBC) and librettist. Regretfully I bow my head as I did not have the chance to see ‘The Secret Life of a Mother’ or ‘Bunny’ where I heard artist Maev Beaty’s stunning work was captured exquisitely. I hope and trust there is an opportunity to see both works in the future once we’re all allowed back in the theatre. Hannah and I conducted our interview via email: 1. It has been nearing three months now that we have been under this lockdown. How have you been doing during this period of isolation and quarantine. How has your immediate family been doing? We are good. None of us are sick. We have money. We live in Nova Scotia where there are a small number of people – it’s easy to stay isolated here. My work is solitary for long stretches so I am used to being alone. 2. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? I’ve had, I think, seven shows cancelled or postponed so far. New productions of ‘Sexual Misconduct of the Middle Classes’ in Edmonton and Melbourne Australia and international tours of ‘Old Stock: A Refugee Love Story’. A couple of workshops of new projects have been pushed back – ‘Post-Democracy at PTE’ and ‘Ten Days in a Madhouse’ at Opera Philadelphia. More will be cancelled or postponed soon, I think. But there’s a worldwide pandemic so, uh, that seems like the right choice. 3. What has been the most difficult and/or challenging element of this period of isolation for you? I have half the work time because my son is home. He’s only four. There are still big expectations on me to meet deadlines, as though I don’t have a kid at home, so that’s been harder, I feel crushed by work. On the bright side, I have work. 4. What have you been doing to keep yourself busy during this time of lockdown? I think this question applies to people without children. I am busy all the time. There is not a minute I’m awake that I am not working flat out or with my son. It feels relentless at times, in fact. It’s complicated because I love my son and my life, but it’s hard not to let the work pressure colour what is actually beautiful time with my son. Anyway, I am not lonely or bored or in need of distracting activity. 5. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? Jeez. Pandemic circumstances are new, so I can’t draw on any experience or theories of mine to offer advice or consolation. 6. Do you see anything positive stemming from this pandemic? I hope that empiricism and science and rigorous truth-making systems will be re-established, and that the right wing won’t so breezily make up facts like “coronavirus is a hoax”. 7. In your estimation and informed opinion, will the Canadian performing arts scene somehow be changed or impacted as a result of COVID – 19? I think it already has. There are theatre companies that are going bankrupt. There are artists who won’t be able to hold out, financially, and will opt out of this industry, taking their talents with them. There are established artists who are turning to other mediums – publishing for instance – to get through. Artistic Directors speak regretfully about how new works will be stalled. Listen, there may be good outcomes too – we aren’t at that moment yet. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts about this format presentation? Any advantages to doing this? Disadvantages? Are you participating or will you be participating in this presentation format soon? I gave a 20-minute talk on this recently for Canadian Stage. The short version is I think it makes sense to maintain audience bases via archivals. I’m interested in live online work, and I have no doubt iterations of it will blow my mind. I do also think theatre people going online live could consult with people in the TV industry who are more familiar with the medium and get good help. 9. What is it about the performing arts scene you still love given all the change, the confusion and the drama surrounding the theatre community from Covid 19? I love that it’s a supportive community, and that everyone is managing to be kind in a difficult situation. With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he asked his guests at the conclusion of his interviews: a. What is your favourite word? Love. b. What is your least favourite word? Words used to demean people. c. What turns you on? I’ve given long and short ones below, Joe. (Note: I had no issue with this, especially when you read Hannah’s answer to question d.) Short Answer: Right now I’m into the TV show Normal People. Long Answer: Right now I’m into the TV show Normal People, and I have been listening to Connie Walker’s podcast which is so extraordinarily good – Missing and Murdered: Finding Cleo and Who Killed Alberta Willians, and I just read “My Year of Rest and Relaxation” by Ottessa Mohsfegh which I loved. d. What turns you off? Short Answer: Right now? The murder of George Floyd by Minnesota police officers. Long Answer: I’m turned off by reconciliation in Canada without justice or a reckoning for Indigenous communities. I’m Jewish, and we don’t believe in forgiveness without justice – that’s a Christian concept. I’m turned off by the failure in Canada to take responsibility for the genocides and atrocities of the past and the present on a systemic level. I love Canada, and so I’d like Canada to be better, I’d like our country not to just pay lip service to taking responsibility. I want us to actually reckon with our fucked up prisons, fucked up child welfare systems, fucked up police forces where racism is entrenched, fucked up drinking water, fucked up governments responses and our overt and insidious racism towards Indigenous people. I feel strongly about it because I come from a people against whom atrocities and genocides have been committed. I can’t distance myself from it. And listen I want to say I didn’t know very much about what was going on with Indigenous communities until the last few years – and it took me a while to really get the full scope of the horror, and to wrestle with my own false ideas about Canada, so. e. What sound or noise do you love? The wind. In particular on Northern Atlantic beaches. f. What sound or noise bothers you? It distresses me, on a physical level, when babies cry. Even though my son is four now when I hear that sound I get ready to run towards it. g. What is your favourite curse word? Fuck. h. What profession, other than your own, would you have liked to attempt? War journalism. i. What profession would you not like to do? Vermin control. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? I guess if I think about God as being my mother and father, and my sister, and my husband and my son, combined, I can say I’d like them to say to me: “Hannah, I love you and you’re a good person. You have made my life good. You’ve done your part. It’s going to be okay.” Previous Next

Back 'The Last Epistle of Tightrope Time' by Walter Borden Now onstage at Tarragon Theatre Stoo Metz. Taken from Tarragon's Facebook page Joe Szekeres A fine lesson in storytelling from a highly respected performing artist I spoke with Walter Borden a few weeks ago when the production was in its final rehearsal stages before the Toronto premiere at Tarragon. He stated that ‘Epistle’ reminds him of Maya Angelou’s: “We are more alike than unalike.” Because we are like this, the human spirit has resiliency and insurgency. I still think about this response because it’s so simple on the surface, but it’s also so complex. This complexity about the human spirit in Borden’s ‘The Last Epistle of Tightrope Time’ is one I find both a struggle and a fascination to understand. It’s a struggle because what comes clear to me about this Toronto production is my realization of how difficult it must have been to be both black and gay in 1970 Nova Scotia. It’s also fascinating because Borden and Director Peter Hinton-Davis treat the complex show material as brand new to them in Toronto. Along with the show’s creative team, they want to revisit the material again. It’s fascinating to me that artists will not remain complacent in their careers. This story is not Walter Borden’s. His indomitable task is sharing a solo story featuring ten characters exploring homosexuality from a Black perspective that remains simple and complex. For example, there are moments where the text’s rather simple but blunt language makes me feel highly uncomfortable. At one point, Borden directly mocks black music artists who wear lots of bling and refer to their women as ‘ho’s’. To hear that latter term has always bothered me, no matter the context. There is another moment when Borden describes a woman who uses sex to make a living when she speaks to a welfare officer. How wonderfully cagey and ironic when we learn the child of this woman grows up and becomes successful in life. Once again, the complexity of how this woman was treated made me ill at ease. Nevertheless, good theatre should make us question, feel ill at ease, and uncomfortable. And that it does thanks to the strongly inspired production under Peter Hinton-Davis’s direction, Andy Moro’s set, costume and projection design and Adrienne Danrich O’Neill’s sound design. Walter told me in his interview how this gifted artistic team confirmed that Peter could see the layers of meaning in the text the first time he read it. The other strength of the production is Walter Borden’s illuminating performance. He brings these ten characters to life sometimes whimsically and other times in a matter-of-fact manner. At the top of the show, Walter enters from the back of the auditorium in a parking lot attendant’s uniform which is rather clever. There is a parking lot booth centre stage. To me, it appears that a parking lot attendant would meet and see all kinds of people. Borden becomes these characters with a graceful fluidity that is seamless in transition. I could clearly hear every word enunciated which is a bonus in seeing these characters come to life. Again, when he first appears as the parking lot attendant, Walter enters from the back of the auditorium like a senior citizen with hunched shoulders, carrying his lunch box, and turning on the operatic music which blares from his booth. When he speaks about the ‘ho’s’ Borden wears the bling on his fingers which immediately captured my eye because they’re dazzling. Costumes and props have been placed on the stage which assist Walter in becoming the various characters. Pay close attention to the moment when Walter pulls out the quilt and lovingly places it on the stage for the audience to admire. The lighting seamlessly makes the colours dazzle. However, it’s not the colours Borden wants us to admire. Instead, he makes a comment about the stitching involved in the making of the quilt that is of utmost importance. Again, fascinating. Final Comments: A joy to watch one of Canada’s finest artists at work on the stage. Running time: approximately 90 minutes with no intermission The production runs until October 15 at Tarragon Theatre, 30 Bridgman Avenue, Toronto. For tickets, call the Box Office at (416) 531-1827 or visit tarragontheatre.com for more information. A Tarragon Theatre/NAC presentation of the NAC/Neptune Theatre production The Toronto Premiere of ‘The Last Epistle of Tightrope Time’ Written and Performed by Walter Borden Directed by Peter Hinton-Davis Set, Costume, Lighting and Projection Designer: Andy Moro Sound Designer and Composer: Adrienne Danrich O’Neill Sound Coordinator: Lyon Smith Stage Manager: Fiona Jones Previous Next BACK TO TOP

Back Philip Riccio Moving Forward The Company Theatre website Joe Szekeres When I reviewed The Company Theatre’s website, I saw some very influential members of the professional Canadian theatre industry, and I invite all of you to peruse the site when you have a chance and see what’s going on with them. I wish to extend my sincere appreciation to the Co-Artistic Director of The Company Theatre, Philip Riccio, for taking the time from his schedule to chat with me and to let all of us know where and how The Theatre Company will move forward from this pandemic when it is deemed safe. Philip attended the Etobicoke School for the Arts in Toronto, an Arts High School, where he majored in Drama. He then attended George Brown. I never had the opportunity to see ‘Jerusalem’ in 2018 at Crow’s Theatre, staged by Outside the March and Company Theatre. And yes, I am doing the proverbial kicking myself in the behind for missing it as I heard it was THE play to see that year. Philip was in that production which was directed by Mitchell Cushman whom I had already interviewed earlier. A note to myself: don’t be missing out on these kick ass productions in the future. Philip and I held our conversation via Zoom. Thanks again, Phil, for the wonderful talk and discussion: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? Right now, I feel pretty Zen about all of it. I feel as if people prepared us and predicted it and that the fall and winter would get worse. I feel mentally that I was prepared for all this. The hardest time for me was probably when it first happened, I thought in my mind that it would last three months or so. And then in the summer the reality sunk in that this was going to be much, much longer than we thought. I feel like I’m past that phase. Obviously, I’m just worried for everyone’s health and that as few people die from this virus as possible, and that our communities can stay as safe as possible through the winter. Hopefully, knock on wood and fingers crossed, I’m hoping next year we will see improvement. I am really hopeful that towards the end of next year that we are returning to some semblance of life and what it was like before this pandemic. I think it’s human nature on every level that we’re probably giving ourselves a date, perhaps 2022, as Ms. Arnaz said. No one really knows, but I’m hopeful and trying to stay optimistic that people are saying that a vaccine will be available sometime early next year and that it will take a good part of the year to get it distributed. It feels like a realistic timeline for some positive news. Up until the pandemic, The Company Theatre has only produced plays that already existed, mostly international contemporary themes, and we’ve launched a new initiative in the search for new plays and new voices about the struggles of this time, and how we’re going to come out of it. How has your immediate family been doing during these last eight months? I feel pretty lucky knock on wood that we’re all healthy. My grandfather did get Covid and he’s 90. He’s not in the greatest health but he somehow survived it. It kind of spoke to the randomness of this disease where some people who are younger and healthy can’t survive it,and some who you think won’t survive it are able to do so somehow. My parents are getting up there in age. I have eight siblings so it’s navigating the internal workings of the family such as who gets to hang out with the parents and when, making sure we’re all on the same page and how careful we’re all being. Certainly, we’ve been lucky overall for sure. My grandmother on my dad’s side just turned 100. She’s in a nursing home. It was nice and everyone came. She has about 100 grandchildren and great grandchildren. We did what we could. We were able to wave to her when she was at her window. It was kind of sad that we weren’t able to have a proper celebration for that, but she’s still doing well. Hopefully when we’re past this we can celebrate with her. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Certainly, for me professionally which is also personal is The Company Theatre and having to postpone what our next production was going to be. The uncertainty wondering if we would be able to survive this as a company. Mostly for the people who work for us and the artists whom we wouldn’t have the chance to employ. Personally, I actually don’t mind and find it easy to find other interests and there was something nice about being forced to put a pause on theatre which has been such a big focus for me over the years, and let my brain wander into other random things. It was mostly just being worried about the community and the long-term effects to the community are going to be. I don’t think we know what they are going to be yet. Certainly, I’m sure there’s hardship going on within the community. That’s probably the hardest part. 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 prepping as we usually produce a show yearish, and so our next show wasn’t going to be until this winter. We should have been starting rehearsals for this upcoming January. Because we are a small company, it is about a year of prep for us. We were casting and doing a lot of the preliminary prep work in set design and marketing for that production. That one will at least be postponed a year. We’re planning to do that one around January/February 2022 instead of 2021. Not just being able to plan and all the conversations around possible productions and activities we were thinking of having have been put on hold. What have you been doing to keep yourself busy during this time? (Philip laughs when I asked him where his mind has wandered to during this time away from theatre) I’d be even too embarrassed…honestly, I’ve just been randomly obsessing and learning about the things that are the complete opposite of the arts, of acting. I find that when I was a young artist, I was so obsessed and narrowminded as all I cared about was theatre and story telling. That lasted for years. Now that I’m a bit older, there is a sense that this pause has made me realize there are lots of interesting things out there. While I was busy zeroing and narrowly focusing in on this one thing, I didn’t appreciate how much creativity and how many other worlds there are filled with people who are really passionate and creative about something other than the arts. That’s been really interesting to dip my toe into these different worlds and get to know people in these other worlds and see how similar they are to something like theatre where there are a group of people who are gathered around something they are passionate about. At the same time because I have The Company Theatre, we’ve also launched ‘Intermission’ magazine about 4 years ago, which is an online theatre magazine. There has still been a lot of work around how do we keep the company afloat, what should the focus of the company be, and what should ‘Intermission’ do during this shutdown. How can ‘Intermission’ support the community during this time? I’ve been splitting my focus a bit between making sure Company Theatre and ‘Intermission’ magazine are okay and trying to find ways to support the community through those outlets and giving myself permission to explore worlds that are completely outside of the arts which I actually think will end up informing my work in the arts moving forward. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty? I definitely feel bad for them as it is interesting this once in a lifetime occurrence of the pandemic which hits where you are in your career and life. It really does affect how you experience it, and I do feel badly for those young artists. My advice to them would be exactly the same as it would be before the pandemic. If I had advice for myself as a younger artist, it would be to expand my interests and don’t be so narrowly focused on acting and theatre or storytelling. I think anything else you can learn or experience will just inform you as an artist and will make you better as an artist. As much as possible, use this time to do just that and create habits that will allow you to have a healthy relationship and balance when you do return to a focus on your career. The arts can be an all-consuming lifestyle. It can be a really harsh lifestyle at times with its many ups and downs. Having other interests and being okay with the arts not being around, being able to develop those skills early in your career will serve you positively. It’s hard to tell young artists that. That’s something that comes inevitably with age and experience. For the young people who are able to hear that and take it in, it’s true that they shouldn’t worry. If they’re meant to be actors or theatre artists, and that’s their greatest passion, they will come back and pursue it another time. Just don’t waste this time right now by worrying about it. Focus and learn other things and that will just make you a more interesting and compelling performer anyway. Trust that. Do you see anything positive stemming from Covid 19? I really do, actually. I’ve a weird kind of relationship with it all. I worry about the people and the individuals and the artists, especially people I’ve grown close to over the years. But from a macro level, I think there’s something very positive about a pause on theatre. It will allow audiences to miss theatre and to remind them just how important and how profound a live experience can be in a communal watching of a story and taking it in together. People will crave that in a way that you can only crave something when it’s gone away. For artists, our own relationship with theatre will have changed. It can be tiring, exhausting. There are many positives about it, but within the professional theatrical community you can forget as a job what you loved about theatre, what’s special about it. I think there’s going to be a renewed sense of passion for theatre since we’re going to be away from it for a long time. I also think it’s going to be an inevitable cleansing. It’s going to be a long time before it comes back that I’m sure there will be artists who don’t come back to it or who have moved on to other things or have found other ways to live and don’t want to come back. Obviously, there’s a huge social change happening at the same time while we’re on pause. That social change has clearly broken through, perceptions have shifted through this time in a way that is going to bring profound change to our community when we come back. It’s almost as if we’re coming back to a clean slate. It will be a kind of Theatre 2.0 where there will always be a before Covid and a post Covid. So, whatever that post Covid looks like, the leaders within the community and all the artists in the community are thinking about that. When it returns, it will return fresh and new in ways that I don’t know that we know yet. But I’m confident that will happen. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? With ‘The Company Theatre’, we’ve launched a new play development for the first time. For us, it was really about how we can support the community. I really feel like if we’re able to give and provide support to artists who want to use this time to write and create the stories we’re going to tell on stages after this, than there could be a real golden age of Canadian plays that will come out of all this. We did get in this cycle of development where we would discover a writer and they would have a lot of time to work on their first play and that would be successful. There would be so many theatres who would want the next play from the writer that there is less time for development at that time. Every play after that gets less development time so that’s not the best kind of development pipeline. Now, essentially, we will have years of our great theatre artists hopefully getting to spend some time on creating what their next show will be. I have to mention that is going to be a great thing with the caveat if we can support them to do that and the artist is not worrying about having to pay their grocery bill. I don’t think we’ll know exactly what the lasting impacts are as of yet. I think there will be lots of things that will change about the theatre community itself and that inevitably will change the work that gets produced. Our relationship to it will be different. Every industry is going to be thinking about how they do work now. All of this experimenting online will not go away after Covid. That will remain in some way as part of theatre. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I’m kind of on both sides of it. Personally, as a performer, I have no interest and as a director I have no interest. For Company Theatre we quickly thought about it, but it wasn’t right for us. We’re so much about the live experience and what live performance is versus other mediums. That’s really what we do and what we’re passionate about. It felt inauthentic for us to pursue it in any way. Most actors who perform on theatre stages in this country also perform in film and on tv, and I love film and tv as an art form. It felt like any of my time or effort was better served for me personally more kind of traditional film and television than trying to turn theatre into streaming. On the ‘Intermission’ magazine side, because ‘Intermission’ serves the whole community, we have been trying to find ways to embrace and support that work. We’re about to launch an initiative so we will use ‘Intermission’ to broadcast streamed performances – some of them will be live, some of them will be re-broadcasts of what theatres have already done to give a second life to it. In terms of compensation, there’s really no financial model around it. At least for me, it will serve us better to try and get support from the people who support us whether that’s the public funders or our main supporters, our donors, corporate supporters and then trying to sell directly to patrons and audiences at this point. Now I know that other people in the community think much differently, and I know there’s a lot of pressure to get some revenue out of these streaming performances. It’s a new art form and I think we would do better long term to offer that to audiences for free, see what the reaction is, build some habit around them consuming theatre in this way and then see if we can build from there. I think if we try to charge right away, I just don’t know what kind of success people will have with that model and whether it will be worth the small amount of revenue that we might be able to bring in. We’re going to shoot ourselves in the foot if we’re trying to grow this as an aspect of theatre. One of the exciting things about this for me and ‘Intermission’ is the fact theatre is so localized and how the streaming allows us to show the performance in Alberta, Vancouver or wherever. That’s exciting and how to compensate artists for their time is a tricky one. It’s just the reality around it if there is a sustainable financial model for it. I don’t know, but if we can get support from different streams, I definitely think that financial support should go to the artists for sure as much as possible. Ultimately we’re all in this together, and if there is a desire to create this online theatre world, there’s going to be some sacrifice from all of us for the time and effort and resources behind it without expecting much back in return. Despite all this fraught tension, drama and confusion, what is it about performing that Covid will never destroy for you? To me it’s about connection and community. Theatre is about building community and that’s what we’re being reminded of during this absence. At its best, that’s what live performance can do. It can make you feel more connected to your loved ones, to you, to the human condition. Most of these are all to do with connection to others. I’m hopeful it will give us a better appreciation for all that. To learn more about The Company Theatre, visit their website: www.companytheatre.ca , Facebook page: The Company Theatre, Twitter: @companytheatre. To learn more about Intermission magazine, visit their website: www.intermissionmagazine.ca , their Facebook page: Intermission, Twitter: @intermissionmag. Previous Next

Back Steve Ross's LIFE WITHOUT to be read February 29 by NEW STAGES in Peterborough Market Hall Performing Arts Centre, 140 Charlotte Street, Peterborough, Ontario. Courtesy of Steve Ross Joe Szekeres I look forward to any opportunity to speak with the down-to-earth, unpretentious Steve Ross. He is just one hell of a nice guy who quickly puts people at ease. Sometimes, we need to say this to other people. His response: “Thank you. Well, I was raised by good people. It’s a conscious effort.” Steve’s back at Stratford now in rehearsals for ‘La Cage Aux Folles’ to play Albin and in ‘Something Rotten’ to play Shylock. ‘The Merchant of Venice’ has always been his favourite Shakespearean play. He will probably never get the chance to play Shylock, so he’s quite content to go the route of musical theatre to play the role high school students will always remember. ‘Something Rotten’ is pre-Merchant days. Shylock is the producer of the musical that gets put on. I’ve never seen ‘Something Rotten.’ Ross believes the show is an excellent fit for this year’s Festival. Steve is also a playwright and a fine actor. This month, his script ‘Life Without’ (which premiered at Stratford’s outdoor HERE FOR NOW FESTIVAL) will have a staged reading on February 29 at New Stages, Peterborough, with actors Fiona Reid, Michael Riley, and Sean P. Dolan. Founding Artistic Director of NEW STAGES Randy Read will direct the staged reading. Is there a significance behind the title NEW STAGES? Steve said Randy went back and forth regarding the company name selection for some time. It wasn’t about new work, but Randy liked the implications of potential work, new work, and new horizons. NEW STAGES current Artistic Director, Mark Wallace, appears to be pushing for new theatrical work, which Steve finds quite exciting. ‘Life Without’ started as a monologue, and the other two characters appeared. The production then became three people. It is billed on the NEW STAGES website as: “What do you do when your child turns out completely differently from the person you hoped they would be? LIFE WITHOUT is a riveting drama about family, children, grandchildren, the dream of happiness, and the prospect of a life without.” I saw the first production last summer at Here for Now. What do I remember the most about the production? Audience members were getting up to leave, but I couldn’t. I had to sit there for a few minutes to gather my thoughts. Sean P. Dolan will return from the HERE FOR NOW production to play the same role. Ross is elated with this casting for ‘Life Without.’ Fiona is well-known in film, television, and stage, having just finished appearing in ‘Harry Potter and the Cursed Child.’ Steve says Michael is a fantastic artist who has appeared in numerous television and film roles. Riley loves the staged readings and has appeared in a few. NEW STAGES’ model of staged readings requires the artists to come in the afternoon, rehearse, and then read later in front of an audience. The story unfolds in the audience's imagination as they listen. What is it about staged readings that appeal to actors in general? For Steve, it’s the words and the acting. Actors have no choice but to listen to the writer’s words. There’s no gap, no props, and no costumes, and that’s what Steve loves. Randy also likes that, and so do the Peterborough audiences, who, according to Steve, love using their imaginations: “Staged readings give an audience ownership. They feel part of it instead of having something put at them. Audiences don’t have a choice as they are involved.” Ross will not attend this staged reading on February 29 since he is in rehearsals himself; however, as a playwright, he re-visits his work with audience and actor feedback. After its premiere at HERE FOR NOW, he did that with ‘Life Without.’ Mark Wallace will do a question and answer after the staged reading, and Ross is keen to hear the responses then. He continues as a playwright. His production ’12 Dinners’ will premiere this summer at Stratford’s Here for Now Theatre July 10-27. Is he writing another play for a larger cast, or does he prefer the intimacy of a smaller cast? He cheekily responded: “Yes, and yes are the short answers. I wonder because I’m so new to writing, I wonder if the influence of the knowledge that to get things produced you have to do small casts for the most part was inbred before I even started writing. As an actor, you watch, look and wonder at the fact that there are many small casts out there.” He is developing a six-person play, the biggest he’s ever written. Steve’s learning a lot about six threads on the page and making sure there are six active voices in the script. This one’s a comedy and he is excited to see where this will lead because he's never written one. This play will be part of the Foster Festival in St. Catherines. That festival put the call out for some new work and took submissions last year, and three were chosen. Steve doesn’t know the other two playwrights. Each of them will get some sessions with the team at the Foster Festival and Norm himself on Zoom to develop and tweak the play. In April, the three playwrights will get public readings, and then one of those shows will be a full production. Steve remarked: “It’s been so cool to pick Norm’s brain about comedy because I’m a fan of his writing.” What continues to keep him focused on the theatre industry as an artist? “The glib answer is I kinda don’t know how to do anything else. I find the longer I’m in the industry the more I want to do it. My bar keeps rising for myself, and I want to do better and better work, and I want to get in the mindset. I don’t mean to sound like a noble person, but I’ve never been in the industry to be a star…I’m in it (and it’s taken me a long time to articulate)...to live in people’s skins and live different existences. That’s what keeps me going back and back and back…” As a writer, Steve gets to create these people on the page, whereas as an actor, he and the other actors have to create the foundation behind the scenes with the assistance of the creative team. Ross is endlessly fascinated with everyone, so I’m glad I told him he’s a nice guy who puts people at ease so quickly. He’s been a working actor for the last 32 years and is grateful for the opportunity to learn more about the craft and the art of “getting to live in people’s skin.” He’s also worked hard at his career, and that’s purposeful on his part. He wants to be a good company member. He makes it a point to get to know new company members at the Stratford Festival, and anywhere he’s hired. He likes to get to know the names of everyone behind the scenes, too, because he does. Well, to me, this sounds like Steve is highly in demand as an artist, be it at the Festival, HERE FOR NOW, and Port Hope’s Capitol Theatre, where he performed in the annual panto this past December. Steve has been grateful for the re-hiring at the Festival, as that has been key at this stage. As he gets older, he is now in the process of paying it forward and setting an example of showing generosity, much in the same way individuals like the late Keith DiNicol showed him. See? That’s why Steve Ross is a hell of a nice guy. And that’s why you should get to see the staged reading of his script LIFE WITHOUT on February 29 and see Fiona Reid, Sean P. Dolan and Michael Riley bring the story to life. To learn more about NEW STAGES and to purchase tickets for February 29 and other events, visit www.newstages.ca or call the Box Office (705) 775-1503. Previous Next

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

Back 'TINA: THE TINA TURNER MUSICAL' Book by Katori Hall With Frank Ketelaar and Kees Prins Now onstage at Toronto's Ed Mirvish Theatre. Credit: Matthew Murphy & Evan Zimmerman for MurphyMade, 2022. Pictured: Zurin Villanueva as Tina Joe Szekeres ‘This North American tour’s engaging story reminds us of the resiliency of womanhood. Simply the best is one way to describe this tour. Zurin Villanueva is a temptress in song and movement as Tina.” Toronto Star Culture reporter Joshua Chong recently wrote a pre-show article for the North American tour stop in Toronto about the role of the beloved Rock ‘n Roll Queen: “The role is so demanding that…the part (of Tina) is split between two actors, Zurin Villanueva and Ari Groover, with each performing four of the eight shows.” After a sensational opening night with Villanueva in the role, I most certainly understand why that decision was made. Tina Turner's role is physically and vocally demanding. The artist rarely leaves the stage. Sometimes, the actor may leave with a flourish and reappear in another costume or stylized hair. Ah, the magic of the theatre. When it’s good, it’s good. When it’s grand, it’s grand. This production is grand. Simply grand. No, wait, it’s simply the best. The Mirvish website describes the show as an inspirational woman breaking barriers and becoming the Queen of Rock ‘n Roll. It truly is just that. The story begins when the mega superstar is about to go on stage for one of her concerts. We find her quietly reciting a Buddhist chant. Next, the story flashes back to her hometown of Nutbush, Tennessee, where a young Tina-born Anna Mae Bullock (Brianna Cameron, at this performance) sings joyfully at the local community church gathering, much to the embarrassment of her mother Zelma (Roz White). Zelma and her husband, Richard (Kristopher Stanley Ward), do not get along. When he physically assaults her, Zelma takes Anna Mae’s older sister, Alline (Natalia Nappo, at this performance), leaving the young Anna Mae to be raised by her Gran Georgeanna (Carla R. Stewart). Years later, Gran encourages the young and hopeful Anna to go to Memphis to record an album. Anna goes to St. Louis to stay with her mother and sister, Alline (Shari Washington Rhone, at this performance). The impressionable Anna Mae has rarely experienced nightlife in the big city, so she and her older sister go to a nightclub where Ike Turner (Deon Releford-Lee) and his band are playing. Anna Mae is encouraged to get up on the stage and sing with Ike. He becomes enamoured with the young woman’s voice and then goes to Zelma to ask permission for Anna Mae to join the band. Ike then changed the young woman’s name to Tina Turner and the band's name to the Ike and Tina Turner Revue. The story continues with the downward spiral of a highly possessive and jealous Ike, who becomes enraged over Tina’s popularity before and after marriage. This is most evident when manager Phil Spector (Eric Siegle) wants to record Tina solo. The second act involves the divorced and struggling Tina Turner, who does her best to make a comeback in the industry and her tenacity in wanting to do so. Her manager, Rhonda (Sarah Bockel), stands by the icon. With Roger Davies (Dylan S. Wallach), an Australian producer and fan of Tina, he becomes her new manager. Rhonda stays on as Tina’s sister and confidante. Erwin Bach (John Battagliese) is also introduced. Is he a possible love interest? This touring production becomes a tremendous visual cornucopia feast for the eyes, thanks to Mark Thompson’s dazzling set and costume designs. Thompson fully uses the Mirvish stage, especially for the mini concert at the end. As the audience enters, there is a huge scrim on the stage showcasing Tina’s beautiful brown eyes. Make sure you look carefully in the eyes—the right pupil resembles a crucifix, while the left is a star. A most apt and essential Christian juxtaposition is here before the performance begins. Tina feels an inherent gratitude to God for his glory in her career. Jeff Sugg’s projection designs effectively create a specific heightened emotional ambience when needed. Bruno Poet’s lighting is crisply sharp. For the most part, Nevin Steinberg’s sound design is solid. Once again, there are some sound imbalances between the orchestra and singers, most notably in those Turner song lyrics I didn’t recognize. Hopefully, that can be rectified. Spoken dialogue can be heard. The creative team is to be applauded for its attention to detail in vocals and performances. Director Phyllida Lloyd smartly keeps Katori Hall, Frank Ketelaar and Kees Prins's book plot moving forward at an acceptable pace where the action never feels rushed. Scene transitions are smooth as the cast moves set pieces in and out. Anthony Van Laast’s choreography remains exciting and heart-pumping in the opening number ‘Nutbush City Limits.’ Nicholas Skilbeck’s musical arrangements and additional music majestically work while Music Director/Conductor Dani Lee Hutch joyfully raises the roof in several of the musical numbers: ‘River Deep-Mountain High’ and ‘I Don’t Wanna Fight No More.’ Some glorious onstage work is performed with tremendous commitment and passion. As young Anna Mae Bullock, Brianna Cameron soars in her falsetto voice in the church choir number and during the mini-concert at the end when Villanueva invites the young girl out. Carla R. Stewart is a matronly Gran Georgeanna. Roz White’s Zelma is a fighter who will not endure any mistreatment whatsoever, which becomes an ideal in the young Tina’s life later. As Tina's manager, Sarah Bocke’s Rhonda becomes the trusted confidante and sister/friend women believe they need. Potential love interest John Battagliese’s Erwin Bach makes me realize that the power of love can strike individuals whenever it can and does. Age does not control it at all. Deon Releford-Lee delivers a first-class, convincing performance as a frightening, beast-like brute, Ike Turner. The staging of Turner’s attacks on Tina, while not graphic, still manages to capture the horror and fear she must have felt against this man. Zurin Villanueva is a temptress in song and movement, just like Tina Turner. The vocals soar to the heights of the Mirvish theatre. She has the ‘Turner’ hair. Zurin adopts the hip gyrations as the audience watches the individual fringes swivel on the trademark gold lamé dress she wears at one of the concerts. But we don’t see an exact Vegas replica of the music icon. Instead, Villanueva genuinely focuses on a broken and battered woman who learns that she has only herself and her instincts to rely upon. Tina realizes in her resilient assertiveness that she gets to call the shots, and she’s more than happy to do that. That’s the beauty of ‘Tina: The Tina Turner Musical.’ And that’s the reason why everyone should see it. And Another Thought: The mini-concert is terrific and worth staying. I saw people leaving right after and not acknowledging this fine company at the curtain call. To future audiences: please don’t do that. Running time: approximately two hours and forty minutes with one interval. The production runs until July 28 at the Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333. Previous Next

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

Back 'Frankenstein Revived' by Morris Panych. Music by David Coulter. Based on 'Frankenstein' by Mary Shelley Now onstage until October 28 at Stratford Festival's Avon Theatre Credit: Cylla von Tiedemann. Foreground: L-R: Marcus Nance as the Creature and Charlie Gallant as Victor Frankenstein. Background: Laura Condlln as Mary Shelley Joe Szekeres A daring and risk-taking world premiere adaptation of a classic novel. Morris Panych’s world-premiere adaptation of the young Mary Shelley’s 1818 science fiction/horror novel becomes a uniquely challenging one to stage. The poet Lord Byron initially encouraged fellow vacationers stuck inside a Lake Geneva villa during a rainy summer vacation to write a ghost story. The young Mary Godwin (soon-to-be wife to Byron) won the contest with this story of the brilliant student and budding scientist Victor Frankenstein, who sought to overstep the power and majesty of natural order by creating life alone and in secret. Over the years, literary scholars have deemed ‘Frankenstein’ a science fiction and a tale of horror. There’s truth in this statement. It’s a story of poetic exposition juxtaposed with an emotional array of personal feelings. But what makes this opening night world premiere one to which (borrowing from Arthur Miller) attention must be paid? Not a word is spoken throughout this engaging production. Instead, it’s told boldly through highly stylized choreographed dance movements that create haunting visual images long after the curtain comes down. During his university studies, budding scientist and brilliant student Victor Frankenstein becomes obsessed with Death. He devises a technique to give life to non-living matter. He tests this technique using body parts stolen from corpses in graveyards to build a Creature. Victor gives life to this being through electricity. Unfortunately, things go awry when Victor becomes shocked by what he has done. The Creature soon sees himself as hideous, as does everyone who comes in contact with him. Scarred by this understanding of the cruelty of human behaviour, the Creature vows to destroy all who mean a great deal to Victor: his wife, Elizabeth, his younger brother, William and his friend, Henry Clerval—even the building of a companion that the Creature demands of Victor will not suffice. However, Panych’s ‘Frankenstein Revived’ is more than a horror and sci-fi tale. It becomes a solid visual warning about obsessive and ruthless idealism, which still permeates the twenty-first-century world as we know it today. In his Director’s Note, Panych dutifully recognizes this production “is a composite of many things…but not made by one person alone. As a creative force we are a collection of essential parts, pieced together by our imagination.” The human imagination soars to the Avon Theatre rafters on this opening night. Panych’s fitting tribute respectfully recognizes other invaluable artistic contributions in creating a terrific macabre world onstage. Even the Elements of Nature (excellent work by a most skillfully trained ensemble of performers all dressed in black) underscore the dangers of obsessive and ruthless idealism. Ken MacDonald’s set and Kimberly Purtell’s lighting designs artfully showcase this world of the macabre. For example, the moon’s orbits are beautifully highlighted throughout the show. These orbit projections reveal how some might have believed human behaviour is strongly affected by this natural process. The striking visual image of a hospital/cadaver gurney brightly spot lit during the pre-show reminds us that all is not well in the world we are about to enter. Jake Rodriquez’s sound designs remain clear throughout. Dana Osborne’s costumes are solid replications from the era. David Coulter’s Music Direction and composition eerily heighten the building intensity of the suspenseful plot in wondering what’s coming next as the action unfolds. Seeing the gurney and hearing the pre-show music eerily reminds me that one is entering a world where something just does not seem correct. One of the production highlights is the demanding work of Movement Director Wendy Gorling and Dance Choreographer Stephen Cota. Such meticulous and necessary precision means these actors must remain in tip-top shape. And they most certainly are. Nary hands nor feet seem out of place in the Elements ensemble as they become necessary instruments that convey tremendous passion in their onstage fluidity. Laura Condlln, in her portrayal of Mary Shelley, becomes like a circus ringmaster, controlling and directing the show's events for effect. A writer also controls and directs what will be added to the page to create a specific effect. For example, at the top of the second act, Condlln stands centre stage where, like a ringmaster, she sets the Elements of Nature where she wants them to be. It’s a striking moment to watch this all unfold visually. As Victor’s younger and mischievous brother William, Garrett McKee nicely brings that wink of youthful play for a few moments. William’s death occurs off-stage. When Victor brings on the young lad’s body, there is complete silence throughout the house at this horrific realization of what has occurred. Kyla Musselman’s Elizabeth, Victor’s loving and devoted wife, is also horrifically taken at the hands of the Creature. Musselman shows her youthful joy at her wedding to Victor, which makes the audience believe there may be hope for happiness for the scientist. Alas, this is not to be as the audience horrifically witnesses the young woman’s murder onstage. A sense of paternal goodness emanates from Sean Arbuckle as D’Lacy, the old blind man who can only show kindness to the Creature since he cannot see what the being looks like. Devon Michael Brown’s Henry Clerval portrays a genuine friendship with Shelley’s protagonist. However, men can feel as profoundly emotional as women, and losing his friend brings Victor to his wit’s end again. As the story’s protagonist, Charlie Gallant’s Victor appears visually and youthfully strong as he goes off to pursue his studies. His character arc remains credible as he brings his story of how sad it is to a rightful conclusion. Marcus Nance’s performance as the Creature is absolute perfection. Nance is wholly grounded in the moment and embodies many feelings and emotions ranging from pity, pathos, regret, and vengeance. His scene with Sean Arbuckle’s D’Lacy heartfully showcases two unique individuals who yearn and recognize in each other how life has scarred them. This moment of personal connection is then woefully thwarted, with more lives lost. Final Comments: ‘Frankenstein Revived’ becomes an Honours masterclass in performance and movement. Actors must utilize and incorporate their bodies instead of language to tell a story. Audiences participate in learning to read human physicality instead of relying on words. A new challenge, indeed. Theatre audiences should always be challenging themselves. It makes attending even more worthwhile. Is it worthwhile to see ‘Frankenstein Revived’? Yes, it is. See it. And another thing: I sat in Row J on the aisle and had a perfect vantage point where I could see the visual images and pictures of Panych and his creative team. However, I could not see the expressions on the faces of the actors as I was too far back. I didn’t need to sit up close as the artists performed what they were supposed to do. If future audiences like to see the expressions on the actors’ faces, I’d advise sitting closer to the stage. Be aware that you may not capture the overall visual picture presented onstage. P.S.: As a retired secondary school English teacher, I would endorse seeing the production with students, especially if they study the novel. Seeing the production live would reflect at least one of the Ministry of Education document expectations. Running time: approximately two hours with one intermission. ‘Frankenstein Revived’ runs until October 28 at the Avon Theatre. For tickets, visit stratfordfestival.ca or call the Box Office at 1-800-567-1600. FRANKENSTEIN REVIVED by Morris Panych with Music by David Coulter Based on ‘Frankenstein’ by Mary Shelley Director: Morris Panych Music Director: David Coulter Movement Choreographer: Wendy Gorling Dance Choreographer: Stephen Cota Set Designer: Ken MacDonald Costume Designer: Dana Osborne Lighting Designer: Kimberly Purtell Composer: David Coulter Sound Designer: Jake Rodriguez Performers: Eric Abel, Sean Arbuckle, Carla Bennett, Devon Michael Brown, Laura Condlln, Amanda De Freitas, Mateo G. Torres, Charlie Gallant, Eddie Glen, McKinley Knuckle, Gracie Mack, Ayrin Mackie, Anthony MacPherson, Heather McGuigan, Garrett McKee, Spencer Nicholas McLeod, Kyla Musselman, Marcus Nance, Trevor Patt, Jason Sermonia Previous Next

Back 'Macbeth - A Tale Told by an Idiot' Adapted and Performed by Eric Woolfe Produced by Eldritch Theatre and now onstage at Red Sandcastle Theatre Courtesy of Eldritch Theatre Facebook page Dave Rabjohn Should a classic tale of evil and violence be the subject of parody and buffoonery? A new and unique production unfolds this week at the always alarming and provocative Eldritch Theatre at the Red Sandcastle Theatre in Toronto. Shakespeare’s bloody and shocking “Macbeth” is the perfect vehicle for this theatre always awash in horror, magic, trickery and ghastly puppetry. “Macbeth – A Tale Told by an Idiot” is adapted and performed by the multi-talented Eric Woolfe whose talents do include the design of the former mentioned abhorrent puppets. Should a classic tale of evil and violence be the subject of parody and buffoonery? – that question would advance a range of opinions. But Woolfe’s self-deprecating tone and his ability to balance elevated soliloquys with momentary satirical quips gave us entertaining insights to Shakespeare’s work. Melanie McNeill’s set design fleshes out the macabre from the beginning. A motif of mysticism is described through bloody babies, Ouija boards, ugly skulls and torn tartan. Eric Woolfe is, at times, cartoonish as part Uncle Fester and part Curly. With his puppets, he tells the well-known story of three brooding witches who manipulate the ambitious Macbeth and send him head long into the demise of murder, treachery and bloody infanticide. The pasty, fat-faced Macduff becomes the avenger. The murdered friend Banquo is portrayed as a naïve teddy bear along with a mini-bear as son Fleance. The three witches are cleverly portrayed as almost one three level puppet – a nod to the theory that the witches and Macbeth are actually one entity. They stir up the original prophecy of the crown and then muddy the waters with promises that become hollow. Lady Macbeth’s puppet is dark and brackish – her original strength quickly oozing. Woolfe’s theatrical capacity includes brilliant voice work. He plays Macbeth but also voices the variety of puppet characters. Macduff’s thick brogue and the whining of the witches are highlights among others. As mentioned, there is a veneer of puerilism throughout as Woolfe finds momentary humour in the otherwise ugly revulsion of Macbeth’s acts. The only moment of comic relief in the original play – the porter’s speech – is thoroughly sent up. Shakespeare purists might scoff, but Woolf did do justice to many of the famous soliloquys with superb renderings. Woolfe inserts fun with parlour style card and coin tricks which appear somewhat tawdry. Having said that, his use of coin tricks that leap off the face of his dead wife while he is performing the ‘Tomorrow’ speech was an eerie reminder of how Woolfe finds that balance between the risible and Shakespeare’s majestic solemnity. Although I found no mention of who was responsible for the brilliant soundscape and sound effects, the work should be acknowledged. Especially when paired with puppetry, the sound effects enrich the performance. Highlights include the comic snoring of the drunken guards and the ominous sound of the hacking down of Birnham wood. The earlier mentioned purists may revolt, but Shakespeare’s brilliance has been interpreted in thousands of ways over the centuries. This rendering was both entertaining and thoughtful. “Macbeth – A Tale Told by an Idiot” by William Shakespeare. Adaptation by Eric Woolfe Performer: Eric Woolfe Director: Dylan Trowbridge Set and costume design: Melanie McNeill Lighting: Gareth Crew Performance runs through – February 24, 2024. Tickets: www.eldritchtheatre.ca Previous Next

Back 'The Full Monty' Now on stage at Port Hope's Capitol Capitol Theatre Credit: Sam Moffatt Pictured: some of the ensemble in the final strip moment. Joe Szekeres “A story of unconditional love and acceptance. Yes, it’s fun. Yes, you’ll laugh. But ‘The Full Monty’ has so much more going for it that must be experienced live.” Adapted from the 1997 British film, ‘The Full Monty’ tells the story of six unemployed steelworkers in Buffalo, New York, who are low on cash and facing limited job prospects. Their relationships with significant others (wives, girlfriends, partners, and friends) remain on tenterhooks, too. The musical speaks volumes today about relevant themes that have never really disappeared from modern society: body image, gender biases, societal pressures to conform, financial pressures, and toxic masculinity. These are struggles to which everyone has connected at least once, making the characters' experiences understandable. At the top of the show, the audience hears a performance of GIRLS’ NIGHT OUT at a local bar where Chippendale dancers perform. Best friends Jerry (Gaelan Beatty) and Dave (Daniel Williston) spy on the women's behaviour and are astonished at what they witness. After speaking with Keno (Alex Wierzbicki), one of the scantily clad dancers, Jerry and Dave devise an idea to make some quick cash. They find four other guys, each with their own unique personalities and struggles: Ethan (Darren Burkett), Horse (Gavin Hope), Malcolm (Jacob Macinnis) and Harold (Ian Simpson), to develop a one-night-only show where they will perform a strip show. We witness the guys rehearsing, their nerves palpable. Will the show be successful? As the story unfolds, their feelings of inadequacy and fears of ridicule remain firmly rooted. Yet, they bravely push forward, their personal lives unfolding in front of the audience. Ultimately, the guys become the talk of the town, and the question is asked of them—will they go the full monty (take it all off for everyone to see)? And do they? You’ll have to see this ‘Full Monty’ for yourselves. But why this one? Is Port Hope ready for a show like this with all its innuendo? It sure is judging from the audience I saw and heard on opening night. But it’s not going to be for everyone. One man sitting in front of me had his head lowered and appeared somewhat uncomfortable while watching the show. He didn’t stand at all during the curtain call and didn’t applaud. His wife, however, was on her feet, smiling and loudly applauding what she had just experienced. Director and choreographer Julie Tomaino says the time is right to bring ‘The Full Monty’ to Port Hope because it’s fun, funny, hilarious and has heart. She’s right. We need a story like ‘Monty’ to make us smile and sometimes give us a good belly laugh. I did just that with some of the clever-sounding songs and dialogue. ‘The Full Monty’ shows us very real people who do not have six-pack abs and washboard stomachs. Tomaino cast genuine-looking performers of all body shapes, sizes, and temperaments who had not been pulled out of Vogue, Playboy or Playgirl magazines. (Do these still exist?). These actors tell ‘Monty’s’ story with humour, warmth, compassion and heart. That’s why you should see the show. Julie Tomaino understands a thing or two about the direction of musical theatre. Last fall, I saw ‘Once,’ directed by her, at Gananoque’s Thousand Islands Playhouse. It was a moving piece of theatre, and I kept my eye on waiting to see what she would be doing next. Good things come to those who wait. And I’m glad I did. I’m not disappointed in the least whatsoever with ‘Monty.’ Tomaino’s direction remains tight. She keeps the story’s pace clipping along nicely, never feeling rushed or hurried. Her choreography remains what it is to be. These guys are not professional dancers, so there’s no need for pinpoint accuracy. They’re ordinary schlubs, out to try something daring in their lives. The final strip number is just that – a dare or what we call YOLO (You only live once). These guys are out to have fun. In the meantime, that sense of fun spills over to the audience. Scott Penner’s design of various props, from wall urinals to hanging punching bags to guitars, nicely establishes a particular scene without needing many sets to be pushed on and off. Joyce Padua has selected some bright colours that women would have worn back in the 90s. The men are dressed comfortably in jeans, dress pants and shirts – until the bright red bikini briefs are revealed, drawing raucous audience laughter. Jareth Li’s lighting design incorporates a shadowy effect to heighten the dramatic intensity, especially in one moment between Darren Burkett’s Ethan and Jacob Macinnis’ Malcolm. Paul Moody’s terrific-sounding music direction is one of the show's highlights. Whether or not Sound Designer Emily Porter worked closely with Moody to ensure the lyrics to the songs could be heard, let’s say that I’m pleased that even balance has been effectively maintained. There were a few moments when I didn’t hear all the lyrics, but it was opening night. I’m sure that the balance will be fixed this week. Some spirited numbers get the audience up on its feet. The final in Act 2 – ‘Let It Go’ - did just that. Horse’s ‘Big Black Man’ is another moment where performer Gavin Hope has the audience right in the palm of his hand. His smile says it all during the song. There are also some heartfelt moments when the men reveal their vulnerabilities to each other touchingly. This is the other highlight of the evening: watching trained actors perform appropriately and for us, the audience, to respond in kind. It’s not unmanly to be moved by seeing other men open up their feelings. Donna Garner’s cigarette-smoking, boozy-broad and piano accompanist Jeannette is terrific. Garner combines the perfect amount of sass in her Act 2 Showbiz Number. It’s garnished with the exact peppered attitude of a woman who takes no crap from anyone. Gaelan Beatty’s moments with August Fox (who plays Nathan) are convincing. As the central character, Jerry, Beatty delivers a grounded and balanced emotional performance in moving back and forth between the comedy of wanting to go on stage to strip versus wanting to do what’s best for his boy, Nathan. The young August Fox is one to watch in the future. He listens intently and responds appropriately in each scene when he is present. The father-son moments between Gaelan Beatty’s Jerry and young August Fox as Nathan are compelling, most notably in ‘Breeze Off the River,’ when father watches his son sleep. Jacob MacInnis’ Malcolm is shy, quiet and reserved. Malcolm cares for an aging and cantankerous mother who might be suffering from some form of dementia. Throughout the verbal abuse, MacInnis delivers a quiet, reserved and stoicism in his performance, knowing that he is caring for his ailing mother the best way he knows how. In his ‘You Walk with Me’ with Darren Burkett, Ethan is proud to admire just how much Malcolm has given up to care for his mother. Their friendship begins its formation on that solid note. Ian Simpson’s Harold is standoffish because his job in the plant is above the other workers. He can’t get chummy, and Simpson nicely exhibits that quality when first introduced. But like the other workers, Simpson is let go from his job and is afraid to tell his wife, Vicki (Julia Juhas) because she likes the good things in life. Gavin Hope’s broad-shouldered and husky-sized ‘Horse’ heightens the hilarity behind trying to see if what is said about a ‘Big Black Man’ is true. Daniel Williston delivers a memorable performance as Dave, who wears his heart on his sleeve. Williston’s Dave is someone who always wants to do the right thing. He wants to be a good husband, a good friend, and a good citizen. someone who has been hurt many, many times in his life, and he wonders if it’s due to his size. Jamie McRoberts’ Georgie (Dave’s wife) importantly underscores one of the themes of ‘The Full Monty’ in ‘You Rule My World.’ It’s Dave, whom Georgie loves, and that’s all. And Another Thought: Julie Tomaino hopes the audience will embrace the characters with as much love as the creative team and actors did in preparing for the opening. This message of love permeates a few of the shows I’ve seen over the last while—not the gratuitous, activist, shouting, exploitative side of supposed love, but the side of wanting what’s best for the other person, unconditional love without expecting anything in return. That’s another reason to travel to Port Hope to see this ‘Full Monty.” To the man sitting in front of me on opening night: I’m sorry you may have felt the way you did and chose not to see things from a different angle (as the message in Stratford Festival’s LA CAGE AUX FOLLES tells audiences to do). Even Atticus Finch advises Scout to climb into someone else’s skin and walk around in it. It’s essential to do that. Running time: approximately two hours and 15 minutes with one interval/intermission. ‘The Full Monty’ runs until July 28 at the Capitol Theatre, 20 Queen Street, Port Hope. For tickets: (905) 885-1071 or visit capitoltheatre.com. CAMECO CAPITOL ARTS CENTRE presents ‘The Full Monty’ Book by Terrance McNally. Music & Lyrics by David Yazbeck Directed and Choreographed by Julie Tomaino Music Direction by Paul Moody Lighting Design by Jareth Li Costume Design by Joyce Padua Set Design by Scott Penner Sound Design by Emily Porter Stage Manager: Jessica Severin Band: Paul Moody (piano), Tami Sorovaiski (bass), Matt Roy (guitar), David Schotzko (percussion) Performers: Gaelan Beatty, Darren Burkett, Autumn-Joy Dames, August Fox, Donna Garner, Gavin Hope, Julia Juhas, Jacob MacInnis, Jamie McRoberts, Ian Simpson, Tahirih Vejdani, Alex Wierzbicki, Daniel Williston Previous Next

Back 'True Crime' a co-creation by Torquil Campbell and Chris Abraham in collaboration with Julian Brown Crow's Theatre presents the Castleton Massive Production Credit: Dahlia Katz. Pictured: Torquil Campbell Joe Szekeres "A VOICE CHOICE" A formidable storyteller with a passion and fondness for words and their sounds. According to the Crow’s Theatre website, actor/musician (Stars/Memphis) Torquil Campbell made his stage debut in ‘True Crime’ when it originally premiered at Streetcar Crowsnest in 2017 when the building first opened. I didn’t see the show then so I’m unable to make any comments about his performance. However, if this opening night of Campbell’s return to Crow’s indicates what I missed that first time, I’m glad the theatre gods aligned the stars in perfect harmony. Campbell delivers a splendid bravura performance. The play runs until Sunday, May 7. A Crow’s press release gives important background information: “First chronicled in Vanity Fair’s “The Man in the Rockefeller Suit” in 2008, TRUE CRIME is the story of the real-world con man, the notorious Clark Rockefeller who successfully posed as a scion of the famous dynasty for well over a decade. Torquil Campbell wants to try him on for size. The audience learns Rockefeller now serves a near-life sentence in a California state prison. Along with this information, Torquil takes a deep dive into the bizarre real-life story behind notorious German conman Christian Gerhartsreiter for a mind-twisting encounter with an artist obsessed with faking it.” Torq and (Crow’s Theatre Artistic Director) Chris Abraham have delightfully conspired to co-create a crime story of mysterious twists, turns and fabrications which have me constantly wondering what would transpire next in the plot. There’s no set or lighting designer listed in the programme, but credit is given to Production Designer Remington North. The setting for ‘True Crime’ works beautifully in the main auditorium. It appears as if I’ve entered a slightly hazy, smoke-filled coffee house setting where the audience listens either to music, song, poetry, or stories. Stage lights mysteriously will rise in intensity and gradually fade throughout the play. There are approximately several round tables in front of the stage where some audience members sit. On the rectangular stage is a music stand from which Torq will read the script spiritedly. There is a microphone reminiscent of the ‘40s. A keyboard/piano is upstage and a chair from which Julian Brown plays the guitar. Clad in blue jeans and a dark shirt, Campbell reads spiritedly from a script placed on a music stand in front of him. A couple of times he moves around the front of the auditorium shaking hands with several audience members as another character. There are several moments where he sings some songs, and what top-notch vocal delivery. Just hearing Campbell sing is a strong reminder to get tickets if his band is ever in Toronto soon. Campbell remains an extraordinary raconteur and singer throughout the 90-minute sans intermission one-man solo show with finely subtle musical accompaniment by Julian Brown. A couple of times he moves around the tables in front of the stage assuming the voices of Christian and Clark and shaking hands with several audience members. At one point, Campbell refers to the late ‘80s television show ‘Unsolved Mysteries’ with trench coat-wearing and hushed baritone-voiced host Robert Stack. I remember watching this show with my late brother. We were both riveted to the screen as Stack recounted stories either from long ago or not so long ago of supposed true crimes that took place. Stack knew how to lure audiences in weekly. He was a good actor and knew how to control a story and perhaps fabricate elements to keep up the weekly ratings. Whether or not these ‘Unsolved Mysteries’ stories were true, we didn’t care. My brother and I were entertained for a good hour of good storytelling and that’s all that mattered then. ‘True Crime’ appears to be a true story. As Campbell narrates and speaks to the audience with tremendous vivacity, he appears determinedly resolute in wanting the audience to discover the truth of what happened to Rockefeller and Christian and those involved. Or does he? Is Torquil Campbell doing the same thing as Robert Stack? Is ‘True Crime’ a true story? Campbell hooks me right at the top of the show. He remains resolute in his investigation of the story of Clark Rockefeller. A top-notch performing artist, Torq’s narrative voice and acute impersonations make me want to hear and trust everything I see. But like any good storyteller or raconteur, sometimes Campbell’s decisions and choices lead the audience to consider that what we might see and hear on the surface is not what really happens. Or does it? That’s the reason to come to Crow’s Theatre and discover for yourself. Final Comments: This is my first time seeing Torquil Campbell perform. A formidable storyteller, his fondness for words and their sound remains exemplary. ‘True Crime’ is my Voice Choice. Go see it. Running time: approximately 90 minutes with no intermission. ‘True Crime’ runs until May 7 in the Guloien Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets, call the Box Office (647) 341-7390 or visit crowstheatre.com. CROW’S THEATRE Presents The Castleton Massive Production Created by Torquil Campbell and Chris Abraham in Collaboration with Julian Brown The Company: Torquil Campbell, Co-Creator, Performer Julian Brown, Composer, Musician Chris Abraham, Co-Creator Remington North, Production Designer Previous Next BACK TO TOP

Back Esie Mensah Looking Ahead Mikka Gia Joe Szekeres A recent conversation with Dora nominated choreographer and dance artist Esie Mensah certainly opened my eyes to what is occurring in the world of the professional performing artist especially in moving forward to ensure inclusion, equity, and diversity of and for all members. June 1 will mark two important dates – the first is the premiere of the upcoming short film ‘Tessel’, commissioned by Fall for Dance North and Harbourfront Centre. National in scope, this short film features 14 Black dancemakers from across Canada in a crucial conversation on what it means to be an artist in this unprecedented historical time. The second marked importance for June 1 is the one-year anniversary of ‘Blackout Tuesday’ where organizations around the globe publicly committed to institutional change to help the Black community. ‘Tessel’ was conceptualized and directed by Esie Mensah, so I felt it was important to highlight the prolific work of what she has captured. I was quickly introduced to her work through a CBC Arts Segment on her work as a choreographer and dancer, but it was her TED Talk “My Skin was too dark for my profession, so I changed the story” which caught my attention: https://www.youtube.com/watch?v=dgGQv4efnI8 To begin our conversation, Esie let me know her immediate family has been doing well and in her words: “So far, so good.” They haven’t been hit too hard, but she is sadly and consciously aware how this medical epidemic has affected each of us in some way. Her family are healthy and when it has been allowed, they have been able to see each other on different occasions when they could. At one point during our conversation, Esie re-iterated what many of us are hoping – we “keep looking to the horizon where it feels safe for everybody, but we’ll see how things go the next few months…even years.” Such true words spoken. Just like many artists to whom I’ve spoken throughout this pandemic series, Esie’s professional world also came to a halt as many of her upcoming projects or solo works were either cancelled or postponed to who knows when. And like many of the artists, Esie felt it was a really good question in asking her what she has missed the most about performance during the lock down. She paused for a few moments before she responded. To dance is her first love, and what does she miss the most: “There’s a feeling that you get when you’re on stage live…because I’ve been choreographing so much, I wasn’t always performing and dancing, but there’s that synergy, that energy you get when you’re either creating in a room with people or you’re on-stage dancing with people and the audience is receiving you. The faces to me are such an invigorating and affirming experience as a dancer.“ I was grateful how Esie felt comfortable in speaking about the TED Talk and how her skin was ‘too dark’ for her profession, so she changed the narrative to keep moving forward. She spoke candidly about some of the limitations she encountered early in her career: “I attended George Brown College for the Commercial Dance Programme. That first year I came out of school, I felt the doors opened up and I experienced what I thought the potential of my career could have been. After that first year and over the next two and three years, I realized the reality of the business that I was in as a dark-skinned black woman. What I noticed through the work (since I’ve been in this for so long) was that people place a commodity over dark skin and for whatever reason, they don’t think it’s the same value as somebody with lighter skin.” I’m going to be honest and say that I was rather surprised by Esie’s revelation and I listened intently as she continued: “I had people bluntly tell me that, yes, they think you’re too dark for this music video, and that video was for black artists…when I was applying for a four-month contract in China, same thing, well they really, really love you, but they just think you’re too dark for television…this was the first time I had to contextualize and swallow someone telling me, very candidly, that you’re too dark so we can’t take you. It’s almost as if you could change that one thing the doors would open.” Conversations like this were something Esie said she was used to swallowing, but it wasn’t until giving her TED Talk that this was an issue and real problem. Clearly, this shook the foundation she was on, and it became the catalyst she was on that pushed her to be so good, so amazing, so undeniable that her shade was never be an issue so that people can’t say they want to hire her despite her shade. In other words, I want to hire her because it’s her and that her shade is never an issue. This issue has been a roller coast for Esie as “this issue made me feel very, very small, marginalized or pigeon-holed because of it which, now her skin colour is my superpower.” And as we continued our conversation, I saw how she is a determined and strong woman who took agency in her own hands to carve out her path as a professional artist regarding these limitations of skin colour. What she has done specifically is “to become my own boss, essentially.” I wanted to quote Esie directly for the rest of the questions I asked her because it’s important to read her voice in her own words: How else specifically have you taken charge of your professional artistic journey and path: Becoming my own boss started when I was in the commercial dance scene because I recognize throughout those two to three years where I was waiting for somebody to call me and waiting for somebody to say that I was good enough or if somebody cancelled then I got in for the certain jobs that were coming out, and I was like that I can’t be sitting here waiting for the next job. I want to be in charge of my own life. That was the shift of me in becoming more of a choreographer. As the industry shifted and I shifted, I began more intrigued to tell my own stories and say the things I had experienced, the questions I wanted to have answered or that I wanted to explore through art making, through dance, through theatre. When I was in school at George Brown, I did some acting, but for the amount I’m doing now has just been absorbed through working in theatre. I was really intrigued by it. My first production was a dance play I was writing. That was my first experience in creating my own stories, real true experiences doing work at Harbourfront Centre. Friends of mine were saying I should take this experience and start applying for grants and building my own shows. I was trying to figure out what I wanted to do. My first impulse was to start writing, and I did and started creating stories to ask questions about as a first-generation Ghanaian child, my parents come to Canada, but nobody ever desires to go back. To me, we can’t really be surprised by the fact that our home countries are not progressing because all of the knowledge is now in the diaspora. That was the first set of conversations and that transformed into ‘Shades’, the next thing that happened because of a movie film I had done – I had done the ‘Rocky Horror Picture Show’ remake that had come into Toronto a number of years ago. A friend of mine and I both got the film roles at the audition and we were questioning how many black girls were going to be on the project. There were four of us they seemed to like, and we didn’t think we would get it, and we did. I remember talking to the assistant choreographer. He overhead us at the audition. He quizzed and asked why we would say this, and we told him something like this never happens, having four black girls on a project that are medium to dark toned, never happens. He was shocked and he’s been working in the business for decades. This is a huge conversation about ‘shadeism’, and I know I can’t change everyone’s mind on it but If I can get people to question it, and the ‘why’ behind it, that I think is really important. I am looking forward to seeing ‘Tessel’ Tell me about this short film and why it is so important for you as a person, as an individual and as a professional artist. This short film project was a springboard to everything that has been going on over the past year and beyond. I hit a point last year and recognized as an artist and creator that the space for conversation may not always be there for everybody. When Ilter Ibrahimof from Fall for Dance North called me, he wanted to do something to amplify Black voices. I said, “Great!” Well, if we’re going to do that, I need to bring people together in conversation, and that’s it not just centered in asking people to film themselves and splice something together. I wanted there to be depth and truth. I work as an Artistic advisor, so I’m working in the equity, diversity and inclusion stream that has been popping up over the last year for everybody especially within arts organizations. When I recognized being entrenched in that conversation is that we all have questions, and some people are scared to ask those questions. Some people are scared to step forward with an ignorance to say I don’t know; I didn’t know about your experience; I didn’t know what it was like what you went through. The majority of the artists in the film didn’t know each other which was wonderful, so everybody is meeting new people. The whole group hasn’t met officially yet because some artists came on two different days. Over those two days, we ended up with a seven-hour conversation, and it was so humbling. People needed the space to talk, to chat and knowing people are feeling the same thing I’m feeling and understood my experience. What does it mean now to amplify Black voices? It can mean different things to different people. For me, within my community and my close circle, conversation was the thing that pulled me through last year. I started a group chat with some friends, and it gave us space to have honest, candid conversation. If we’re going to take steps to change, we really need to be more attuned to those conversations and open to hearing the truth of those conversations. For me, giving Black artists a chance to speak and getting our artists to really listen was so important. Now these were the words of only 14 dancers and people We’re not speaking for all the Black community across Canada. We are saying there is a commonality of everyone’s experiences of pain, a heaviness but there’s also a lot of joy and being able to find freedom through movement. Having this conversation and being pushed forward through dance shifts it for people. Talking about racism is never easy but to hear from people and see their bodies move or stillness in looking at the camera, that solicits a response from the audience altogether. We’re starting to see the person behind the skin, behind the artist. We’re seeing the reality and I hope this leaves a lasting impression with the film. How do you see ‘Tessel’ continue to challenge the global discourse on race? With a lot of my work, there’s been that consistency of sparking a conversation. I really want there to be a conversation and want people to feel inspired to come together and discuss. This is the first time we’ve had Canadian dance presenters on one project. This has never happened before, and so I hope everybody continues to understand the urgency and that it takes continual work consistently to open up new doors and allow other people to fill in the gaps that are present. I hope there’s some real honesty and perk up from people. I hope can receive that honesty. Talking is important, but also the listening is far more important. As we slowly emerge from this pandemic and look toward the future, what is it about your work that you would like future audiences to remember about you? Hmmmm… I would hope that future audiences can feel changed from my work, and that it’s an experience. It’s not merely coming in to watch a show or film, it’s an experience they can take with them and it sparks change, a way to care, to love people more, to be more empathetic. I hope my work inspires growth and that the seeds I plant within my work that I hope it continues to flourish in people’s lives. I hope that stays consistent with my work. ‘Tessel’ premieres June 1. Please go to www.harbourfrontcentre.com to learn more how to access the film online. Previous Next

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

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

Back A Closer Walk with Patsy Cline Capitol Theatre, Port Hope Sam Moffatt Joe Szekeres Crazy for Patsy Cline A lovely evening at the theatre with an ending that I knew was coming but it still hit all the feels. What an incredibly smart decision Port Hope Capitol Theatre Artistic Producer Rob Kempson made in selecting ‘A Closer Walk with Patsy Cline’ to open the summer 2022 season. And what a delightful treat to bring audiences back to the theatre. Although I’ve never seen the show before, there were moments when I could feel a big ol’ smile slide right across my face. There was a couple who sat in front of me, and the lady was swaying back and forth with her hands in listening to the music. I looked across the aisle and saw another lady doing the same thing. You go, girls. I hope more audience members do that as the show continues. Once again, the power of theatre reached inside and touched these two ladies. I wish we weren’t wearing masks because it would have been wonderful to see the smiles on their face. I was glad Rob Kempson (director of ‘Closer Walk’) spoke to us before the performance began because he gave some noteworthy information that I believe theatregoers should be aware. For the Capitol’s production, Anna Treusch’s Set and Costume Designs were particularly constructed for this performance run only to June 26. Sometimes, touring productions or productions may state that sets and costumes have to be consistent as per the wishes possibly of writers. Not here. Kempson unmistakably cares about this show because he has paid loving attention to so many particulars to ensure realistic believability. There is a definite purpose and a reason behind why the plot progresses in the way it does. He has surrounded himself with some very fine artists who have done their job, quite admirably I might add. Treusch’s set and costumes are exquisitely breathtakingly bathed in colour. I’ve never been to the Grand Ole Opry and would love to get there sometime. For some reason, I felt as if I was looking at the Opry stage. I couldn’t take my eyes off the set when I sat down as I just studied where my eyes went all over drinking it in slowly. The production is set on risers. At Centre stage, there are circular risers with the top slightly raked to allow for visual purposes when Cline sings. Stage left is the four-piece band. Stage right is the radio station where DJ Little Big Man sits. Nick Andison’s Lighting Design meticulously captures a grandiose feeling of the playing space which is effectively lit for each of the numbers where Cline moves on the stage to sing. Kudos to Ben Whiteman’s Sound Design as I could clearly hear each word of each song. This is one area for which I will nitpick because songs tell stories and if an audience cannot clearly hear a song lyric, they are missing part of the story. Treusch’s costume designs for Patsy Cline are striking to behold as attention has been paid to minute details in fabric, hues, tones and style. The band is dressed in solid bright colours with fringe either along the bottom of their shirts or under their elbows to their arms. Dean Regan’s story is billed as “A stunning tribute to one of country music’s greatest stars.” That it is, but it’s also a sweet, poignant story that didn’t veer towards the melodramatic near the end if you know what happened to Cline. It’s 1963 when we meet WINC D J Little Big Man (primo, top-notch work by Tyler Murree) who introduces many of the musical numbers before Cline sings. Murree also sings many of the commercial radio jingles and tells sometimes corny or hilarious jokes to the audience which allows for Michelle Bouey, as Patsy Cline, to change into her costume backstage for the next song. Murree also gives important contextual historical information to frame the song for the audience as well. As Patsy Cline, Michelle Bouey divinely captures the soulful and spiritual sound and persona of the 60s country music songstress with confidence . There are some lovely tunes in the first act, but it is in the second act where Bouey sings the numbers for which Cline will always be remembered. I closed my eyes during ‘Just a Closer Walk with Thee’ as I wanted to hear both the music and the words of the song. ‘Always’ brought a tear to my eye as it was a timely anthem sung for Cline’s mother and for all mothers as far as I’m concerned. ‘Crazy’ gave me goosebumps just listening to Bouey’s soaring vocal work. What also makes this production work are the shared moments between Bouey and Murree. While she lovingly croons and harmonizes at the microphone or anywhere on the stage, he never upstages her at all. If it’s a fast-paced song, Murree moves in time to the music. If it’s a slow-moving ballad, his focus is on Bouey all the time. These are artists who get how to listen and respond truthfully to each other. Jeff Newbery’s splendid music direction combined with the stellar four-piece band complements the story told. Final Comments A delightful evening at the theatre. This ‘Closer Walk with Patsy Cline’ is not to be missed. Running time: Approximately one hour and 40 minutes with one intermission. As of this article, Covid protocols are in place. Please call the theatre if you need further information regarding protocols and mask wearing. ‘A Closer Walk with Patsy Cline’ runs to June 26 at the Capitol Theatre, Mainstage, 20 Queen Street, Port Hope. For tickets, call 905-885-1071 or visit capitoltheatre.com. A CLOSER WALK WITH PATSY CLINE by Dean Regan Sanctioned by the Patsy Cline Estate Director: Rob Kempson Music Director: Jeff Newberry Set and Costume Designer: Anna Treusch Lighting Designer: Nick Andison Sound Designer: Ben Whiteman Stage Manager: Sarah Miller Band: Tom Leighton (Keyboard/Organ), Jason O’Brien (Bass), Matt Ray (Guitars), Matthew Machanda (Drums) Artists: Michelle Bouey and Tyler Murree Previous Next

Back Chris, Mrs. - A NEW HOLIDAY MUSICAL Now onstage at Toronto's Winter Garden Theatre Credit: Max Power Photography. Pictured: Liam Tobin, Olivia Sinclair-Brisbane and the ensemble Joe Szekeres “In a world so desperately longing to smile, we need ‘Chris, Mrs.’ to put a tuneful song in the heart accompanied by tripping the light fantastic dance numbers.” The world premiere of ‘Chris, Mrs.’ ticks all the boxes on the proverbial rubric scoring sheet of a Hallmark Christmas film. The story begins in the big, busy city where widower Ben Chris (Liam Tobin) is not in the Christmas mood at all. He leverages his late parents’ lodge for a work promotion. But this is a problem as Ben’s brother, Charlie (Kale Penny), still runs the lodge. Charlie feels a sense of connection to the lodge in memory of their parents. To convince his brother it’s best to sell, Ben decides to go to the lodge and takes with him his socialite, bitchy and arrogant girlfriend Vicki Vandrelle (Olivia Sinclair-Brisbane), and his three children, teenage daughter Claire (AJ Bridel) and twins, Samuel and Samantha (Lucien Duncan-Reid and Addison Wagman at this performance). The twins discover a ring in their father’s suitcase and write a letter to Santa asking for assistance. Magically, Holly Carmichael (Danielle Wade) appears. Her name says it all. Holly is full of Christmas spirit. She is a seasonal employee at the lodge. Holly and Ben have met over the years, but there is no connection. However, through misadventures, a twisted ankle, mischief and personal heart longings, everything wrong becomes right again. Sometimes cheesy and corny in a few puzzling plot elements? Yes. Boy meets girl after many years and re-kindles relationship. Yes. Snow falling at the end with everyone standing around a Christmas tree with love in the air and a song in their hearts? Yes. Is there anything wrong with any of that at this time of year? Absolutely not. It’s Christmas, and I don’t want to be a Grinch. You shouldn’t either. A quibble I have with this opening night production, and I’m sure it will be rectified immediately, is designer Ranil Sonnadara’s uneven sound balance between the singers and the orchestra throughout most of Act One. From where I sat in the house, I could not hear the lyrics in most chorus numbers and found it frustrating. I know I lost important plot information. Olivia Sinclair-Brisbane has quite an exhilarating vocal number (‘Vicki’s Lament’) to close off the first act, which moves the plot forward in her ‘scheme.’ Again, I could not hear one word in her song as the orchestra overpowered. Things were somewhat better in Act Two as I could hear the lyrics for most of the numbers. There’s much to appreciate about the opening night production. Cory Sincennes’ costume and set designs emblazoned the set in various traditional holiday colours. Mikeal Kangas’ lighting design nicely focuses attention where it needs to be. I was rather impressed with some of Greg Dougherty’s technical direction. The tree lighting at the end of Act Two is quite clever. I smiled as I watched how the ice skating was handled on stage. What is also impressive is the breakneck speed at which the ensemble moves set pieces smoothly in the variety of settings for the story. A good choice was made not to place the stage in complete darkness each time, which would have wholly brought the audience out of the story’s fluid pacing. Choreographer Sarah Vance creates several visually appealing high-stepping dance numbers. Katie Kerr’s tight direction keeps the pacing fluid and moving. Her and Music Director Matt Stodolak's lyrics are uniquely clever and cheery. One example is Claire’s ‘All I Want for Christmas,’ where a particular ‘play on a word’ kept me smiling throughout the entire musical number. The ensemble dance work of George Absi, Carla Bennett, Devon Michael Brown, Shelley Kenney, Heather Kosik and Jason Sermonia remains one of the production's highlights. Sarah Lynn Strange is bubbly and effervescent as Candace Brown, Ben’s secretary. Lucien Duncan-Reid and Addison Wagman are adorable as the troublemaking twins at this performance. Their finding of the ring also reminded me of comic moments from classic Disney films. Mark Weatherley captures the essence of the season's magic as Nick, who sets Holly on the right track when uncertain about what she should do regarding Ben. Weatherley’s silver fox look also sets Candace’s heart fluttering. Andrew Broderick and Henry Firmston are credible in their onstage work as respective nice guys Cole Jackson and Tim Penner, who also get what they deserve by the end of the story. As brothers Charlie and Ben, Kale Penny offers a solid juxtaposition in character development to Liam Tobin, especially when the truth outs in the second act with the arrival of the potential buyers of the lodge. As Claire, AJ Bridel’s lovely singing voice resonates and is poignant in her rendition of “All I Want for Christmas.” Liam Tobin and Danielle Wade are appealing as ‘Christmas-crossed’ lovers who finally recognize the truth of what each means to the other. I couldn’t help but smile again as all appeared right in the world as the entire company sang ‘Different This Year.’ Again, a tad cheesy and corny, but who cares? It’s Christmas. We need to smile in our world right now. Final Thoughts: Thank you to Katie Kerr and Matt Stodolak for sharing their dream of having a place in the Canadian musical theatre canon. Yes, ‘Chris, Mrs.’ is a holiday treat this year. Go and see it with your loved ones. I look forward to seeing what their company BOLDLY PRODUCTIONS has planned. Running time: approximately two hours with one intermission. ‘Chris, Mrs.’ runs until December 31 at Toronto’s Winter Garden Theatre, 189 Yonge Street. For tickets, 416-366-7723 | 1-800-708-6754 or visit CHRISMRS.com. BOLDLY PRODUCTIONS and The Winter Garden Theatre PRESENT The World Premiere of ‘CHRIS MRS. – A NEW HOLIDAY MUSICAL’ Music, Book, and Lyrics by Matthew Stodolak & Katie Kerr Director: Katie Kerr Musical Director: Matthew Stodolak Choreographer: Sarah Vance Set & Costume Design: Cory Sincennes / Associate: Beyata Hackborn Lighting Design: Mikael Kangas Sound Design: Ranil Sonnadara Stage Manager: Jessica Severin Production Manager: Greg Dougherty Band: Matthew Stodolak, Ben Kersey, Tom Skublics, Steve McDade, Karl Silveira, Dave Patel, Peter Bleakney Performers: Liam Tobin, Danielle Wade, Eric Abel, George Absi, Carla Bennett, AJ Bridel, Andrew Broderick, Devon Michael Brown, Finn Cofell, Lucien Duncan-Reid, Henry Firmston, Isaac Grates-Myers, Shelley Kenney, Heather Kosik, Kale Penny, Jason Sermonia, Olivia Sinclair-Brisbane, Sarah-Lynn Strange, Addison Wagman, Mark Weatherley Previous Next

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

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

Back 'Frog Song - A New Children's Opera' Book by Taylor Marie Graham; Music by William Rowson A WORLD PREMIERE Presented by Here for Now Theatre on the grounds of the Stratford Perth Museum Courtesy of Here for Now website Geoffrey Coulter, Guest writer, actor, director, arts educator “Frog Song” has passion but needs to leap a little further to proclaim itself a true children’s opera. What does a boy in a frog suit, an insecure soprano, her free-spirited costume designer friend, a fairy-tale inspired singing competition and a trio of hopping frogs have in common? They’re all summer campers at the enchanted Camp Songbird, discovering how song will change their lives and relationships forever. Stratford’s independent theatre company, Here for Now, presents the premiere of the new one-act children’s opera, “Frog Song”, a charming and fanciful tale of facing fears, self-confidence, finding new friends and lots of operatic singing. Navdeep and Wyatt are two disparate pre-teens paired to participate in a singing competition. Though divergent in talents and attitudes, they have mysterious dreams featuring a trio of mischievous singing frogs. With the help of other campers and their director, they must defeat their fears and sing their respective truths to the world. The dynamic cast of 7 talented performers, three doing double duty morphing between human campers and pouncing polliwogs, thoroughly invested themselves in their extraordinary characters, with an exaggerated but never phony acting style. After all, this is a show geared to a particular audience and is rightly limited to a 65-minute running time for those who may get squirmy after an extended period of sitting still. This is a show that needs to provide constant stimulation to keep younger viewers interested and engaged. This production started well. More on this later. The venue, located on the grounds of the Stratford Perth Museum, is refreshingly unique; a small rectangular white tent, open on one side to a small patch of grass and an endless vista of farmland (with an encroaching housing development in the distance). The action takes place on a small elevated square stage within and, aptly, on the turf beyond. Performers enter and exit from outside, popping in and out from their jungly backstage. A rather heavy summer deluge earlier in the day left most of the grass and pathways a soggy, slippery bog, a particularly authentic setting for the frogs but often making actor (and patron) exits and entrances precarious. A wet and muddy stage and soiled costumes didn’t faze this cast in the slightest. Director Liza Balkan does an admirable job staging her actors’ comings and goings both within and outside the tent, keeping the narrative flowing and interesting. Unfortunately, Beth Kates’ projections of some very cool abstract art above the stage were washed out and awkwardly positioned. I’m sure most of the audience didn’t see them. The simple low-budget set dressings by designer Bonnie Deakin evoked a fantasy summer camp with funky lawn signs and games - a bit sparse but we got the idea. Deakin’s costumes are rather ordinary, consisting of pastel T-shirts, leggings, shorts, and running shoes with an occasional vibrant shirt, vest and bowtie PLUS a onesie frog costume. Changing the chorus from frogs to humans by having them don and doff ball caps with bulbous eyes secured to them was innovative and practical. Under William Rowson’s deft musical direction, the cast brings cadence to his pleasant but standard compositions of coloratura and arias. Curiously, the program billing proclaims this production “…with the Stratford Symphony Orchestra”. I was puzzled when only two keyboards provided piano accompaniment. Priya Khatri, as Navdeep, the resilient, empathetic camper with a heart of gold, blesses us with her angelic soprano though my companion and I had trouble understanding all her lyrics. As flamboyant camp director Jay, Derek Kwan’s bel canto tenor, charming smile and affable demeanour are right on. However, at times his lyrics were also difficult to discern. Wyatt, played by Ben Skipper, gives us a multi-dimensional and utterly convincing performance as a melancholy young camper caught in a personal crisis. Darcey Baker as Riley, a quirky and fun-loving old friend of Navdeep’s, has an expansive voice with volume to spare (perhaps too much for such a wee venue). As the frog chorus (and campers), Megan Dart, Michael Neale, and Lucy Sanci spend most of the show crouched on the wet grass and boast excellently stylized physical and vocal abilities and interpretations. “Frog Song” is billed as a children’s opera but needs to connect more meaningfully with its junior crowd. The script’s decisive message of cooperation and friendship starts well but loses its staying power. Kids have visceral but finite reactions to the extraordinary. Children at the show I attended were completely engrossed for the first half of the show, especially in Wyatt, dressed as a giant frog. However, attention waned in the second half. Perhaps the fairy tale element needs embellishment or more outlandish costumes and props. Perhaps the lead characters need funnier, wackier, more off-the-wall dialogue. Maybe lyrics and music need to be exhilarating, catchy and memorable. The story can’t let up for a moment. Opera is a bizarre, wonderful, head-on collision between music, drama, and passion. “Frog Song” has passion but needs to leap a little further to proclaim itself a true children’s opera. Running Time: approximately 65 minutes with no interval. The production runs until August 12 on the grounds of the Stratford Perth Museum, 4275 Huron Road. For tickets, call the Box Office: 519.272.HFNT(4368) or visit herefornowtheatre.com. Previous Next

Back 'On The Razzle' by Tom Stoppard Now onstage at Shaw Festival, Royal George Theatre Now onstage at Shaw Festival, Royal George Theatre Dave Rabjohn Etymology is fun – well, maybe an acquired taste at best. But this reviewer recently learned, from Bob Hetherington’s essay in the program, that the word ‘farce’ originates from a French verb meaning ‘stuffed.’ Theatrically, it was used to describe comic bits inserted between the more serious scenes in a performance. ‘Stuffed’ may not be a very elegant descriptor of Tom Stoppard’s play, but it was undoubtedly crammed full of entertainment – simply, ‘On the Razzle’ dazzles. ‘On the Razzle’ is now playing through the summer and fall at the Shaw Festival in the warmly intimate Royal George Theatre. Quick history – the play is adapted from a nineteenth-century Austrian play by Johann Nestroy – ‘Einen Jux will sich machen.’ Thornton Wilder used it as a basis for ‘The Matchmaker’, adding the extra plot line of Dolly Levi. In turn, it became the hugely popular musical ‘Hello Dolly.’ This production is anchored by two spectacular performances by Kristi Frank (Christopher) and Mike Nadajewski (Weinberl.) The two young working-class merchants have resolved to give up their responsibilities for a day and head in to town for a fling (a razzle.) Their draconian boss Zangler (stylishly played by Ric Reid) is also in town where mistaken identity and mayhem ensues. Adding to the fun is Zangler’s young ward Marie (Lindsay Wu), dreamily in love with Sonders (Drew Plummer) as she tries to escape her uncle’s control. Of course, they all end up in the same place as doors flap open and shut and ladders spin out of control. As mentioned, the comic performances by the two young rascals feed the rest of the cast. Their movements are almost cartoonish with legs and arms constantly akimbo. Ms. Frank delights with comic faces – one moment she appears to have bitten into a lemon and the next into an apple pie. Mr. Nadajewski’s physicality puts us in mind of a Mr. Bean while his vocal antics are hilarious. This is a full on period piece from near the turn of the nineteenth century. Set and costumes designed by Christina Poddubiuk are spectacular in precision and colour. Adding to her challenge is the fact that many costumes come on and off onstage and some have to be versatile enough to add to the mistaken identity routines. The set brims with doors, corners and pockets to facilitate the hectic blocking. Projections by Jamie Nesbitt are both subtle and Monty Pythonish giving a charming sense of both rural and urban Austria. Craig Hall’s direction is superb – conducting this circus like production would certainly be a challenge. A nod also to stage manager Amy Jewell and her team for keeping so many balls in the air at once. This is not one of Tom Stoppard’s more sophisticated philosophic comedies. It has been described as a ‘lark’ but it is still riddled with Stoppard’s unique ability with language and phrasing. Malapropisms, puns and inventive dialogue are unrestrained. Full-throated comic delight is guaranteed. ‘On the Razzle’ by Tom Stoppard Performers: Jason Cadieux, Kristi Frank, Julie Lumsden, Patrick Galligan, Elodie Gillett, Alexandra Gratton, Claire Jullien, Graeme Kitagawa, Mike Nadajewski, Drew Plummer, Ric Reid, Tara Rosling, Jonathan Tan, Taurian Teelucksingh, Lindsay Wu Director: Craig Hall Set and costume design: Christina Poddubiuk Lighting design: Kimberly Purtell Projections: Jamie Nesbitt Stage manager: Amy Jewell Production runs through: October 8, 2023. Tickets: shawfest.com Previous Next

Back Martin Julien Looking Ahead to 'The Man that Got Away' Helen Tansay Joe Szekeres Since I’ve started the profile series, I’ve heard Martin Julien’s name or have noticed he may have responded to some Facebook comments these last few years. He has been a professional Canadian actor since the age of ten. Over time, he has also become a playwright, theatre deviser, lecturer, and scholar. Martin has been nominated for three Dora Mavor Moore Awards as Best Performer and was also highlighted as Toronto's top-rated theatre artist of the year by NOW Magazine in 1995. He holds a Ph.D. from the Centre for Drama, Theatre and Performance Studies in the University of Toronto, where he was an SSHRC Doctoral Fellow (2015-2017). Martin was the senior editor of Theatre Passe Muraille: A Collective History, Playwrights Canada Press (2019), and his play ‘The Unanswered Question’ premiered at Ottawa's National Arts Centre in Artistic Director Peter Hinton-Davis’s inaugural season (2007). Recent acting credits include ‘Under the Stairs’ by Reza Jacobs and Kevin Dyer, YPT (2019), and playing the titular role in ‘Sir John A: A Gentrified Ojibway Rebellion’ by Drew Hayden Taylor, NAC (2017). Martin’s newest show ‘The Man that Got Away’ opens this week at the Buddies in Bad Times theatre. He took a few moments to answer questions via email. Thank you so much for taking the time, Martin. I’m looking forward to seeing the show this week: 1. Where did you complete your artist training? As an actor, at TMU in the mid-eighties. Before it was a university. When it was the Ryerson Theatre School. The director of my play, Peter Hinton-Davis, was in my class. As a performance scholar, I hold a PhD from the Centre for Drama, Theatre and Performance Studies in the University of Toronto. 2. The twenty-first-century world of the professional artist has changed on account of the worldwide pandemic. What advice would you give to a young person who is/will or might consider a future career as a performing artist? As a veteran freelance player and deviser of theatre, I am far more interested in what advice such a young person might give to me! Those born since 2000 have the grand task of re-inventing a responsive ethics and practice for professional artists as we move on. We have two wonderful performers in their twenties – Ben Page and Tat Austrie – rounding out our cast of three, and they are my teachers. 3. Given the last three years of the worldwide pandemic, as a professional artist how are you feeling about the state of the live entertainment scene going forward? In your professional opinion, where do you see the world of live entertainment/live artist/theatre headed within the next proverbial five years? We must dedicate ourselves to clarifying new active relationships between creative practice, economics, and fairness. There seems no longer the funding for producing companies to invest in necessary rehearsal time and fair wages, while simultaneously there are important issues regarding artists’ health and scheduling which are being recognized. Where do time, money, and justice come together? The days of ‘the show must go on’ no matter what are over. 4. Personally, how are you feeling at this moment regarding the effects of the worldwide pandemic? I am also an educator of acting and theatre practice for young adults, and my personal feelings tilt towards both admiration and concern for this cohort of people. Crucial years of collaboration and collegiality have been lost, at a pivotal time of life for those just coming ‘into their own’. We must find ways to recover solidarity and trust in order to keep creating collective art. 5. Tell me more about ‘The Man That Got Away’ coming up at Buddies. What was its genesis? The play is based in my own personal history of growing up through the 1960s to 1980s in a loving and complicated family of my lesbian mother, my gay father, and me. It is a multi-faceted play that celebrates and critiques underexamined notions of queer identity through a unique personal lens, from the days of pre-Stonewall repression to ‘Gay Liberation’ to the AIDS epidemic. I sense that much of the ramifications of this collective journey are in danger of being ‘lost’, or simplified, in politics, art, and memory. It also celebrates and subverts my deep love of showtunes! a) Why do you believe it’s important for audiences to see ‘The Man That Got Away’ at this time? As a person in present-day society, I am appalled that the popular discourse continually insinuates that Covid-19 is the first epidemic to sweep North America since the influenza of 1919. Over the years between 1987 and 1992, in Canada alone, nearly 6,000 deaths have been attributed to HIV/AIDS. The vast majority of these deaths were gay men – often cared for by lesbian volunteers – who were often unrecognized and condemned by politics, religion, media, and the medical establishment. I fear this history of struggle and advocacy is being lost. At a time when trans and queer rights are both emerging and attacked in our civil dialogue, I feel it important to create public art that confirms and liberates the historical advocacy of LGBTQ2S+ rights and the beauty and breadth of queer culture. b) I thought I recognized the title of your show from a song title. I’ll be honest that I had to do a quick YouTube search to realize that the song was sung by Judy Garland in her 1954 film ‘A Star is Born’ opposite actor James Mason. It has been years since I’ve seen this film so it’s on my list to watch again. i) Am I reading too much into this or is the connection one that you are hoping audiences will make to your upcoming show? ii) From what I know about the life of Judy Garland, she was a tortured soul who battled many demons. Will your show focus also on demons/struggles/challenges you have faced in your life personally and professionally? Some audience members – Friends of Dorothy – will make the connection, and others will be learning something new about the depth and meaning of mid-twentieth century and mostly closeted and coded ‘gay culture’, and its relationship to Judy Garland. These ideas certainly have personal relevance to my family’s life growing up and are explored through the arts of theatre and performance in my show. I do not see Garland as a ‘tortured soul’ but perhaps, rather, a genius performer who was overused and abused by the ‘show biz’ industry. But also, her spirit was very good medicine for people such as my father Leo, who died of AIDS-related complications in 1988 at Casey House hospice. 6. What’s next for Martin Julien once ‘The Man That Got Away’ completes its run at Buddies? A rest from the four years it has taken to create this play and production! That said, I am participating in a workshop for a new musical in early January, then returning to teaching music theatre performance at Sheridan College through the spring. ‘The Man that Got Away’ previews December 6 and 7. It opens on December 8 and runs until December 18. All performances will be held at Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. For tickets, call the Box Office (416) 975-8555 or visit buddiesinbadtimes.com for further information and/or to purchase tickets online. Previous Next