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Back 'Bobbie' by Trudee Romanek A Canadian premiere now onstage at Theatre by the Bay, Barrie, Ontario Credit: Khaleel Gandhi. Pictured: Olivia Daniels as Bobbie Joe Szekeres An original Canadian play about the audacious tenacity of the female human spirit. ‘Bobbie’ marks an essential recognition of one woman’s contribution and value to the world of sport in this country. A premiere production by local Barrie playwright Trudee Romanek, ‘Bobbie’ follows the story of Fanny ‘Bobbie’ Rosenfeld (Olivia Daniels), a Canadian sports icon. Her father, Max (Matthew Gorman) and mother, Sarah (Nadine Djoury), want only the best for their daughter, older brother, Maurice (Ori Black) and their younger siblings. The family flees from the violence and turmoil of Russian pogroms in 1904 to the safety of Barrie, Ontario. In Barrie, Bobbie develops her passion for sport and is thus nicknamed for her bobbed haircut. There are younger sisters in the Rosenfeld house, but they are unseen in this production. The family moves to Toronto, where Bobbie enrolls at Harbord Collegiate and trains further in sport. However, the Rosenfelds’ arrival in Toronto details some horrible issues of anti-Semitism. One incident involves the father of one of Bobbie’s friends, Mr. Stewart, a newspaper editor. Despite these awful challenges, Bobbie became a 1928 Olympic Champion, representing Canada at the Amsterdam Games and winning Gold in the 4x100 Relay and Silver in the 100-yard dash. From 1937-1958, Bobbie became a Globe and Mail sports columnist advocating for women in sports. In 1949, Bobbie was the first woman inducted into Canada’s Sports Hall of Fame. In 1985, she was inducted into the Barrie, Ontario, Sports Hall of Fame, and in 1996, Ontario’s Sports Hall of Fame. Romanek’s story becomes a memory play. Her protagonist speaks to the audience in the present before delving into the past to explore how specific moments and memories she recalls have shaped the family's lives. Performers Gorman, Djoury, and Black play other individuals with quick costume changes either off-stage or at the side in the shadows. The audience sits in a three-quarter round setting. Designer Logan Raju Cracknell, Props Master Lesley Coo and Projections Designer Khaleel Gandhi create striking visual images of onstage pictures. Cracknell’s functional and sturdy multi-level design of steps and crates allows each scene to transition smoothly from a Sabbath meal in the Rosenfeld kitchen to Max’s study. A large scrim at the back of the stage allows for Gandhi’s striking visual images to be projected – the Sabbath candles and the newspaper articles of Bobbie’s sports events are only two examples. Coo has been faithful in finding vintage props from the 1920s era. The typewriter used in Mr. Stewart’s office is only one example. On the stage, two running track lanes are painted in a semi-circle at the front. They're cleverly used in the performance when Bobbie races. It is also in front of the stage where Bobbie speaks to the audience in the present. Tim Rodrigues’ lighting design warmly lights each scene on the multi-level set design. For example, there are two moments when Bobbie speaks to the audience for a couple of moments, and her spotlight is perfectly set. Selina Jia’s costume choices duly reflect the 1920s era. There are moments in Romanek's script that sometimes brutally capture the struggles of the Rosenfelds as an immigrant/lower middle-class working family. One occurs when Maurice is beaten up by neighbourhood thugs slurring anti-Semitic comments against him. Yet, audibility and projection issues in both acts prevented me from hearing the dialogue consistently. The couple behind me also commented on it during the first act. A reminder to each of the four actors to be cognizant at all times of the audience sitting at far stage right and left. Since ‘Bobbie’ is a premiere, the audience wants to hear every word spoken. Lynn Weintraub directs the production with a clear vision of wanting to show these credible individuals are survivors no matter what life has thrown at them. She also makes a choice to have performers Gorman, Djoury, and Black play minor individuals who are opposite in character of their roles in the Rosenfeld house. Solid performance work from these three contributes to the play’s impact of diligence and perseverance. As Sarah, Nadine Djoury becomes that overprotective mother who doesn’t understand her daughter’s need to run and play sports. Instead, Sarah wants Bobbie to get married right out of school and start a family. There’s an inherent sense in Djoury’s performance why she is overprotective of her child. Sarah never wants her daughter (nor any of her children) to experience what she and her husband, Max, did overseas before they came to Canada. Djoury also plays Bobbie’s friend, Evelyn, whose father is the newspaper editor who wrote some disparaging comments about Max Rosenfeld in the paper. Unlike her father, Mr. Stewart, Djoury’s Evelyn becomes that strong familial female friend who encourages Bobbie to go out into the world and accomplish whatever she wants. Matthew Gorman’s Max may be as overprotective of his children as his wife, Sarah. However, he does not make Max a stereotypical father in this respect . Instead, Gorman’s Max is savvy and recognizes that his daughter must face the world head-on if she consciously decides to become part of the sport world. Gorman imbues Max with quiet stoicism while going placidly amid the hustle of the sometimes unfairness of Toronto's daily life in the 20s. In an effective contrast, Gorman infuses Mr. Stewart with the stone-cold, impervious typical newspaper editor who is out to get the story at any cost, with little compassion towards the family situation. As Bobbie's older brother, Maurice, Ori Black becomes that youthful voice of reason. He and his younger sister playfully react to why she wants to wear her older brother’s track shorts at the top of the show. The two performers build a believable sibling relationship. Maurice quietly becomes one of Bobbie’s supporters and understands her need to run and play sports. In contrast, Black’s Teddy does not want Bobbie to succeed and will go to whatever lengths to ensure she does not receive the proper newspaper coverage she deserves. Olivia Daniels delivers a likable and confident performance as the central protagonist in the play. Periodically, she breaks the fourth wall and speaks directly to the audience to fill in some plot gaps. Daniels’ Bobbie becomes a charming, gutsy, and intuitive woman, which was rare for the 1920s. She's willing to take risks and jumps at the opportunity to travel to Amsterdam for the Olympic Games. While women were supposed to remain demure and not speak out about social issues, Daniels' Bobbie emanates warmth while remaining focused on her goals no matter what others may think or say. Even though Sarah did not come down to the dock to see her daughter off safely, it didn't affect Bobbie's determination to travel to Europe and compete in the Olympic Games. Final Comments: Bobbie Rosenfeld’s unconquerable spirit in her need to play sport marks Romanek’s script one for the Canadian theatre canon. Considering the controversies surrounding women's sports today in Canada and North America, I can’t help but think how timely the play is right now. It’s one I hope theatres will pick up as part of their season slate. See it. Running time: approximately two hours and 10 minutes with one intermission. ‘Bobbie’ runs until September 10 at Five Points Theatre, 1 Dunlop Street West, Barrie. For tickets, visit theatrebythebay.com. ‘Bobbie’ by Trudee Romanek Premiere staged by Theatre by the Bay, Barrie, Ontario. Directed by Lynn Weintraub Set Designer: Logan Raju Cracknell Lighting Designer: Tim Rodrigues Music Composition: Alondra Vega-Zaldivar Sound Designer: Mathew Magneson Costume Designer: Selina Jia Projections Designer: Khaleel Gandhi Props: Lesley Coo Stage Manager: Amanda Caliolo Production Manager: Santana Hamilton Performers: Olivia Daniels as Fanny ‘Bobbie’ Rosenfeld; Ori Black as Maurice Rosenfeld/Teddy; Nadine Djoury as Sarah Rosenfeld/Evelyn; Matthew Gorman as Max Rosen Previous Next

Back Linda Kash "I sure hope I don't forget my lines in the delivery room." David Leyes Joe Szekeres I've wanted to interview Linda Kash, another Canadian performing arts/theatre scene darling. Yes, she will be eternally known as the iconic Philadelphia (Philly) Cream Cheese Angel from television commercials for years to me. However, she has now gracefully passed the wings on to another individual. There’s more to this delightful lady. I could feel a big smile on my face when I found out where I’d seen her work. For example, she was the lip reader in the Seinfeld episode where George and Jerry want someone to read a person’s lips at a party. Kash has also appeared on ‘Everybody Loves Raymond,’ ‘Third Rock from the Sun’ and ‘Cybill.’ She has also appeared in the films ‘Best in Show’ and ‘Waiting for Guffman.’ In the summer of 2023, I saw Linda’s remarkable work at the Stratford Festival in the ‘Casey and Diana’ premiere.’ It was one of the theatrical highlights of last summer for me. This past January, the production transferred to Soulpepper for a Toronto engagement, and I had the chance to see this incredible cast at work again. She is not one to sit around, however. On Saturday, May 11, at 7 p.m. and Sunday, May 12, at 2 p.m., Linda will be directing a staged reading of Nora and Delia Ephron’s ‘LOVE, LOSS AND WHAT I WORE’ for Peterborough’s New Stages Theatre Company at The Market Hall. This special New Stages event is not just a performance, but a fundraiser for Lumara/Camp Kerry, a bereavement retreat program for families coping with grief and loss. I was thankful she could take a few moments to answer questions via email. When I asked Kash where she completed her artist training, she found the word ‘complete’ interesting. She attended the American Academy of Performing Arts for one year, where she had every intention of completing the three-year program but added: “I became distracted by a Second City workshop as well as a handsome improviser the first summer I came home.” And that was it. Linda was hooked on performance. She considers Second City her formal training and foundation as an actor. Eventually, she returned there and got a chance to direct a Firehall show. Linda also runs an acting studio – The Peterborough Academy of Performing Arts – which has been running for seventeen years. She and her staff teach kids and teens throughout the year. She also runs Drama Day camps for two weeks in the summer. She also teaches adults through a school and production company she co-founded in 2019 called klusterfork. Coaching and teaching in the Peterborough community is fundamental to Kash. She says it’s hugely satisfying and rewarding to watch young talent develop. Kash is also very proud of her work playing Marjorie in ‘Casey and Diana’ at Stratford and Soulpepper. She calls it a privilege in her professional career. She will never forget the rehearsal and performances of ‘Casey’ because: “it was so collaborative and so personal to all of us, including the crew. Everyone was equally and tremendously invested in this story…I think that’s why it resonated so profoundly with the audience.” She also loves directing and seeing the big picture. She calls that process detective work in trying to figure out the playwright’s intentions. Working with a collaborative team to bring a story to life is endless fun. What drew Kash to direct ‘Love, Loss and What I Wore’? “I performed the play when it came to the Panasonic in Toronto. I worked with Cynthia Dale, Wendy Crewson, Jeanne Becker, Lauren Collins and the late great Margot Kidder. It was a special experience…It was like sharing a giant cup of coffee with the audience, chatting about clothing and memory with dynamic women who felt like close friends. I wanted to re-create that feeling. And I think I have with the talent I’ve chosen for Peterborough. Dynamo’s all “ What a cast that has been assembled for the upcoming Market Hall production: Jenni Burke, Maria del Mar, Jane Luk, Kinley Mochrie and Megan Murphy. Will men also find ‘Love, Loss and What I Wore’ interesting: “Men can relate to stories about their mothers and what they wore, to school crushes, wedding days, Messy divorces, and the loss of people we love. I think those themes go well beyond gender.” The fact the play will be performed over Mother’s Day weekend was another deciding factor in staging the production at this time. Linda guarantees that everyone who sees this show will think about their lives and about pieces of clothing that have meaning. And because it’s Mother’s Day weekend, Linda hopes we will take a moment to think about ‘her.’ What’s next for Linda after the staged reading? She boldly states she’s back on the hamster wheel these days happily auditioning for film and TV. She and her brother Daniel will be doing a play together next year, which is thrilling. She’s also running a couple of camps in the summer through her school. Linda also created a pilot for a pre-school children’s show produced in Peterborough. She’s looking for interest to develop it further and considers it all a great adventure. Best of all… Linda’s counting the days before she meets her first grandchild. She has been invited to the delivery room for the arrival. That’s wonderful news. Kash’s sense of humour was still present when she wrote: “I sure hope I don’t forget my lines.” New Stages Peterborough presents Nora and Delia Ephron’s ‘Love, Loss and What I Wore’ on May 11 at 7 pm and May 12 at 2 pm at Peterborough’s Market Hall, 140 Charlotte Street. For tickets to the show and to learn more about New Stages, visit newstages.ca. To purchase tickets over the phone, call the Market Hall Box Office at (705) 775-1503. Previous Next

Back 'THREE SISTERS' by Inua Ellams. After Chekhov A Co-production with Obsidian Theatre in association with Soulpepper Credit: Dahlia Katz. Pictured: AKOSUA AMO-ADEM PLAYING THE ELDEST SISTER LOLO, VIRGILIA GRIFFITH PLAYING THE MIDDLE SISTER NNE CHUKWU AND MAKAMBE K. SIMAMBA PLAYING THE LITTLE SISTER UDO Geoffrey Coulter, Contributing Writer, Actor, Director, Adjudicator, Arts Educator " A superb not to be missed re-imagining." “The Russians are Coming, The Russians are Coming!” With the plethora of Russian theatre currently playing in Toronto, it looks like they’ve arrived. “Natasha, Pierre and the Great Comet of 1812” is currently breaking box-office records at Crow’s Theatre while Mirvish’s production of “Uncle Vanya” closed a successful run at the CAA Theatre just weeks ago. Now Soulpepper, in collaboration with Obisdian Theatre, presents a superb, not-to-be-missed reimagining of Chekhov’s “Three Sisters” by Nigerian-born playwright Inua Ellams. He has masterfully taken part of Chekhov’s original plot and transformed the rest into a relevant, thought-provoking piece of social commentary about the delicate fabric of family and hardships. Ellams has transported the action of the original from nineteenth century Russia to late 1960s Africa and the cataclysmic Nigerian Civil War, also known as the Biafran War, one of the bloodiest conflicts in that continent’s history. This fluid adaptation, a clear testament to the ravages of colonialism and disencumbered liberty, is thoughtfully directed by Mumbi Tindyebwa Otu. It’s also boasts and impeccably fine cast featuring some of the finest, most compelling acting and ensemble work this reviewer has seen in quite some time. A year has passed since their father, a respected military commander, died but the three sisters are still grappling with his passing. Eldest Lolo (Akosua Amo-Adem), is a wise, hard-working teacher in the local school, Nne Chukwu (Virgilia Griffith), is married to the schoolmaster Onyinyechukwu (Tawiah M’Carthy), and youngest Udo (Makambe K. Simamba) – having just turned 20, is being courted by two soldiers, idealistic serviceman Nmeri Ora (Ngabo Nabea) and lovelorn Igwe (Amaka Umeh). The sisters live with their lackadaisical Cambridge-educated brother, Dimgba (Tony Ofori) in a small village in Owerri, Nigeria, longing to return to the cosmopolitan city of their birth, Lagos. Their father built the house from scratch with the intent of immersing his family in the Igbo traditions, set apart from the “colonial cultural erosion” that he believed infested the capital. What the siblings don’t know is that the Biafran Civil War is about to erupt and change their lives, their relationships, and their country forever. I strongly recommend a quick read of the program to get some much-needed historical context that serves as backdrop to this riveting drama. I wasn’t aware of the Biafran conflict and the resulting deaths of 30,000 Igbos people and the displacement of 300,000 more. You need this history going in to understand and appreciate the political dynamics and what’s driving the underlying conflicts – the unhappy, arranged marriage of Nne with Onyinyechukwu, the family’s uncle (Matthew G. Brown) who has turned to gambling and drink because, under British rule, he’s not allowed to practice as a doctor and housemaid Oyiridiya (JD Leslie), a northern refugee who witnessed her husband’s murder at the hands of the Hausa people and wants her revenge. Director Mumbi Tindyebwa Otu expertly directs this tremendous production with verve and sensitivity. The play is long, well over three hours. But Otu keeps the dialogue and the actors moving smartly. Her vision to explore the narratives of tragedy, humour, social class, dreams, reality, inaction, and despair is fully realized. She makes good use of the small stage by playing scenes to the edges to accommodate the 12-member cast but doesn’t shy away from intimate moments centre stage. Joanna Yu’s storybook set design is functional and practical, with fine African details such as the thatched straw roof of the home’s exterior and trees subtly flanking the property. Lighting designer Andre du Toit effortlessly evokes the African heat with a barrage of amber lights while providing darker hues and spotlights as the war marches to the very doorstep of the sisters’ lives. John Gzowski’s subtle and supportive soundscape of placid chirping crickets and festive radio broadcasts contrasts eerily with the sounds of rumbling storms, explosions and warplanes roaring above. Kudos to the inspired fusion of spot-on costumes of the late 1960s with traditional African prints and headwear by designer Ming Wong. Her bright colours, bold prints, extreme hemlines, loose-fitting shirts, flared trousers, and low heels gave a definite “swinging sixties” vibe while honouring the rich textures of the African working class. But it’s the extraordinarily talented cast that makes this play an event to remember. There isn’t a weak link. Characters are so well-defined that we know what makes everyone tick within minutes. Amo-Adem is thoroughly convincing as the wise, frustrated, and exhausted schoolteacher. Griffiths plays the married, bored middle sister with aplomb, while Simamba is the epitome of optimism and youthful exuberance. They enter and exit the stage with purpose and clarity. More impressively, each one has a life-changing experience that transforms and informs who they become by the play’s end. Perhaps this is most evident in the stunning metamorphosis of Oladejo’s Abosede, who goes from an insecure outsider with a detestable fashion sense to a glamorous but shrewdly scheming head of the household. These actors take us on their own personal journey. That’s storytelling. That’s acting. Umeh adds some much-needed humour as the socially awkward soldier Igwe, while Brown, Stephens-Thompson, Leslie, Herbert, M’Carthy, Nabea and Ofori bring tangible life to their supporting roles. Politics, greed, love, betrayal, envy, power, corruption, redemption, and the complexities of family. Chekhov knew 123 years ago the universality of these themes. They’ve been characters on the human stage forever. But add the irreversible and indelible effects of colonialism, racialization, and a country at war with itself, and you have in this production a reimagined classic that is perhaps more relevant today than it’s ever been. Running time: approximately three hours and 20 minutes with one interval. The production runs until March 24 at the Young Centre for the Performing Arts, 50 Tank House, in the Distillery District. For tickets, visit Soulpepper.ca or call 416-866-8666. THREE SISTERS by Inua Ellams After Chekhov A co-production with Obsidian Theatre. Directed by Mumbi Tindyebwa Otu Set Design: Joanna Yu Costumes: Ming Wong Lighting: Andre du Toit Sound design and composition: John Gzowski Vocal music coach and arrangement, additional composition: Adekunle Olorundare (Kunle) Movement director: Esie Mensah Performers: Akosua Amo-Adem, Virgilia Griffith, Daren A. Herbert, Sterling Jarvis, JD Leslie, Tawiah M’Carthy, Ngabo Nabea, Oyin Oladejo, Makambe K Simamba, Odena Stephens-Thompson, Amaka Umeh, Matthew G. Brown. Previous Next

Back Jessica B. Hill Theatre Conversation in a Covid World Ann Baggley Joe Szekeres I’ve seen some of the extraordinary work from The Stratford Festival in which Jessica performed: Mother’s Daughter, All My Sons and one of my favourites: ‘The Crucible’ Jessica is an actor and writer. She holds a BA from McGill University in English Theatre Studies and is a graduate of Stratford Festival’s Birmingham Conservatory for Classical Theatre. She has been a member of the Stratford Festival for the last five seasons. Performing lead roles in The Comedy of Errors, Brontë: The World Without and Mother’s Daughter, and appearing in The Crucible, Paradise Lost, The Changeling, All My Sons, and Bunny. When Covid closed the theatres last March, she was entering her sixth season with the Festival and preparing to play Lady Anne in Richard III and Helena in All’s Well That Ends Well. Film and TV credits include The Boys, What We Do In The Shadows, Slaxx, On the Basis of Sex, and Hero: The Life and Times of Ulric Cross. She’s a recipient of the Mary Savidge Award that recognizes an actress who has shown outstanding dedication to her craft. Fluently bilingual, she works both in English and French in theatre, voice, film, and television. Her first play, The Dark Lady, is currently being co-developed with Shakespeare in the Ruins and The Stratford Festival, with support from the Manitoba Association of Playwrights and Shakespeare on the Saskatchewan. It imagines a modern take on Emilia Bassano, the woman who allegedly inspired Shakespeare’s Dark Lady sonnets. The idea began as an intertextual poetry reading put on as part of the outdoor Here for Now Theatre Festival in Stratford, last summer. We conducted our conversation through Zoom. Thank you once again, Jessica, for the opportunity to hear and to listen to your voice about these important issues. In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? Your immediate family? (a frustrated sigh first from her)…Let’s go with okay. I think we’ve been very, very lucky. My immediate family and I are healthy. We’re taking every precaution we can navigating through this. Of course, we get cabin fever, we get bored and sometimes depressed and frustrated but we’re getting better at dealing with it and helping each other deal with it. Sometimes it’s as easy as, “Oh, let’s go for a walk”, and other times it takes a bit more time. It comes in waves; I think everyone is starting to feel that. It’s not always easy to stay focused or motivated but I feel very, very lucky that I have my family nearby here in Montreal. The curfew is still in place here. We’ve don’t have any real reason to leave the house after 8 pm here in Montreal so that hasn’t really affected us, but it’s more the idea of the curfew which is sometimes hard. How have you been spending your time since the theatre industry has been locked up tight as a drum? Oh, boy, okay. I guess I should start from the top. Well, the first few months of spring were terrible. We had been going full speed ahead in rehearsals at Stratford and suddenly it honestly felt like slamming into a brick wall. It was shock. It took a while to overcome and to get my bearings back. What really saved me creatively was suddenly having to write a play on a tight deadline. The Here for Now Festival is based in Stratford. They reached out to me in June, I think, and asked if I had something I was working on they’d like to present for the small outdoor crowd in July. They were banking on the fact we could still gather outside, and I had nothing, but I said, Yes, anyway. Whether it was Insanity, depression or yearning, and I spent a month pouring myself into an idea I guess I always been thinking about but never crystallized into a proper idea, but now I had the time to delve into the script. It was a really interesting time because the Here for Now Festival in Stratford was probably one of the first outdoor performances coming out of lockdown, and everyone was still feeling quite tentative. We got to perform the script four times to this amazing and generous crowd of people, just the sweetest audience, so so generous. I think that was the spark I needed to keep the fire burning for me. It reminded me of how important and special it was to gather, that magic of sharing an experience with an audience. I thought, “Well, just because I can’t perform doesn’t mean I can’t work.” This idea of writing and generating the work allowed me to work on my craft in an exciting new way and to develop as an artist even if I can’t perform. Just because there is no performance doesn’t mean there is no theatre. The late Hal Prince described the theatre as an escape for him. Would you say that Covid has been an escape for you or would you describe this near year long absence from the theatre as something else? I wouldn’t call it an escape. A break from performance, but theatre, storytelling and ideas are everywhere all the time. I use the word ‘reflection’ or in French we use the word ‘ressourcement’, the idea of returning back to sources of inspiration. Covid has given us a lot of time to reflect, to take stock, and to contemplate and replenish our creativity as much as we can. We never wish for this much time between gigs as we always have this frenetic pace in going from one job to the next. So, it’s un-stabilizing to have this much time and uncertainty. Since we’ve been given this time, I can’t help but want to use it as best I can. I’ve interviewed a few artists several months ago who said that the theatre industry will probably be shut down and not go full head on until at least 2022. There may be pockets of outdoor theatre where safety protocols are in place. What are your comments about this? Do you think you and your colleagues/fellow artists will not return until 2022? I can’t make that call as I have no idea. I’d love for this to be wrong and to be pleasantly surprised. If Covid has taught us anything, there’s nothing set in stone, right? I think it’ll be bumpy and lopsided as we return. We’re not all in the same boat, but we’re in the same storm. Because of the fluctuating protocols and case numbers and vaccine roll outs now, some theatres might re-open before others. There’ll probably be a game of stop and start as well, so I don’t think we can see it as a linear path just yet. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? Transformed is the word, but it’s a metamorphosis. It’s a feeling of the experience itself before it becomes wisdom (if that makes any sense), knowing something is important while it’s happening but not quite sure what part of the story you should be holding onto. I feel like I’m a completely different person from whom I was last March, and I’m sure I’m not the only one who says that. The most important coming out of this, for me, is a sense of responsibility. I’ve been thinking a lot about the stories we tell in the theatre and how we choose to tell them. What is that responsibility that comes next? We’ve been given this time to re-imagine what theatre is and can be. It’s going to be transcendent. The late Zoe Caldwell spoke about how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre? Well, the danger should be in the work, and not in the reality. For the work to be dangerous, we have to feel trust, security and safety in the rehearsal space. No good theatre will come out of actors fearing for their lives or for their loved ones. This also ties into how do we come back with precautions on how to return as safely as we can. It’s going to take time probably to feel safe again. I think the fear, the grief, the isolation, the frustration, that sense of danger you’re talking about, can’t help but make its way into an artist’s work, the ethos, I’m not sure how yet as we’re still in the thick of it, but I’ll have to see where and how it comes. The optimist in me wants to think that all that danger we’re living through will help create the most extraordinary and electric and profoundly intimate art. After months and months of isolation, watching people connect on stage will be healing and exhilarating. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre? I had trouble with this question….Hmmmmm….. There’s an openness that I felt; this willingness to just let the feelings do their thing – to be vulnerable, authentic, ugly, brutally honest. And it’s a realization, upon a realization, upon a realization that you can only really live in the present moment. I keep thinking of Rilke’s poem: “Let everything happen/Beauty and terror/Just keep going/No feeling is final.” It’s all material; it’s all raw - the stuff of what you can build out of (if that makes sense). It’s all raw material that you can source from later on. I’m already a sensitive person to begin with. I’m a hugger and I don’t just hug out of formality. I need to feel a connection to the other person. I need to feel that fleeting moment of a shared presence like, ‘Yah, that’s here.” Hugs might be gone for awhile. We’re going to have to open ourselves for a new definition of theatre when we get back because it’s going to take time. Outdoor theatre is where it starts. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? Oh, hugely so because I’ve always wanted to write and I’ve never given myself the time to do so. The fall and winter has been developing my curiosity in my playwright’s voice. I’m developing a whole other side and artistic practice. It’s all curiosity. It is what has been keeping me going and getting curious about connection between different art forms, about different sources of inspiration and letting ideas bounce off each other. Things that don’t necessarily connect are now interconnecting in ways I hadn’t thought possible which surprise me and excite me. There’s so much baggage from Covid. It’s isolated us as a community, everything from meeting each other to practicing what we love. There’s so much time right now to get curious about things and that’s the silver lining to this whole thing of Covid. When things get going again, I still want to hold onto that feeling of openness in being curious about other things. I’m back into drawing and sketching. Follow Jessica on Instagram: @jessicabhill AND Twitter: @bhilljessica Follow Jessica on her website: www.jessicabhill.com . Previous Next

Back Jason Danieley Theatre Conversation in a Covid World Matt James Photography Joe Szekeres What a kind, compassionate, and sympathetic individual is this Broadway and performing artist, Jason Danieley. And I am pleased, grateful, and humbled he treated me with the utmost respect in our nearly 45-minute conversation. I saw his work several years in the truly wonderful original Broadway cast of ‘Curtains’. So much fun to watch and some excellent show stopping musical moments. As you will see from the answers to some of the questions in our conversation, I found Jason to be a heartfelt deep thinker who has survived one of the most awful personal elements when he lost his wife (and marvellous performing artist), Marin Mazzie, to cancer a few years ago. But he is a man who (I believe) understands and knows how important it is in moving forward, even with tiny steps some days. From his website: Jason appeared in the original Broadway company of ‘Pretty Woman’ by Bryan Adams, Garry Marshall, Jim Vallance and J.F. Lawton at the Nederlander Theatre. Along with Broadway and Regional Theatre appearances, Jason has also sung as a concert soloist appearing with the Boston, New York, and Philly Pops. I will include his website at the conclusion of his profile. I held a Zoom call with Jason at his second home in Columbia County New York, that he and Marin had purchased, just an hour shy of Albany but right on the Massachusetts border. Weather was beautiful for him as it was here in Toronto. He told me he has all his deck cleaning supplies pulled out and said it was time to start spraying. Jason is a regular guy who keeps his house clean and likes to putter around outside on beautiful days. Thank you, Jason, for sharing some personal thoughts and for adding your voice to the conversation. We’ve come up on one year with the closing of live theatre doors. My heartfelt condolences to you as well, Jason, in the loss of Marin. How have you been doing during this time? I won’t say I welcomed being isolated, but I have been able to find through an extended and forced isolation a gift of self reflection and introspection that I thought I had already set aside for myself. When Marin passed in the fall of 2018, I was doing ‘Pretty Woman’ on Broadway and, thank God, still had considerable months ahead on my contract. So that took me up to June 2019, and then I would set aside the rest of the year. I went to India for a good chunk of July, trekked in the Himalayas and did some meditation and all the stuff that you would expect a widower to do. I had to go see the Taj Mahal, of course. And then I said as soon as 2020 starts I’m gonna back to work. I had a bunch of symphonic concerts scheduled. I headed down to the Asolo Repertory Theatre in Sarasota to work on a new Ahrens and Flaherty and Frank Galati musical which I was starring in. 2020 was just ripe with promise and I was ready to get right back on. And then everything was just shut down. We had one more week in the studio and then we were going to head into tech for this new piece and then were sent home. I think many people were thinking it would be several weeks or several months at most. And then we became aware of really what was ahead of us. I didn’t have much dread because we had springtime and the summer was ahead of us. The closer we got to the fall and winter, I thought, “Oh, gosh, here it comes.” We had no children and our dog passed away six months after Marin passed away. It went from three and half years in watching Marin slowly deteriorate as well as our dog and then complete annihilation. I thought I had given myself plenty of time. Then through the fall and late winter, it really tested my mental medal because there was nothing to fall back on and nothing to distract me. So, it was welcomed because I was able to do work that I would have put aside. I’m curious to how we move forward in the theatre, of course, but I think given the absence of the potential of work allowed me to do some deep digging. Now as the spring is coming, the smoke is clearing, and get my vaccination sometime soon, maybe now I’ll be ready to move forward with whatever my life is going to be. Outside of the theatre and the industry, how have you been spending your time? You know, I’ve found it a barren wasteland for creativity this whole pandemic. It’s very difficult to read. I know primarily there was so much buildup of the election. A big chunk of my whatever I had in reserve of my mental capacity or emotional durability was somewhat struck by the anticipation of the election, the closeness of it. And then, January 6, the impeachment trial. I felt I couldn’t get outside of any of that OR be inside it and find some creativity, and I look at people who have done that and wonder, “How did you do that?” Maybe it has something to do with being beaten down for the last five years of the last three and half years of Marin’s life and two years of grieving. It just felt like a continuation of it. My therapist is so wonderful. She said, “You don’t have to do anything.” Not doing something is very difficult for me given our business as you’re constantly trying to find the next job, create a new cabaret. Whatever it is, casting your line out ahead, there was no there, there. Instead of beating my head against the wall I thought patch some holes in the wall, nail some holes in the wall. I did a lot of outdoor activities. I was literally turning into Candide without the optimism angle. I was tending my garden, I was growing tomatoes and clearing parts of the property, sort of a physical manifestation outside the home that I was hoping to achieve for myself on the inside. The late Hal Prince described the theatre as an escape for him. Just from what you’ve shared, Jason, yes, Covid has sometimes been an escape for you but I think the pandemic has been a lot of things for you. Can you also describe this near year long absence from the theatre as something else? This time of Covid has been a forced exile from not only the business but also from the fact that I’m definitely not an actor who performs for adulation. I don’t need that. It’s a great gauge to know if I’m hitting the comic marks and if I sound in good voice and if people are getting it. My father was a preacher and words are very important because they carry such great weight. My father was obviously for the congregations’ souls and salvation, so the stakes were high for two ‘shows’ that he had to write and perform. My mother played the organ. My parents weren’t showy, but they did things from the heart and helping people and whatever they were going through. That’s not how I consciously approached becoming an actor, but looking at it, I thought, ‘Wow! I have a calling” just like my dad had a calling to be a minister. I think it’s reflected in the types of shows and work I select to do over the years. That’s what I’m missing. This forced exile from something that helps me as much as I hope I’m helping others whether it’s a cathartic release from seeing ‘Next to Normal’ if they have bipolar spouse or lost a child at a very young age. You’re making them cry but you’re also making them feel they’re not alone. OR you present a musical mystery like ‘Curtains’ (NOTE: I LOVED ‘CURTAINS’ WHEN I SAW JASON IN THE PRODUCTION WITH THE ORIGINAL BROADWAY CAST) and everyone is distracted from the goings on, I don’t have that outlet. There’s the exile. It’s not an escape but it’s set out to sea. I haven’t given myself the amount of time that I’ve guessed I really needed during this last while. So I’m sitting out there on the deserted island waiting for my rescue ship to come in which is the vaccine hopefully, along with the new leadership in our country. I’m ready to get off the island. The isolation has been ultimately, looking back in hindsight, good but I’m ready to get off the island! I’ve interviewed a few artists several months ago who said that the theatre industry will probably be shut down and not go full head on until at least 2022. There may be pockets of outdoor theatre where safety protocols are in place. What are your comments about this? Do you think you and your colleagues/fellow artists will not return full head on until 2022? I really don’t see us going back full tilt until 2022. I know everyone’s working full tilt to get us to whatever the first stage of coming back is going to be. But if you’re saying full on, full capacity, doing shows like we did prior to the pandemic, I don’t see it happening until at least 2022, easily. People are talking about getting back this fall for Broadway. If enough people wise up and take the vaccine, which I don’t understand in why people don’t want to take the vaccine. But if we can get enough people that herd immunity is a legitimate thing, then this all dependent on the audience as well. The producers will do everything they can to get people back into the theatre but it’s up to the audiences as well. Will audiences want to come back and will they feel safe? Until those questions get answered, right now the way we’re shuffling forward in baby steps, well, Spring 2022 after next winter has worn off again and people are feeling optimistic and seeing the numbers hopefully down around the world. I was supposed to do a cruise with Seth Rudetsky on a ship to Bermuda this last July and he’s asked me if I’ll do a cruise in January 2022. You know, I hope we can, but right now it sounds like I would be out of my mind if I wanted to get on a cruise ship. I was supposed to sing with the Boston Pops with whom I somewhat regularly sing, and I just saw in The Boston Globe the Pops and BSO will do a limited season in Tanglewood, literally 10 minutes from my house here. I thought fantastic, outside, people will be distanced, and it will be a concert for Keith Lockhart’s (conductor of the BSO) 25th anniversary. I thought this was a perfect opportunity and found out there will be no vocalists but only instrumentalists. It really punctures your tires when you think the outdoor venues might be a possibility but no, not even this year. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. Clearly, Jason, your life has transformed you personally. How will you take this personal transformation in your understanding of the theatre and where it is headed in a post Covid world? I have been inspired to direct, I know that’s so cliché for an actor to want to direct. A lot of the concerts Marin and I did, we put them together, but I structured them and directed them essentially. Marin said, “You have to direct.” Before she passed, ‘The Lyrics and Lyricists Series’ at the 92nd Street Y did an evening of Lynn Ahren’s lyrics and Lynn said she would only do it if I directed it, out of the blue without even knowing that I wanted to direct. So we did that, Marin was able to see it along with (the late) Terrence McNally. That’s what I want to do. I had a couple of directing gigs that fell through this last year as well. There’s story telling and then there’s…it’s not about power but being in the business long enough and knowing and respecting what everyone does in the theatre – the crew, wardrobe, hair, orchestra, music directors, everyone that’s involved – I know what everyone does. If you take an interest, than you take an interest in what everyone does and contribute. I would love to be the filter for shows and to get the best out of everybody, because I’ve seen it done well, and I’ve seen it not done well. And Marin was doggedly determined for me to do that, to direct more. We worked together a lot. We did ‘Next to Normal’ on Broadway, we did a couple of other musicals in California, but we did a lot of symphony and cabaret singing. And that allowed us to be choosy of which productions we would be a part of, we didn’t have to take any job, thankfully. Now with Marin gone, there was a big question mark on whether I felt like I could continue just singing period. Moving forward, I do know that I can perform, but the concert aspect of it might not be as fulfilling or regular as it used to be. To fill that gap and to move on my own path, directing is something that I’m inspired to do. I’m inspired to direct for this time we’ve been given that I mentioned earlier. The late Zoe Caldwell spoke about how artists should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience both feel it simultaneously. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre? Well, knowing Zoe only a little bit but knowing her enough to understand what she’s saying that it might be more. For her she was a very dramatic and very full throttle all the time. So, I do agree with it in respect to certain parts, but it depends on what it is I’m doing. If I’m doing a dramatic part that requires danger; If I’m doing something entertaining, funny and light, I hope there’s no danger involved. It’s Helen Hayes, I think, who is the actor who like to go on with a full bladder because it gave her a performance urgency – going on stage to have to pee, okay, I’m going to move this forward. Without having to drink a gallon of water and put yourself through the torture, when you’re doing a performance, a show, or presenting a piece, there has to be a reason for it. There’s no reason to dramatize or theatricalize a story if there are no stakes. So, I think danger, for Zoe, or Miss Hayes, there has to be a reason to be there, and you’ve got to be right on your front foot at the beginning of that. So, there’s the drive – George Abbott: louder, faster, funnier. There is really something to that. He broke it down to the mechanics of it; (That’s sometimes where I have issue with over naturalistic performances on stage. I get it that sometimes it’s wonderful to bring the audience to you because the stakes are super high. Think of ‘Next to Normal’ and that first scene where she has emotionally broken down and making sandwiches on the floor in the first scene). Other pieces may not be so rich with conflict you may have to ratchet up the stakes. Whatever it is – having to pee, danger, raising the stakes, I agree. Going forward, I’m not sure it’s going to be exactly the same as far as danger goes in the stakes. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Just in talking with you this last half hour, Jason, you’re a very sensitive individual who has been through a great deal personally. How do you see taking this sensitivity and moving forward in a post pandemic world? I think that sort of doubles back to wanting to direct. There are so many different kinds of directors and I’ve worked with so many brilliant ones over the years and they all have their strengths. What I do have, as you have, Joe, kindly pointed out, that I am sensitive, super empathetic, sympathetic and without being a pushover or a wet rag. I think what I can do is funnel the empathy that we need as a country in a great amount – the Black Lives movement and the BIPOC community, the Asian community without co-opting their stories. If there’s a way that I can help facilitate them or if it’s telling a story of white community understanding and empathizing, that’s a huge thing that I’m hoping I can contribute. I’m a pawn and puppet as some director who even worded it that actors are ‘meat puppets’, atrocious, but we are one part of the palette that a director and writer uses to paint the picture on the stage. I’m at their whim and will depending on what they’ve written. What I’d like to do is be in more control so I can infuse shows that might lack empathy, compassion with that whether it’s new or just needs a fresh dose of that. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? I’m most curious about how we will move forward outside of the parameters of Covid with our community of people of colour who need more and better and stronger representation on stage. It needs to happen and it’s long overdue. I’m curious as to what that means and how long that will take. I believe that the first people who will be in line for change are going to be the artists and the theatre people: a woman of colour as artistic director; putting more writers on the season whenever a new theatre season comes up. What we don’t have is an audience of colour in that back pocket. We have people who love ‘Hamilton’ and those shows that will draw diversity in the audience, but how do we get more of the audience to be diverse in order to support this new kind of theatre that we’re hoping to see beyond the forefront. That’s going to take some time. The impatience of actors and people in the theatre who like immediate response – when we come back to the theatre and everyone wants to make change, but we don’t have the audience yet. We don’t have a great number of actors or writers yet infused into the already existing body. We’ll have to have patience, but I’m really excited about it. What does this mean for me? Not selfishly, a middle-aged white guy who’s in a business where there aren’t a lot of guys to begin with. There are plenty but that’s been job security for me without putting my finger on it. You’re always going to need a leading man or the love interest, but maybe not so much necessarily moving forward. So what does that mean for me? Maybe I should get those directing resumes out right now. To learn more about Jason, visit his webpage: www.jasondanieley.com Previous Next

Back Ann Harada Moving Forward Bruce Alan Johnson Joe Szekeres Now that I’m retired from teaching, I can state that I had called in sick one Friday morning and traveled with my mother to New York City to see the original Broadway cast of ‘Avenue Q’. I remember we had both seen trailers on television for the production and made the production a must-see. We were not disappointed in the least as we had a ball at the theatre that night and this very adult performance which probably seems tame by today’s standards. I especially enjoyed watching Ann Harada as the character Christmas Eve whose fiancé didn’t have a job. They had bills to pay and all of the other responsibilities that come with living together. Ms. Harada was deliciously sassy and saucy as the adorable Christmas Eve. A quick bit of online research also led me to discover she has played Madame Thenardier on Broadway in ‘Les Miserables’ and was in the original cast of Dolly Parton’s ‘9 to 5’. She’s also appeared in TV shows such as ‘Smash’, ‘Blue Bloods’, and ‘New Amsterdam’. Born and raised in Hawaii, Ann graduated from Brown University with a double major in English and American Literature/Theatre Arts. We conducted our interview via email. Thank you again, Ann, for participating. It appears that after five exceptionally long months, we are slowly, very slowly, emerging to a pre-pandemic lifestyle. Has your daily life and routine along with your immediate family’s life and routine been changed in any manner? And how! Once my son’s school ended in June, we headed for my mother in law’s house on Cape Cod, where we’ve been ever since. And we’re not exactly sure when we’re going back since school is completely remote right now. When we look out of the windows here we see water and trees. Sometimes a squirrel, or a bunny. In NYC I have an incredible view of a back alley and I see my neighbor smoking pot. And I sure don’t blame him a bit. Were you involved or being considered for any projects before everything was shut down? I was shooting some episodes of a TV show, but I just found out my character’s storyline was cut “due to complications from COVID”. I am devastated. I was in ‘Emojiland’ off-Bway— we shut down in mid-March. I was supposed to go to the Kennedy Center and do ‘Bye Bye Birdie’ –canceled. Describe the most challenging element or moment of the isolation period for you. For me, it is being unable to hug my friends and not being able to talk to them in an intimate way, my husband is always pulling me away from people and saying, “That is not six feet!” What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? Since theatres will most likely be shuttered until the spring of 2021, where do you see your interests moving at this time? Like everyone else I have been doing things on Zoom and practicing making self-tapes, converting a closet into a recording studio, trying to fold my green screen, fun things like that. I don’t enjoy this part of the business at all. If I was interested in iPhone cinematography or home lighting, I would have pursued those interests. My interests will turn to reading more actual books and catching up on series I never paid attention to before. 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? Well, this isn’t the first time we’ve gone through a national shutdown or a pandemic. Our industry managed to survive both 9/11 and the AIDS crisis. Theatre isn’t going away, it just might take a while to sort out. I’m not worried about young people. They’ll figure out a way to do what they want because they’re not set in their ways yet. It’s the older people I’m concerned about. Without any way to earn health insurance, what’s going to happen? Do you see anything positive stemming from this pandemic? I hope we see continued respect for our frontline workers, from medical professionals to grocery workers and restaurant workers. It was beautiful to participate in the nightly 7 pm applause for them, and I hope we continue to appreciate their service. In your informed opinion, will the Broadway and North American performing arts scene somehow be changed or impacted on account of the coronavirus? Of course. How are we going to get audiences back in the theatre safely? How long will it take for people to want to come back, to not be afraid of crowds? How long will it take for me to feel comfortable in an audience? How will I feel safe onstage? Everything is a question. What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? Have you been participating, or will you participate in any online streaming productions soon? I’ve certainly enjoyed the live streaming events I’ve seen. I’ve only done a few live streams, they were mostly educational. But I do think it’s a great way to bring people together. I don’t know that every play is satisfying performed as a reading but if it’s creatively done, it can really be extraordinary. What is it about performing you still love given all the change, the confusion, and the drama surrounding our world now? I love connecting with people, I love performing with other people, and we are still desperate for human connection. Maybe even more so now. I know that people enjoy what we’re doing, even if it isn’t live and in person. I’m happy to keep putting things out there if people enjoy it. With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: What is your favourite sounding word? Gobsmacked What is your least favourite word? moist What turns you on? Intelligence What turns you off? Ignorance What sound or noise do you love? Orchestra tuning, rain on a tin roof What sound or noise bothers you? Beeping noise when the freezer or fridge door is not closed What is your favourite curse word? Shite or bollocks What is your least favourite curse word? Refers to female reproductive anatomy What profession, other than your own, would you have liked to attempt? Novelist, photographer, museum curator, librarian What profession would you not like to do? Daycare, law, stunt person If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You didn’t do everything perfectly, but you always gave it your best attempt. Please have a seat. To follow Ann on social media Twitter: @annharada Instagram: @iamannharada Previous Next

Back Tracey Hoyt The Self Isolated Artist Anna Keenan Joe Szekeres After I had written a profile on Sergio Di Zio, he sent me an email speaking glowingly about his friend, Tracey Hoyt, who is one of the most respected and long time voice actors in Toronto who has deep roots in Improv and Second City. According to Sergio, Tracey’s recent play is personal and lovely. He thought she would be ideal to be profiled in this series of the self isolated artist. I couldn’t agree more with him and was very pleased when Tracey got in touch with me. I perused her website and am in tremendous respect of her professional experience in all areas of the business from theatre to film and TV, improvisation and voice over work. Tracey also comes highly recommended by some of Canada’s finest talents when it comes to voice over work. You’ll see them on her website. We conducted our interview via email: 1. How have you and your family been keeping during this two-month isolation? We’re all healthy and well, thanks. My three step kids are young adults and they’re all isolating in their own bubbles. My husband and I share a small space. We’ve discovered that being in nature and walking our dog several times a day has energized and motivated us more than anything else. 2. What has been most challenging and difficult for you during this time personally? What have you been doing to keep yourself busy? Other than being away from our loved ones, it’s been not being able to experience live theatre with family, friends and strangers. I miss that so much. This has freed up a lot of time to watch films and TV series I’ve been meaning to check out. That’s been a constant most evenings. I’ve also enjoyed Soulpepper Theatre’s weekly Fresh Ink writing series online, some of the NAC/Facebook #CanadaPerforms readings and the occasional Zoom or Face Time visit with close friends and family. In the early days, I was commissioned by Convergence Theatre to write something based on an anonymous COVID Confession, which was very enjoyable. It was a character monologue that I recorded on my phone. I also shared a bunch of my own confessions, which inspired other artists to create songs, prose and even an animated short film. It was a fascinating and connecting experience. I also took Haley McGee’s wonderful 14-day Creative Quarantine Challenge, which was the perfect creative re-set between writing the last two drafts of my play. 3. From your website, I can see you are one very busy lady indeed with all of the coaching you give professional actors and all who might be interested in voice work. Plus, you will be in a CBC Gem series in July and you’ve just completed your play ‘The Shivers’. Professionally, how has COVID changed your life regarding all the work you have completed? Some actors whom I’ve interviewed have stated they can’t see anyone venturing back into a theatre or studio for a least 1 ½ to 2 years. Do you foresee this reality to be factual? I actually spent the first few months of self-isolation working on my play, three or four times a week. I feel grateful to have had so much time with it, as well as time to let things marinate, as a dear writer friend of mine says. It’s very hard to imagine the play being produced any time soon, but one of my life mottos is: “There’s always a way.” I trust the process and the timing of things, always. It’s tough to predict when we’ll be able to go back. As an eternal optimist, I’m going to wish for the Spring of 2021. The web series, which was shot in November 2019, now feels like two years ago. Although I can’t share the specifics at this point, I’ll be fascinated to see it. In one of my favourite scenes in the series, I was sitting with about one hundred background performers. That seems preposterous now, as it does whenever I see intimacy, crowd scenes, face-touching or food sharing as I watch anything created before the Pandemic. 4. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts scene? Hopefully not for too long. Seeing images of safely distant seats at a theatre in Berlin recently almost made me gasp. At this point, it’s hard to imagine how theatre will be sustainable in Canada with so little available space for the audience, let alone how things will be rehearsed and staged safely for the artists. That said, I’m a big believer in limitation being the perfect opportunity for more creative risks - sort of like having limited menu items in the fridge and coming up with something simple yet perfect. I sense there may be more solo and intimate performances with much smaller casts as a more realistic short-term possibility for live theatre, and that projects with larger numbers will have to get creative using digital tools. I’m curious to see how it all unfolds and hope to be part of making that happen. 5. Do you have any words of wisdom to build hope and faith in those performing artists and employees of The Festivals who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? I’m hopeful that all levels of government, funding bodies and Canadians in isolation are starting to appreciate how much richer their lives are because of what performing artists do - as well as an awareness of just how many other creative and service jobs and businesses go hand in hand with that, behind the scenes and within the community. Historically, theatre has survived many challenges. It will survive this, too. My advice for recent theatre grads is that this is the perfect time to implement the vocal and physical practises you learned in school. Let them become part of this strange new normal. You’ll need these skills at every stage of your career. Keep reading scripts and working on monologues that you wish you had been assigned at school - or the ones you have never dared to try. You know which ones. Research playwrights and actors that fascinate you. Read reviews or find their other work online. Dare to start writing down your own stories, characters and monologues. As my treasured mentor Terry O’Reilly once taught me, remember that no one can do what you do. Let that be your strength and be ready to shine when it’s safe for you to join us. We can’t wait to see what you’ve been cooking up. 6. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? I think it’s going to feel even more special to attend anything live - whether it’s dance, music, literary events or theatre. That we’ll be more selective about how we spend our energy and our time - as performers and as audience members. My hope is that we’ll all be more vocal about celebrating what we’ve seen and prouder than ever to share what we’re working on creatively. 7. 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? From what I’ve watched live so far, I’ve appreciated that it’s been “appointment” driven - that you have to show up at a certain time, as we do when we attend a performance. The immediacy of the performance (and often the audience comments, in real time) is thrilling. When it’s pre-recorded, I have enjoyed going back and re-watching moments that stood out. For me, the biggest value is that more people can see it, across the borderless internet. For someone who has regularly done independent shows for 30, 55 or several hundred people, this excites me. I can only envision this as a new normal if all artists involved are properly compensated for it. I’m sure our theatre and media performance unions are scrambling to navigate that right now. 8. What is it about the performing arts that still energizes you even through this tumultuous and confusing time? I suppose it’s that, within days of lockdown, so many artists found new ways to share their work. Others chose to gain inspiration by watching other people create, or to take a break from it, which is healthy and necessary. This is actually the longest I’ve been away from auditioning and performing in over 30 years. During these last few months, I’ve gained a whole new appreciation not only for the frontline workers holding everything together for us, but for other performing artists - especially singers, dancers and musicians. We’re all feeling very big feelings right now. Performing artists help us process them with everything they put out there. 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? Rustle, which is my dog’s name. 2. What is your least favourite word? I dare not say his name. 3. What turns you on? Synchronicity. 4. What turns you off? Assumptions. 5. What sound or noise do you love? My husband’s laugh. 6. What sound or noise bothers you? Vocal fry. 7. What is your favourite curse word? F--kyouyouf----ngf---! 8. Other than your current profession now, what other profession would you have liked to attempt? A hairdresser in film/TV/theatre. 9. What profession could you not see yourself doing? Tax auditor. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Your mother is inside. She says she’d love a coffee.” Tracey Hoyt’s headshot was taken just before she won the Cayle Chernin Theatre Development Award in May, 2019, for her play The Shivers, formerly titled Hospital Hotel. To learn more about Tracey, visit her website www.traceyhoyt.com . You may also access her Twitter handle: @traceyhoytactor. Previous Next

Back 'Tease' A Big City Kitties Production in association with Crow's Theatre. Now onstage at Crow's. A Big City Kitties Production in association with Crow's Theatre. Now onstage at Crow's. Joe Szekeres “A sexy, sassy, sultry and seductive show. Sometimes, the production is funny as hell. But it’s also more than that.” The show's title lives up to what it promises. The press release describes ‘Tease’ as “salty as it is sweet in its exploration of sex, politics, and what it means to be a woman in this reimagining of the burlesque comedy genre.” It’s 18+, so be prepared for what Val (from the musical ‘A Chorus Line’) calls “Tits and Ass” because there are lots and lots of peeks. There are also moments of audience participation. I don’t want to state what the first one is because that would spoil the fun. I even learned something about my accompanying guest after that game. Be prepared for ALL kinds of surprises, and I do mean that! But ‘Tease’ is more. So much more. That’s why it’s worth visiting Crow’s Theatre and seeing these sexy, sassy, sultry and seductive ladies do what they love doing – to entertain and to inform. We have entered the environs of a shadowy lit stage with three black chairs placed centre stage reminiscent of the Kit Kat Klub from the film version of ‘Cabaret’. I know it’s illegal to smoke indoors in public settings (and I rarely see smokers anymore), but I also expected to see lingering second-hand smoke. Thankfully, it’s not there, and I’m pleased the technical elements did not feel the need to incorporate it. Dressed in stylishly sexy black underwear and wearing stiletto heels with perfectly coiffed hair, exact makeup and ruby red lipstick, performers Lindsay Mullan, Glenys Marshall, and Mei Miyazawa sashay onstage with controlled abandon. At first, they reminded me of author Ira Levin’s Stepford wives in their sexy underwear having drank way too much caffeine. They begin erotic swivelling and gyrating to pulsing music to fire up the crowd. I was impressed at the number of ladies in the audience on opening night. From the sound of them, they wanted to have a good time. One ‘innocent’ lady came up on stage after she was the remaining one from the first game and was told she would be turned naughty by the end of the night. When that occurred, said lady was truly enjoying herself—as were all of us who were watching from behind the footlights. ‘Tease’ is also enlightening. Videographer Liam Grue and Video Editor Nigil Vasquez have compiled a collection of various moments of many women film celebrities caught in moments of feminine sex appeal. For instance, seeing a very young Lucille Ball in a black-and-white clip dancing in a chorus line was interesting. I kept an eye out in that video montage for Gypsy Rose Lee. I didn’t see her, or there’s a possibility that I missed it. If she’s not there, might a clip be added? Yet ‘Tease’ is more, thankfully more. For one, it’s reminiscent of the art of burlesque. I rarely get a chance to see this art form performed anywhere. Here at Crow’s, this reimagined burlesque show is terrific. ‘Tease’ is sass and seduction. It’s an evening’s worth of entertainment and handled with class. But be prepared going in. It’s adult-oriented. It pushes the envelope, which is what burlesque can do (especially in the eleven o’clock ‘Naughty Nun’ number). Creator Lindsay Mullan directs the show with integrity and pride. She never allowed it to veer out of control. I enjoyed the show, even the moment that made me feel a tad uncomfortable regarding anyone who practices the Christian faith. Along with Mullan, Glenys Marshall, and Mei Miyazawa smartly reflect what burlesque is meant to do. First, it’s meant to entertain us, and these ladies more than competently do that through sketch comedy and improv with the audience. There’s a comment about wondering if theatre reviewers would have been in the opening night audience, and these gals mentioned a well-known and respected Toronto person. The ladies did a quick scan from the stage to see if that person was in the house. (Side note: it wasn’t me. But I’m not going to spoil the reference. Who knows? These ladies may change the name in each show and mention other reviewers throughout the run.) Burlesque also parodies current world events, and Glenys Marshall magnificently does that in a rip-roaring vocal song satirizing world leaders (and Toronto’s Doug Ford) about climate change. The burlesque art form in ‘Tease’ comes from allowing the audience to see, I mean to really see, these women for who they are. I don’t mean necessarily for their bodies, although the ladies showcase themselves with pleasure and delight. Instead, these women know the game. They’re highly articulate, intelligent, and savvy. When the ladies drop the bimbo sound in their voices, Mullan, Marshall, and Miyazawa (I just recognized the alliteration) are hot and sexy. That’s when, according to the press release, the three “deftly challenge society’s patriarchal views and misogynistic expectations.” I laughed out loud a few times. There were moments when the roof was blown off from laughter because timing of the joke or reference is expertly achieved. Great fun. Highly recommend ‘Tease’. Keep an open mind and eye, though. Running time: approximately 90 minutes with no interval/intermission. ‘Tease’ runs until March 30 at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets, visit crowstheatre.com or call 647-341-7390 ex. 1010. ‘Tease’ A Big City Kitties Production in association with Crow’s Theatre Created and directed by Lindsay Mullan Written and performed by Glenys Marshall, Mei Miyazawa, and Lindsay Mullan Choreography by Gabriel Gonçalves, Dana Thody, and Mei Miyazawa Lighting Designer - Mathilda Kane Costume Designer - Janelle Joy Hince Costume Accessories - Charlie Quinn Videographer - Liam Grue Video Editor - Nigil Vazquez Stage Manager - Sophi Murias Assistant Stage Manager - Emma Jo Conlin Producer and Production Manager - Emma Westray Previous Next

Back 'Natasha, Pierre & The Great Comet of 1812' A Crow's Theatre and The Musical Stage Company Co-production now onstage at Crow's, 345 Carlaw Avenue. Credit: Dahlia Katz. Pictured: Evan Buliung as Pierre Joe Szekeres VOICE CHOICE "Wondrous, theatrical, lavish storytelling that never lets up on its emotional impact! Such heaven! A theatre experience I will never, ever forget." A sung-through musical of seventy pages of Tolstoy’s ‘War and Peace’ sounds heavenly in the Guloien Theatre at Crow’s. According to the billing on Crow’s website, the musical score “mixes indie rock, pop, folk, electronic dance, and classic Broadway music.” Such heaven. It’s a theatre experience I will never, ever forget. I may have to download the album to hear the score again. My suggestion - do whatever you can to get tickets. Now. The Crow’s and Musical Stage Company production has been extended to February 4. It’s Moscow, 1812, the upper-class echelon of society. Getting to know the ten characters will take a few minutes. ‘Natasha, Pierre & The Gret Comet of 1812’ is a story about the pangs of love, deceit, friendship, forgiveness, and familial bonds. The House Programme contains the Family Tree and how each character is connected. It would be a good idea to peruse it beforehand. At the top of the show, these characters are cleverly introduced via the opening song with a humorous comment about the names from Russian literature. Pierre (Evan Buliung) is a sad, sullen, and unhappily married man to Hélène (Divine Brown), who is unfaithful to her husband. Pierre feels as if he is wasting his life. He is a close friend to Andrey (Marcus Nance), who is off fighting in the war. Andrey is engaged to Natasha (Hailey Gillis), Sonya’s (Camille Eanga-Selenge) cousin. Sonya and Natasha have arrived in Moscow to wait for Andrey to return from war. The ladies visit Natasha’s godmother, Marya (Louise Pitre). Natasha has yet to meet Andrey’s sister, Mary (Heeyun Park 박희윤) and their father, Bolkonsky (Marcus Nance in a dual role) and has planned to meet them during this time, which ends disastrously between everyone involved. Natasha goes to the opera with Marya and Sonya and meets Pierre’s brother-in-law, Anatole (George Krissa), a handsome womanizer and ultimately ends up in an affair with him. (Let’s not forget Natasha is engaged to Andrey.) Natasha and Anatole’s affair has a dismal effect as each character has a stake of involvement. Several subplots all stem from this storyline of the affair. Co-designers Julie Fox and Joshua Quinlan have created a jaw-dropping marvellous set design of three levels. Every inch of the Guloien is used to its maximum potential, and I tried to take in as much as possible pre-show. The actors enter and exit from all sides. Ross Kerr-Wilson has paid minute and careful attention to detail, from the gorgeous-looking red drapery to the glass decanter and drinking goblets on the piano. To the right of where I sat, it looked as if there was an altar with open religious books printed in what I thought might have been the Russian language. Kimberly Purtell’s lighting design subtly underscores the moment's emotional intensity, especially in those heightened conflicts between the characters. For the most part, Ryan Borshuk’s sound design remains solid, as I could hear the lyrics in several of librettist Dave Malloy’s stirring ballads and duets. Listening to the lyrics in some ensemble numbers is still challenging because of the slightly uneven sound balance between the orchestra and singers. Still, the harmonies resound gloriously throughout the theatre. ‘Natasha…’ remains a truly spectacular moment in the theatre. Chris Abraham and Ryan deSouza direct with a regal style and elegant flair. Ray Hogg’s fluid and electric choreography becomes a wondrous, staged accomplishment. The energetic and vibrant movement of the show never lets up. The first act nicely sets up the story; however, it is the second act where the pacing takes off. The second half dazzled and riveted me, leaving me bereft of emotion for a few moments at the curtain call. The formidable ensemble cast is one of the main reasons to see the show. They remain committed to telling a story of passion, intrigue, and deception with a compelling and convicted truth. The show remains genuinely engrossing, and I didn’t realize the time passed. Each time Evan Buliung sang, I felt tears welling. His performance as the oppressed, spiritually lifeless Pierre remains solidly gut-wrenching throughout. His watching of The Great Comet in a silhouetted tableau stillness becomes striking and hopeful at the end. As Natasha, Hailey Gillis is initially charming and lovely when the audience first meets her. However, her deception to begin her affair with Anatole removes her from that childlike, dutiful innocence to a scorned woman who will ultimately and heartfully feel her error in her choice. Gillis never veers into histrionics as Natasha’s world comes crashing around her. George Krissa is the quintessential hunky and shirtless Anatole whose suavity and bravado seduces Gillis’s Natasha. Krissa smiles, flirts, and breaks the fourth wall to do the same with some female audience members sitting in the front row. His ‘bad boy’ Anatole is one to be remembered at his worst, especially in the final moments with Pierre at the end of Act Two. Marcus Nance believably creates two exciting and different characterizations in a dual role as Andrey and his old father, Bolkonsky. At the end of the second act, his Andrey may seem cold-hearted in responding to Natasha. However, at least Nance made me feel that Andrey’s reaction and motivation are valid because he has been wronged. Louise Pitre gifts a sense of grace as the strong, remarkable, and matronly Marya. As Sonya, Camille Eanga-Selenge's reaction to the letter Natasha has written in breaking off her engagement is another heart-wrenching moment in singing she ‘misses her friend’ (Natasha). Sonya’s song in the second act becomes a fervent wish that she loves Natasha and only wants the best for her cousin, even though it may mean the two of them may never save their close friendship. I left the theatre and rode in the car on the way home, not saying a word for a few minutes. Final Comments: Confession again. This English major never read ‘War and Peace.’ Seeing this outstanding production makes me want to tackle the classic sometime soon. Will I? That remains to be seen. But I did tackle ‘Les Misérables’ after seeing the musical years ago. There might be hope. At least this musical adaptation has given me a taste of Tolstoy’s text. Get tickets for this, please. Running time: 2 hours and 30 minutes with one interval/intermission. ‘Natasha, Pierre & The Great Comet of 1812’ runs until March 24, 2024, in the Guloien Theatre at Streetcar Crowsnest, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com or call the Box Office (647) 341-7390 ex. 1010. NATASHA, PIERRE & THE GREAT COMET OF 1812 by Dave Malloy Co-presented by Crow’s Theatre and The Musical Stage Company Directed by Chris Abraham Choreography by Ray Hogg Music Direction by Ryan deSouza Composer, Librettist, Orchestrator: Dave Malloy Co-Set Designers: Julie Fox and Joshua Quinlan Costume Designer: Ming Wong Lighting Designer: Kimberly Purtell Sound Designer: Ryan Borshuk Stage Manager: Sarah Miller Assistant Director: Paolo Santalucia Assistant Choreographer: Tyler Pearse Orchestra Members: Ryan deSouza, Aleh Remezau, Colleen Cook, Alex Grant, Clara Nguyen-Tran, Rachel O’Brien, David Atkinson Performers: Divine Brown, Evan Buliung, Rita Dottor, Camille Eanga-Selenge, Donna Garner, Hailey Gillis, George Krissa, Lawrence Libor, Marcus Nance, Heeyun Park박희윤, Andrew Penner, Louise Pitre, Brendan Wall Previous Next

Back Nuns Just Want to Have Fun at Saint John Theatre Company for this 'Nunsense' Saint John Theatre Company, New Brunswick Saint John Theatre Company Facebook page Aaron Kropf, Canadian East Coast blogger/reviewer Saint John Theatre Company welcomed audiences back to the theatre with the exuberant, joyous and often outrageous romp of Dan Goggin’s Nunsense. I have to start by saying that it was wonderful to see people back in theatre seats, even while I enjoyed the production from home. Saint John Theatre Company made some wise decisions during the pandemic and often had to change course throughout so they could continue to entertain New Brunswickers. Nunsense is one of those wise choices; this slot in their schedule was supposed to be ‘Mary Poppins’, but given the restrictions in New Brunswick something else needed to be brought to the stage. Nunsense is the story of five nuns, and one priest, putting on a show to raise funds to bury the last four sisters that died tragically of botulism that killed almost the whole order (except these five survivors, because they were at Bingo, of course they were). They decide to put on a talent show as a fundraiser. Each of the nuns gets a chance to shine, tell their own story, and let their musical talents shine. A major side story is that of Sister Mary Amnesia who was hit on the head with a cross and cannot remember anything about herself and joined the order after the incident. There is so much to enjoy in this production. One highlight was Sister Mary Amnesia’s (Jen Downey) number “So You Want to Be a Nun” done with a foul-mouthed puppet. Downey has a wonderful sense of comedic timing, and her interactions with the puppet were hilarious. Another gem in this production was Andrea Paddock’s portrayal of Sister Mary Leo the dancing nun. Her dancing was delightful to watch, and I was surprised to see some on point dance during her big dance numbers. Each time she danced I longed for more. Finally, it needs to be noted that “Holier Than Thou” was a real showstopper. Sister Mary Hubert (Jo-Anne MacDonald) lead the cast in this foot stomping, hand clapping, gospel crowed pleaser of a number. It is one of those songs that makes you want to get up and move. Nunsense brought a lot of humour, tones of joy, and such a fantastic show to welcome audiences back to in-person theatre. This was a show that welcomed audiences back to the theatre with a bang! And it was nice how they involved the at home audience throughout the production as well. After so many months of the pandemic and not being able to enter the theatre, and share those experiences with others, the thrill of it is back. I look forward to joining those that were at the theatre for the next production. Thank you, Saint John Theatre Company, for bringing us together again. Nunsense wraps Saturday May 22 with another hybrid in person and online show at 7:30 pm. There are still a few chances left to attend the show at Imperial. To reserve your socially distanced seats, call 506-674-4100 or go to https://www.showtix4u.com/event-details/45542 if you wish to see tonight’s production from the comfort of your home. Previous Next

Back Ravi Jain Canadian Chat David Leclerc Joe Szekeres There are some artists with whom I’ve wanted to converse during the pandemic and events did not allow us to chat. Ravi Jain is one of them. We’ve been playing email tag throughout the pandemic. He and his wife are parents of an adorable little guy, so I understood completely family responsibilities must come first. Ravi is the Co-artistic Director and founder of Toronto’s Why Not Theatre. From his bio on Why Not’s website: “Ravi is a multi-award-winning artist known for making politically bold and accessible theatrical experiences in both small indie productions and large theatres. As the founding artistic director of Why Not Theatre, Ravi has established himself as an artistic leader for his inventive productions, international producing/collaborations and innovative producing models which are aimed to better support emerging artists to make money from their art.” Ravi was twice shortlisted for the 2016 and 2019 Siminovitch Prize and won the 2012 Pauline McGibbon Award for Emerging Director and the 2016 Canada Council John Hirsch Prize for direction. He is a graduate of the two-year program at École Jacques Lecoq. He was selected to be on the roster of clowns for Cirque du Soleil. Currently, Sea Sick which he co-directed will be on at the National Theatre in London, his adaptation of The Indian epic Mahabarata will premier at the Shaw Festival, and What You Won’t Do For Love, starring David Suzuki will premier in Vancouver in 2021. I saw his production of ‘R &J’ this summer at Ontario’s Stratford Festival, and as a retired teacher of English Language and Literature I hope teachers will take advantage of showing the production to their classes when teaching ‘Romeo & Juliet’. We conducted our conversation via Zoom this morning. Ravi was on a walk with his little guy while we chatted so I got a chance to see his beautiful little boy. Thank you so much for your time, Ravi: Since we’ve just celebrated Thanksgiving, tell me about one teacher and one mentor in your life for whom you are thankful and who brought you to this point in your life as an artist. Oh, well, a teacher for sure is Jim Calder who was a Graduate Movement professor at NYU. I took his course in Italy and we became quite close. He actually went to Lecoq School with Dean Gilmour and Michele Smith. Jim was an amazing teacher – brilliant philosophically, brilliant practically – and just inspired me to go that one step further; that for my imagination there was always that one step further to go a little bit further, a little bit farther. I always think of Jim when I’m in a problem trying to go a little bit further. He always inspired me to do that. A mentor, for sure, is Franco Boni, who was the Artistic Director of The Theatre Centre. He always empowered me to follow my voice and to be fearless and to not be afraid of saying ‘the thing’ or doing ‘the thing’ and taking the risk. I’m trying to think positively that we have, fingers crossed, moved forward in our dealing with Covid. How have you been able to move forward from these last eighteen months on a personal level? You know, I don’t think I have. Well, first of all, I’ve had a baby with my wife so that has been a life changing event to have this new person to take care of, to laugh with, and not to sleep with. (and we share a quick laugh) That, I feel, very different, older, more mature, and more responsible, for sure. But in terms of coming out of Covid? I don’t feel we’re out of it. I feel like some people want desperately to be out of it and other people are still feeling the impact of it, especially with all of these conversations we’ve had about inequities. Those didn’t go away. On a personal level, I still feel like we’re in Covid still and there are still a lot of unresolved things that I don’t yet know how to reconcile. As an artist, how have these last eighteen months changed or transformed you as a professional artist? It’s been great to be quiet for a little bit, and to just be reflective and to think about what role art can play to help people, especially in a time when so much help is needed. It’s given me a time to think about what it is I really want to do and why. It’s been a time of reflection which is good as an artist for me. It’s a time to go deeper and ask WHY. Why am I doing this? In your professional opinion, do you see the global landscape of the Canadian professional live theatre scene changing as a result of these last eighteen months? In some ways, Yes, but in a lot of ways, No. In some ways yes because I think people are talking about inequities and there are some changes, but on the whole there’s not a lot of change. I don’t see a lot of change. One has to always stay hopeful, but I don’t see it so I’m not sure about it. It’s a tricky one because I want to stay hopeful because I’ve been in some pretty dark places these last 18 months. What excites/intrigues/fascinates/interests Ravi Jain post Covid? I’m really excited about what is this all going to be (and Ravi and I share another quick laugh) What is travel in a world of a climate emergency? What is gathering in a world of Covid? I’m still very curious to see how this is all going to play out, and all these conversations about inequities and racial injustice. What is it all going to be? I still have yet to see it manifest, and it could be really exciting or it could not change. I’m staying on the exciting side in hopefully seeing what the other side will be. What disappoints/unnerves/upsets Ravi Jain post Covid? Mean shit. This idea that we’re back, the desperate desire to be back. And I suffer from it as well. I equally have it inside me, and I have to check myself because we’re not. I know we all want to do this but we gotta do it right. That was the real challenge I had this summer (in directing R&J at the Stratford Festival). We were in rehearsal and making a show. It was a strange experience because on one hand we were making a show, and it was great to be working with the artists and making change, and to take the opportunity to do something, AND at the same time know that two thirds of the industry wasn’t working. It’s hard. What’s unnerving to me is that some people will be back and some won’t. What are we going to be doing about that? Where does Ravi Jain, the artist, see himself going next? Oh, man. I’m still searching for exciting stories and exciting ways to tell them. I don’t know if I’ve ever chosen the direction I’ve ever gone. It always appeared and chose me, so I’m really waiting. I’ve been playing with larger scale work. It’s been really exciting as it brings with it a whole bunch of challenges. Maybe I’m itching to do something small? I don’t know. I’m very open and maybe, for the first time in my life, I’m really patient. Where does Ravi Jain, the person, see himself going next? Obviously, with a baby, our lives have changed which has been great. I’m someone who’s always been somewhere else whether I’m travelling or responsible to a rehearsal hall at night, and it’s been really great to have this time with my family and to make time for my family. I’ve lost so much of my family time to the arts just with late nights and weekends, and all the demands the arts takes from you. I’ve really lost a good amount of family time over my lifetime. To have this time is an important place for me to continue to grow. RAPID ROUND Try to answer these questions in a single sentence. If you need more than one sentence, that’s not a problem. I give credit to the late James Lipton and The Actors’ Studio for this idea: If you could say one thing to one of your teachers and/or mentors who encouraged you to get to this point in your life as an artist, what would it be? Thank you for believing in me. If you could say something to any of the naysayers who didn’t think you would make it as an artist, what would it be? I told you so. What is your favourite swear word? It has to be Fuck. What is a word you love to hear yourself say? Ah…. Again. What is a word you don’t like to hear yourself say? Disappointed. What would you tell your younger PERSONAL self with the knowledge and wisdom life experience has given you now? Work isn’t everything. With the professional life experience you’ve gained over the years, what would you now tell the upcoming Ravi Jain from years ago when he was just in the throes of beginning his career as a performing artist? It’s a total contradiction to the other one. Work is everything. Just don’t stop moving and don’t let anyone say no. Just keep going. What is the one thing you still want to accomplish professionally and personally? Personally and professionally, I think I would love to run a larger civic organization. It’s about a responsibility and a larger impacting conversation with the city. Name one moment in your professional career as an artist that you wish you could re-visit for a short while. Oh, man, my 30s. (and Ravi has a good laugh over that) What will Ravi Jain never take for granted again post Covid? The impact of blind decisions on other people. Would Ravi Jain do it all again if given the same opportunities? Oh, yeah, 100%. Joe, did anyone ever say No to that question? Previous Next

Back Dan Mousseau "The Theatre is a soul-filling act" Chris Frampton Joe Szekeres A 2015 Toronto Metropolitan University theatre graduate, actor Dan Mousseau is preparing with a big-name cast for the premiere of The Howland Company’s ‘Prodigal’ written and directed by Paolo Santalucia, produced in association with Crow's Theatre. The production opens on Friday, February 24 at Toronto’s Crow’s Theatre. I’ve also seen some of Dan’s other theatrical work this season. He appeared in ‘A Christmas Carol’ at Campbell House in December 2022 and in ‘Three Sisters’ at Hart House in November 2022. Some of his other work includes the upcoming ‘The Seagull’ for Soulpepper. Other productions at Soulpepper: It’s a Wonderful Life (2016), Innocence Lost (2018) Other Theatre: Perfect Wedding (Thousand Island’s) Film/TV: Frankie Drake Mysteries, Workin’ Moms (CBC), and Tempted By Danger (Lifetime). About a year after completing his theatre degree, Dan attended the Soulpepper Academy to complete their two-year training program. “The learning is ongoing”, he candidly stated. “It always is whether you’re in a workshop to help develop a play, develop your own work, or even attend an acting class. I don’t think it ever really stops. It’s a cool career because you’re always growing when it comes to the challenges an actor can do.” Dan is thrilled to be back to performing in the live theatre even though Covid’s embrace still tightly enwraps the community. During the pandemic, he found it extremely hard to take a step away as he missed what he called the ‘ritualistic’ bonds of connecting with other cast members and ultimately an audience in front who have come to hear and watch a story unfold. Mousseau calls the theatre ‘a soul-filling act’ (and he doesn’t consider himself religious). He’s feeling hopeful in watching the theatre community return with such renewed energy and a real hunger for people wanting to come back to what it was before. He acknowledges it is a tenuous time for the theatre as there is the business end of it. Audience numbers are starting to climb back up cautiously. However, there’s a cathartic feeling about being back for Dan. He likens it to a mental health practice as he feels everyone who attends and participates in the theatre needs some kind of release from the strongly felt pandemic restraints. Although there are still cautions in most of the houses where audience members are strongly encouraged to wear masks (and some companies stating masks will be worn), PRODIGAL will have Mask Mandated performances on Tuesdays and Sundays. Our conversation then swung around to the rehearsal process and preparation for ‘Prodigal’. “Rehearsals are going so, so very well. I don’t know why I’m so very superstitious (and Dan knocks on the table). It has been such a trip.” This is the first new play Dan has ever worked on, especially with Paolo as writer and director who Mousseau firmly stated: “has been amazing.” Mousseau has been in awe of Paolo’s endurance for rehearsals, re-writes, and cuts as he has established clear guideposts regarding the story of ‘Prodigal’: “We’re in really good shape at this point. Paolo has made things feel so tremendously collaborative. I’m very proud of my friend. He’s a creative rocket ship. I'm in the most talented cast. I'm so honoured to be working among these actors. And it's their bravery and work that has made this collaborative spirit of rehearsals so fruitful." With a cheeky grin and laugh, Mousseau said Paolo better keep hiring him for future gigs: “I’ll hitch my wagon to his cart if he’ll have me.” ‘Prodigal ‘follows the return home of Edmund Clark (Mousseau), the open-wound eldest son who has been estranged from his family for the last five years. Edmund makes a surprise homecoming with a new acquaintance and everything gets turned upside down. Without giving away too much of the plot, Mousseau added the story centres around this very wealthy, privileged Canadian family with many pivotal turning points in their trajectory. An engagement party night for one of their sons takes place quickly gets thrown off the rails. Another family is also involved. Mousseau says there’s a microcosm of the interplay of privilege, forgiveness, and (mis)communication that plays into the broader context of the Clark family that just can’t connect, can’t talk as they are so distant. Dan says there’s a great deal of yearning and pain in this distance between the family members in their inability to see each other for the cost of privilege and also those who don’t have that sort of privilege. “It’s funny as tragedy is,” Dan said with a smile. “Audiences will be laughing one moment and possibly wiping away a tear in the next.” For Dan, ‘Prodigal’ is such an important play for audiences to see. What’s really important about this play is twofold for him. There’s an important and meaningful conversation for him about the intersectionality between the experience of a queer person in privilege and the reckoning of how society has been built: “The more we talk about it, the more we see these experiences on stage, the less mystery, the less ignorance, and the less fear there will be. There is also the reality that people have very different experiences. Even two people who identify as queer are going to have two different experiences depending on the context of their lives and their families.” As an actor, what are some of the messages Dan hopes audiences will take away with them at the end of ‘Prodigal’? He first jokingly said: “Go to therapy” and we shared a good laugh over that comment. For Mousseau, ‘Prodigal’ is the story of a family but also the cost of parenting and the ways unchecked trauma can move through a family and affect the community. He would love audiences to think about their relationships with each other in their families and themselves in light of some very difficult questions demanded of us in these last few years as a result of the pandemic. Dan’s final comment – he hoped audiences would walk away from the theatre and consider there’s more to life than the next paycheque. There are more important things in life than just having a beautiful home. When one lets these things fall to the wayside, there is a cost. ‘Prodigal’ is a story of meeting each other and seeing each other as a community and in community in order to heal. Performances of ‘Prodigal’ begin February 21 and run until March 12 in the Guloien Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com or call the Box Office at (647) 341-7390 ex. 1010. Previous Next

Our Story At ‘Our Theatre Voice’, we strive to be of service: a) to continue reviewing AND b) to comment on the arts to encourage audiences to return to this important cultural format in community gathering for storytelling. ​ @szekeresjoe On Twitter Meet the Founder Joe Szekeres Involved in community theatre outside of the Greater Toronto area for over 30 years as an actor and director, Joe now reviews and comments on professional theatres throughout Ontario and Montreal. ​ Qualifications : Ontario College of Teachers (retired), Ontario Ministry of Education Additional Qualifications Dramatic Arts Parts 1 and 2 Bachelor of Education (Queen's University) Certificate of Honours Standing and Bachelor of Arts (King's College/University of Western Ontario) English Language and Literature Major/ French Minor ​ Theatre Ontario Workshop : 'Writing Reviews that Matter" Part One with Lynn Slotkin ​ Theatre Ontario Workshop : "Writing Reviews that Matter" Part Two with Lynn Slotkin Our Values These are our values. Please respect them. Respect ‘Our Theatre Voice’ includes all voices that will be heard and recognized with dignity and respect. Inherent Dignity ‘Our Theatre Voice’ recognizes the uniqueness of all individuals and will continue to reach out for their voice. Integrity ‘Our Theatre Voice’ believes in due diligence and we stand by what we say. Objective ‘Our Theatre Voice’ recognizes the importance of fair, impartial, and unbiased views of live theatrical performances. Meet the Original Web Designer Elodie Hraynyk For her work in building OUR THEATRE VOICE website, Elodie Hraynyk received the "Prix d'excellence academique Education cooperative" at her Grade 12 graduation ceremony. Congratulations, Elodie, in helping to build our website presence. She will continue her studies in "Pre-Health Science" this fall and will remain part of the team. Along with her interest in the theatre and all things arts related, Elodie continues to make people aware of mental health issues through her own social media accounts. @el_hraynyk on Instagram Business inquiries: elodie.hraynyk@gmail.com Get Involved Please send an email to us at ourtheatrevoice@gmail.com and we will get back to you in a timely manner. Meet the Guest Writers “I’ve known Dave Rabjohn for over 30 years. Aaron Kropf was part of the Canadian writing team for OnStage Blog. These gentlemen have promised to be impartial, unbiased and fair as they continue to work with me in sharing our commitment to you, the reader, to share what's happening on stage in professional theatre on Canada’s east coast, in Toronto, Stratford, London and Montreal.” ​ Contributing writers to OUR THEATRE VOICE: Geoff Coulter,Louis Train, Olivia Jon Meet Contributing Writer Aaron Kropf Aaron has been a lover of the performing arts from a young age. He attributes that to growing up in Stratford and attending at least one performance at the festival from grade 4. Aaron has been involved with a number of community theatre groups, and worked for some of the largest theatre companies in the country. When not at theatre Aaron enjoys time with his family and living the east coast life. Meet Contributing Writer Dave Rabjohn As a youngster, I went to see a production of 'Who's Afraid of Virginia Woolf' at the old Colonnade Theatre on Bloor St. There were about five people in the audience - probably some special Tuesday matinee. I sat on a bench in the first row, my knobby knees sticking out into the playing area. Martha was literally on one side of my nose and George was on the other side. They were screaming back and forth over my head like I was the tennis net. Boom - fifty years of loving theatre ensued.

Back Angel Opera Atelier Bruce Zinger David Rabjohn A unique, filmed opera/ballet opened this week online after six years in development. ‘Angel’ is a riveting collaboration from Opera Atelier, Tafelmusik, The Nathaniel Dett Chorale, composer Edwin Huizinga and filmmaker Marcel Canzona. It is clear from this list of well-established Canadian institutions that this project will easily excite the arts community. Along with a superb cast led by soprano Measha Brueggergosman, the collaboration’s narrative follows John Milton’s ‘Paradise Lost’ and the mystic poetry of Rainer Marie Rilke. Atelier focuses on period productions while Tafelmusik likes to revive baroque music with original instruments. Having said that, the uniqueness here is how they create a contemporary product with baroque flavour (among other elements.) The music composition is superb and the choreography of Jeannette Lajeunesse Zingg takes full advantage of the talented Artists of Atelier Ballet. The narrative generally follows Milton’s colossal story of the fall of Satan and the banishment of Adam and Eve from Eden. Art Director Gerard Gauci creatively guides us through the various scenes with a unique use of colour. Most of the film is black and white representing earth and humanity. Hell is bathed in red while a glimpse into Eden is full of rich colour. A star motif flashes through the film – even Gauci’s design for the dance floor is an actual rendering of the night sky as seen in Toronto. We ponder if the dancers are above heaven or below. Many typical Miltonian themes drive the story – loss of innocence, good versus evil, and redemption among others. The powerful cast is what ultimately illuminates these themes. As mentioned, Ms. Brueggergosman’s rich soprano elevates her role of Angel. Douglas Williams’ robust baritone underscores the evil Lucifer. Meghan Lindsay and John Tibbetts support and complement each other as Adam and Eve. As earlier mentioned, it is the collaboration of many moving parts that is the challenge of this production. All musicals have many moving parts, but this is unique in that the parts are from the many separate established organizations listed above. Layered on to that, the production must also be filmed, edited and transformed digitally. Rather than weighing down on top of itself, these various layers enrich the musical and visual landscape and boldly highlight, for a contemporary audience, the various themes and narratives earlier mentioned. A highlight of this collaboration was among filmmaker Marcel Canoza, the choreographers, and the Artists of the Atelier Ballet. At one point, the dancers are marching, like dolls, back and forth against one another while the film blurs them into a whirling mass. A similar moment comes from a forest of arms waving themselves, again into a blended cacophony. Many crossfades delineate scenes and characters. The result is mystical and magical. A digital house program numbered seventy pages! This, in itself, is a testimony to the many components involved and the skill of the team to turn them into unified art. The result is an exalted work of music and dance worthy of Milton, Rilke, and a superb cast. ‘Angel’ produced by Opera Atelier Cast: Colin Ainsworth, Mireille Asselin, Jesse Blumberg, Measha Brueggergosman, Meghan Lindsay, John Tibbetts, Douglas Williams, Artists of Atelier Ballet, Tafelmusik, The Nathaniel Dett Chorale. Conductor: David Fallis Choreographer: Jeannette Lajeunesse Zingg Composer: Edwin Huizinga Filmmaker: Marcel Canzona Runs through November 12, 2021. Tickets at www.operaatelier.com Previous Next

Back 'Rubble' by Suvendrini Lena An Aluna Theatre and Theatre Passe Muraille co-production ​ Guest writer Geoffrey Coulter, actor, director, arts educator When I think of the arts, I revel in its ability to entertain, communicate, inspire, and teach through acting, music, dance, sculpture, and painting. I need to remind myself of how poetry can be just as provocative, just as enlightening. Theatre Passe Muraille, in co-operation with Aluna Theatre’s current production of 'Rubble' by Toronto playwright Suvendrini Lena powerfully transforms poetry into a theatrical event. Based on the poetry of Palestinian writers Mahmoud Darwish and Lena Khalaf Tuffaha and inspired by the playwright’s own visits to the West Bank, Rubble is set in 2014 against the backdrop of the Palestinian crisis and is as much about the value of art as it is the indomitable spirit its incarcerated, besieged peoples. Five excellent actors portray a family striving for normality, living out the day-to-day beauty and horrors of their country’s recent and ancient past as prisoners of occupation. Despite their hardships and subjugation by their Israeli and Egyptian neighbours, we see the humanity of the people of Gaza and their beautiful power of poetic preservation. A shockingly realistic set (courtesy of designer Trevor Schwellnus) depicting a bombed-out apartment building with broken concrete and cracked, high walls (for projecting statistics, videos and poetic text in English and Arabic), pieces of cinder blocks strewn about, floor lamps and wooden crates provides the canvas for this extraordinary tale. Interestingly, just moments before the show began I noticed English translations of Arabic poems printed in chalk on the walls of the theatre. An effective choice to encircle the audience, watching a play about poetry, with poetry! From the ruins of a theatre stage right the narrator, or poet emerges (Roula Said) and speaks directly to the actors, encouraging them to tear up their scripts and beseeching the audience to open our hearts to the poetry of words and music. What follows are multiple short scenes or vignettes illustrating the barbarity and seemingly daily acts of violence heaped on a single family as the Occupation continues. Excellent lighting (designer uncredited in my program) and video projections by Avideh Saadatpajouh of Arabic poetry projected at select moments on the walls of the set created thought-provoking images as each line of text gracefully falls in a heap creating a visual stockpile of the spoken narrative. The set’s high walls create a wonderful screen for well-placed images of deadly statistics, thoughtful verse, a full moon, buildings collapsing and militant rally cries (“Besiege the Siege”). Creative use of square-shaped spots and high-angled specials create shadows that transport us from apartment to tunnel, to beach to the interrogation room to excavation site. Unfortunately, not every location was obvious to me. More on that later. Thomas Ryder Payne’s original music and sound effects evoke terror and foreboding with harsh stings, resonant drones, disembodied voices and startling explosions. Traditional Arabic folk music and lulling live vocals from the Poet fully enhance the Palestinian plight. Authentic “everyday” costumes by Negar Nemati contrast nicely to the flowing colourful gown of the “poet”, who’s garbed as a wise sage, the very personification of Palestinian history and culture. Director Bea Pizano says in her notes this play is “about a people and a land”. Hats off to her for realizing a chilling modern malady and telling it with such visual expression. Excellent blocking and use of the stage made the actors comfortable in their surroundings. Despite this, I wasn’t always sure of the chronology of events, where and when we were. The events of the first scene seemed to take place after an important and shocking event much later in the play. Was this a flashback? Other things were not immediately obvious to me such as the ages of the children as adults are playing the juvenile roles. Additionally, it wasn’t obvious what certain props were, especially in the beach scene with Leila and Majid. These abstractions caused these scenes to lose some resonance for me. The role of the Poet, who recites in both English and Arabic is commandingly played by Roula Said. Her focussed line delivery, social commentary and political posturing is delicately balanced with her gorgeous singing voice. Though she sings in Arabic (songs which she composed!) her soothing rendering transcends language, her graceful presence a perfect foil to the tumult of the scenes playing out around her. Laura Arabian plays mother, wife, and archaeologist Leila. Her sensitive portrayal of a matriarch trying to keep her family’s life as “normal” as possible with little food, basic amenities, and questionable shelter. She’s a calming, encouraging rock to her children and loving wife to Majid. Her adept range of emotions – laughter, love, and loss, convinced me of Leila’s bitter reality. Majid, the family patriarch, and engineer is convincingly played by Sam Khalilieh. A proud man, loving husband and doting father, his monologue of the history of Gaza from 332 AD to the present provides some thoughtful context revealing this land and its people are no strangers to foreign occupation. Gripping! As Mo, the son with aspirations of playing football for the Al Helal Academy, adult actor Yousef Kadoura (curiously playing a 12-year-old) adds youthful petulance and naivete to the situation surrounding him. His portrayal of personal loss and his struggle to process it reveals his resilience but also the man he will need to become to overcome his physical challenges and fulfil his dreams of life outside the “largest prison on earth”. Noora, the 16-year-old daughter with rebellion in her heart, is wonderfully played by Parya Heravi. She delivers her lines with staunch resistance to her family’s situation. Yet underneath her hardened shell, she would do anything for her family, even face the adversary head-on to protect what she loves. An invested performance. Rubble is a poetic tale with political undertones. It forces the actors to engage in rather difficult conversations while invoking the audience to reflect and engage in those same conversations. Sadly, the events of modern-day Palestine are not often in our mainstream media. I don’t remember the last time I heard “Gaza” in prime time. This play’s thoughtful analysis and dissection of poetry in a state of siege give audiences reason to pause. Poetry speaks truth. Art truly imitates life. 'Rubble' runs to March 18 on the Mainstage Space at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto. For tickets, visit www.passemuraille.ca An Aluna Theatre and Theatre Passe Muraille co-production 'Rubble' by Suvendrini Lena Directed by Beatriz Pizano Scenography by Trevor Schwellnus Costume Design by Negar Nemati Sound Design by Thomas Ryder Payne Associate Video Design by Avideh Saadatpajough Featuring Sam Khalilieh as Majid Roula Said as The Poet Lara Arabian as Leila Parya Heravi as Noora Yousef Kadoura as Mo Previous Next

Back 'Three Ordinary Men' by Steven Elliott Jackson A Cahoots Theatre Production Michael Yaneff, Foreshots Photography Joe Szekeres Sometimes in the ‘Ordinary’, we find the ‘Extraordinary’. Such is the case with this premiere of ‘Three Ordinary Men’ As I exited The Theatre Centre opening night, I felt tears welling in my eyes in thinking further about playwright Steven Elliott Jackson’s extremely moving premiere of ‘Three Ordinary Men’. From a quick bit of online research, the film ‘Mississippi Burning’ is loosely based on the murders of three men and the FBI investigation. I’ve never seen this film, but now that I’ve experienced Jackson’s script, I will give the film a look. Directed with tremendous respect and extraordinary dignity by Cahoots’ Artistic Director Tanisha Taitt, ‘Three Ordinary Men’ remains a sobering tale of Michael Schwerner (Tristan Claxton), James Chaney (Jamar Adams-Thompson) and Andrew Goodman (Jack Copland). They were abducted and murdered in Mississippi in June 1964 during the Civil Rights Movement. These men were working with the Freedom Summer campaign by attempting to register African Americans in Mississippi to vote as Blacks in the state had been restricted from voting since the turn of the century due to barriers to voter registration and other laws. When I interviewed playwright Jackson a few weeks ago about his script, he commented his research detailed a horrible time in the aftermath of the murders. He wanted to know more about who these men were and what made them want to change the world in the way they were doing it. Thankfully, some humourous moments relieve the building plot intensity, but ‘Three Ordinary Men’ is not a proverbial comedy at all. Instead, much like some Shakespearean tragedies, Jackson prepares us for the inevitable that is going to occur since we know these men are moving towards their death. Jackson asks a good question: “Do we have that same kind of energy now that these characters exude in the play?” I will answer this at the end. The first thing that stood out to me was Tanisha Taitt’s simplistic set design which created a vivid picture in my mind of this area of Mississippi. There is a sunken floor on which four boxes illuminate lights throughout the production. One box is situated upstage right, two boxes are up from centre stage and one box is stage left. On the back wall is a torn scrim on which appears the burning of a church which ultimately burns to ashes before our eyes during the preshow. This image of the burning church is of importance to the events within the story. There is a closed captioning screen on stage right with the dialogue on display for audience members who require it. Christopher-Elizabeth’s pre-show soundscape is highly appropriate. Thankfully it’s not overpowering but it made me pay careful attention as to what I was hearing in a range from spiritual songs to fire burning to the sound of crowds. As the production moves forward, the sound design remained clearly sharp. At one point, the sound of a car being forcefully bumped from behind which made me jump in my chair since I had just experienced a car accident a few weeks ago of the same nature. Shawn Henry’s Projection Designs are grim reminders of the racial tensions. I was five years of age during this time, but Henry’s projections still make me think about just how horrendously awful this time and era were and as Taitt so aptly states in the Programme Director’s Note: “It is a terrifying, gut-wrenching prospect.” Claudia Tam’s costumes nicely reflected the mid-60s era as the short-sleeved t-shirts the men wore were reminders of the literal and figurative heat of the day and the time. The performances remain consistently strong as Messrs. Claxton, Adams-Thompson and Copland solidly and emotionally demonstrated what it means to work as a true ensemble. There were moments when I sat forward in my chair as I was riveted by the engrossing plot unfolding in front of me. A quick look around at other audience members and I noticed several of them were doing the exact same thing as I did. There are some excellent monologues delivered so movingly. If actors are looking to update their repertoire of monologues for future auditions, I would strongly recommend looking at Jackson’s script. On a side note here, I wanted to acknowledge how much justice Jackson has paid to this story and these three characters. In that same vein, I also wanted to pay justice at one point to something mentioned in the script regarding Harper Lee's 'To Kill A Mockingbird'. At one point, the character Tom Robinson is accused of rape by a young woman. Jackson's script refers to the character of Luella whereas, in Miss Lee's novel, the character's name is Mayella. I'm sure this will be changed in future revisions. Since I've taught the novel to young people for over 30 years, I wanted to make sure that point of reference is fixed. As the ‘leader’ of the trio on account of his ‘goatee’ (you’ll understand the connection in seeing the story), Tristan Claxton’s Michael Schwerner commands the stage confidently when he enters at the top of the show and begins his story of how everything began. Jamar Adams-Thompson’s James Chaney assuredly becomes that voice of rational and clear-headed thinking initially, but I’m going to try not to spoil the conclusion. Jamar’s work in that final scene remains powerfully grounded and honestly realistic. As the youngest of the trio who also receives some of the teasing and ribbing from Michael and James, Jack Copland believably and heartfully responds to the stark reality of Andrew Goodman in recognizing how dangerous this situation truly is. Final Comments: Once again, Tanisha Taitt makes another comment in the Programme that I find interesting: ‘This story reminds us that there are those who will walk into the lion’s den for another, and those who reside there permanently.” In a historical literary sense, his theme is familiar to Robert Bolt’s ‘A Man for All Seasons’, a play I used to like teaching to high school students. Although Sir Thomas More was not certainly an ordinary man as he enjoyed favour with King Henry VIII, More too walked into the lion’s den and resided there permanently as he would not place his sovereign king before the rule of God. For this belief, More was assassinated and became a martyr. Going back to Jackson’s question I posted earlier if we have that same kind of energy now that Schwerner, Chaney and Goodman exude in the play. As a practicing Catholic, I do believe so. Seven days ago, 40 people were killed and 61 injured in a Catholic Church massacre by a possible suspect insurgent group The Islamic State West Africa Province (ISWAP). Those murdered and injured walked into the lion’s den and were in the presence of God when they lost their lives. Jackson hoped he did justice to the story of these ‘Three Ordinary Men’ because he avows this is what they deserve. Jackson has dutifully succeeded. ‘Three Ordinary Men’ is one not to be missed. Running Time: approximately 70 minutes. Covid protocols are in effect at the theatre as of the publication of this article. I felt very safe and comfortable in the auditorium. ‘Three Ordinary Men’ runs to June 26, 2022, in The Incubator at The Theatre Centre, 1115 Queen Street West, Toronto. Tickets are available @theatrecentre.org or call the Box Office 416-538-0988. THREE ORDINARY MEN by Steven Elliott Jackson Producer: Lisa Alves Production Manager: Maya Royer Lighting & Projection Designer: Shawn Henry Sound Designer: Christopher-Elizabeth Costume & Prop Designer: Claudia Tam Stage Manager: Lily Chan Lighting & Projection Assistant: Michael Fillier Dramaturge/Set Design: Tanisha Taitt Intern Producer: Tiffany Ledesma Captions Operator: Caitlin Farley Production Assistant: Jillian Cooper Performers: Jamar Adams-Thompson, Tristan Claxton, Jack Copland Director: Tanisha Taitt Previous Next

Back Marie Beath Badian, Filipino Canadian playwright “You can’t take anything for granted that there is going to be an audience.” Caroline Mangosing for Vinta Gallery Joe Szekeres Marie Beath (pronounced Mary Beth) Badian is a Canadian Filipino performing artist whose plays have been commissioned by The Blyth Festival, The Stratford Festival, Prairie Theatre Exchange, and Toronto’s Young People’s Theatre. (www.mariebeath.com ). Like any writer, she thinks very deeply about all her characters before she puts pen to paper. Commissioned by The Blyth Festival, Badian’s play ‘Prairie Nurse’ opens Saturday, July 15, at Port Hope’s Capitol Theatre. This play, along with ‘The Waltz’ (a terrific production staged at Toronto’s Factory Theatre earlier this year), is part of a multi-generational story spanning fifty years and set in rural Saskatchewan. The third, ‘The Cottage Guest,’ is in development 2.0 and has just been finished in draft form. Badian had a workshop on ‘Guest’ in February of this year. The litmus test is to be in a workshop of the play and listen to the actors. If the characters are speaking in the way Badian imagined in her head, that’s a huge relief. ‘Guest’ needs a bit of tweaking and Marie Beath is hoping the play will hit the stage in the next couple of years. We had conducted our conversation several weeks ago, and at that time, rehearsals for ‘Prairie Nurse’ were just getting underway on June 26. Badian would miss the first day of rehearsal because it was her ‘kiddo’s’ (I like that) Grade 8 graduation. Sometimes, the family unit must take priority, and I’m all for that. Badian had completed her training and received her diploma from Toronto Metropolitan University. She was the second last of the diploma programme. She graduated in 1999 and then grandfathered into the Bachelor of Fine Arts in 2007. Does Marie Beath consider herself a Toronto girl at heart: “Oh, yeah. I was born and raised in Scarborough. I didn’t move very far. I’ve been living downtown since 1997. [Toronto] has always been my home and will always feel like that when I’m away.” Badian calls it an exceptional privilege to return to live theatre. It’s still tremendously unique to sit in the audience beside people and experience the play. For her, it feels incredibly novel and fleeting. There’s joy in seeing people’s faces once again. Badian does not take this generosity in this return to the theatre for granted. To decide to attend the theatre is a crucial choice. Before the lockdown, Marie Beath was feeling exhausted. Sitting in a theatre felt like a chore, and she now feels guilty that she went through that experience: “You can’t take anything for granted that there is going to be an audience.” Marie Beath and I both agreed on this point strongly. At one point, we wondered if the lockdown meant the end of the live theatrical performing arts because we are not essential workers. That’s the reality regarding sacrifice and heroism among the healthcare essential workers in the grand scheme of things. Her mother was a nurse for forty years and Marie Beath worked at the Ontario College of Nurses for a long time. The community of nurses has always been a part of her community’s lifeblood. Knowing that their diaspora and the family legacy of these front-line individuals put into perspective what essential work truly meant, especially essential work for the soul. On its website, the Capitol Theatre describes the plot of ‘Prairie Nurse’ as a laugh-a-minute comedy of confusion based on a real-life story. The story involves two Filipino nurses who come to work at a small-town Saskatchewan hospital in the late 1960s. Cultural clashes, personality differences, homesickness, and the amorous but dim-witted goalie from the local hockey team complicate the women’s lives and create chaos at the hospital. Add a doctor more concerned with fishing than his patients and an overly romantic candy striper. ‘Prairie Nurse’ is based on the true story of Badian’s mother’s immigration to Canada. Confident that 'Prairie Nurse' is being well taken care of under Megan Watson's direction, the playwright is adjusting to the unusual experience of having one of her plays performed multiple times. Badian considers it a privileged position in Canadian theatre and is always amazed when her work is produced. Even with 'Prairie Nurse' no longer a world premiere, Badian still feels the same jittery excitement as before. She is over the moon with the cast the director has assembled. It’s unique and exciting, and she was delighted to hear who they were after the fact. Megan and Rob Kempson (Capitol’s Artistic Director) have been so thoughtful about the casting process of the play. What’s delightful about all productions of ‘Prairie Nurse’?: “It gets to introduce me to new people in the Filipino diaspora that I hadn’t known before and that there is work for them. I don’t know the two actors who are playing the nurses. I think they are fairly recent grads. What’s exciting first is that this production [at the Capitol] marks the ten-year anniversary of ‘Prairie Nurse’. It’s also exciting that these two ladies who were in school when the play premiered now understand there is work for who they are authentically as part of the diaspora.” For many years, Marie Beath has been friends with Rob Kempson. She is impressed with how he and Erin Pierce (Capitol Theatre’s Managing Director) have made their values of the live theatre performing arts come to fruition and how exciting it is to be part of the season. Badian holds Canadian actor Deborah Drakeford in high esteem and is thrilled to have her involved in the production as the ornery head nurse at the hospital. She’s a chain smoker at the hospital in the sixties, becoming a riot as the play unfolds. What is a message Marie Beath hopes audiences will take away after seeing ‘Prairie Nurse’?: “Joy, the joy and the laughter that I feel is so inherent about the story. I hope audiences will also take away a different perspective of the period piece of the fabric of Canada in 1967. It’s a gentle and loving way to remind people of the value of the Filipino diaspora in health care. It’s a way to reflect health care that if we have ever experienced health care in Canada, it has been at the hands of a Filipino caregiver.” ‘Prairie Nurse’ begins performances July 14 and runs to July 30. All performances take place at Port Hope’s Capitol Theatre, 20 Queen Street, Port Hope. For tickets call 905-885-1071 or visit capitoltheatre.com. To learn more about Marie Beath Badian, visit her website: www.mariebeath.com . Previous Next

Back Katie Kerr and Matt Stodolak "Pursuing 'Chris, Mrs.' has been a gift; working together has been the icing on the Christmas cookie.” Pictured: Katie Kerr and Matt Stodolak Joe Szekeres A glimpse at the profile picture of this adorable-looking husband-and-wife team makes me keep humming ‘We Need a Little Christmas’ from that American chestnut of a production ‘Mame.’ They’re not staging that one, far from it. Their new all-Canadian production opens shortly, putting us all in the Christmas and holiday spirit. ‘Chris, Mrs.’ – A New Holiday Musical - has been in rehearsal since earlier in November. It’s set to run at Toronto’s Winter Garden Theatre from December 5 until December 31. The title caught my attention immediately. It’s cute in its play on words. It’s also a show the couple had written over the first Covid Christmas. Lyricist, Director, and Producer Katie Kerr holds her degree from Sheridan College. She has been active as a writer and director for many years. Composer, Music Director, and Producer Matt Stodolak holds a Master of Teaching from the University of Toronto and a Bachelor of Music from McMaster University. The two are excited to make their mark on the Canadian musical theatre scene with this premiere. It’s their first production. Kerr and Stodolak recognize that mounting any professional musical remains risky, no matter what, as many shows are now on the Toronto scene. To top it all off, there is the rush of rushing and dashing in December to get things done and ready for the Christmas/holiday season. That is precisely why Toronto theatre audiences need ‘Chris, Mrs.” Kerr and Stodolak want audiences to stop and pause first and then realize it’s okay to put the dashing around to the side for the moment. Instead, let’s just take the time to enjoy the communal spirit of the season together. What better place than the theatre? The holiday musical’s catalyst was a Hallmark love story between the two. Matt and Katie met performing ‘Elf, The Musical’ two years in a row. He was in the band playing second keys while she played Jovie. At that time, preliminary talk began between the two and continued why shows like ‘Chris, Mrs.’ are needed. It was through their initial discussions together and with other artists that the “AHA” moment came. There aren’t enough Christmas musicals to begin, never mind Canadian productions. For regional theatres, the Christmas/holiday show is the venue's opportunity to introduce audiences to the season ahead. Despite so much darkness and sadness in worldwide events, Katie and Matt wondered what type of show could be introduced to new theatregoers during the holiday season. What became apparent during the pandemic, especially over the Christmas holidays, was people wanting to stay home and watch the plethora of Hallmark Christmas movies - probably for nostalgia’s sake and to remember what the holidays meant communally for families and loved ones. Kerr further added: “We looked at that spirit, giving that sort of vibe but reinfusing it with the excitement and spectacle of live theatre. We’ve gone away from the recent trend of 6 handers and small companies to something that’s bigger, that has a lot of dance, a lot of things to look at, laugh about and feel a part of.” How will ‘Chris Mrs.’ uniquely differ from the televised Hallmark Christmas label? The most straightforward answer - It’s the live spectacle. That’s why we go to the theatre - the universal quality of communal excitement exists only at the given moment for live audiences. Watching a live Christmas production creates a sense of comfort and nostalgia. ‘Chris Mrs.’ is the perfect holiday show to share with anyone special in your life. The live bonding experience of sharing an experience like this with others will always remain unique and something that cannot be captured on film. Matt also spoke about noticing an evolutionary tradition. Yes, people stayed home to watch the annual Hallmark Christmas films. Now, it’s time to make further memories instead of staying home - go to the theatre and see ‘Chris, Mrs.’ together as a family or with loved ones. Katie also shared something she and her family have done these last few years. Giving presents to others is nice; however, instead of just giving stuff, her family now plans events for time together. During these last few years, they have wanted to make memories of being together over the holidays. What a lovely idea. And what a great plug to give tickets to the theatre as part of that new tradition. How are the two feeling as final preparation gears up for preview performances and a December 7 opening? Matt has called this rehearsal time a transformative professional developmental opportunity for everyone involved. The two have progressed in their professional development in mounting and promoting the show. However, Matt quickly points out that they would not have anything without all the collaborators involved who have taken their hands and shown them the efficient way of getting the show where it needs to be. Adrenaline is pumping, but everyone is: “Unbelievably excited. We’re actually having a lot of fun through this process. Pursuing this has been a gift; working together has been the icing on the Christmas cookie.” Kerr added that it’s also been a joy for her and Matt to marry their experiences and professional careers up to this point in more of the performance aspect. And now they are on the other side of the table, making creative decisions. Bringing the creative and production team elements together provides an energy force that has become invigorating. There’s a nervous energy, especially around the holidays, but it’s a positive one in working on a new endeavour together. What’s the plot of the show? The show has a ‘Hallmarkian’ feel to it. There’s a widower and his socialite girlfriend. He has a teenage daughter and two trouble-making twins. Throw in a possible promotion on the line, an old family lodge and a seasonal employee whose Christmas spirit can really melt the heart of Jack Frost. One overarching moral/theme that permeates is that family is what you make of it. There is also the theme of the family you make along the way. The show also looks at the traditions that unite people at this time of year. The show’s website contains the cast members. Check it out as there are names from Stratford. Several of them appeared in the final production of 'Monty Python's Spamalot', closed the show, travelled to Toronto and began rehearsals again. There’s a complete sense of pride as 'Chris, Mrs.' is a wholly Canadian company employing artists and arts workers as everyone emerges from the pandemic. It was important for Matt and Katie to hire artists whom they trust in the collaborative process. The couple also wanted to give Canadian artists a sense of stability in providing work. Liam Tobin (Ben Chris) and Danielle Wade (Holly Carmichael) lead the company of performers. They have enjoyed tremendous success south of the border but have looked forward to performing for Canadian audiences. Most of this current company has come over from the December 2022 workshop. That workshop was collaborative with some fantastic round table in-depth discussions regarding choices made in plot, character development and songs. Katie complements this cast, whom she calls talented, seasoned performers. They have looked at revised scripts and noted some things that may have been missed or might need to be placed back, given the series of revisions. Matt also underscored how blessed he and Katie have been with the artists' tremendously valued and appreciated collaboration regarding the songs. For example, what might have worked when he and Katie initially wrote the music and sang with their voices was not suitable later for the voices whom they had cast. Wow! That’s high professionalism when artists work so closely together to ensure a musical operates on its numerous levels. What has also been an honour for the two of them? They’ve worked with many of these artists from other shows many years ago when they were all performers. What’s uniquely special about their working together again this time? They’ve all felt valued and heard in the distillation of a piece that is both satisfying as an actor and an audience member. An annual Christmas tradition for me over the last ten years was seeing Soulpepper’s production of ‘A Christmas Carol’ at the Young Centre. Things move forward. Dickens’ story is told by many theatre companies in Toronto and GTA, but I’ve missed seeing Soulpepper’s production these last few years. Will ‘Chris, Mrs.’ become the annual holiday story/go-to theatre tradition? “We would love and be honoured for audience members and families to make ‘Chris, Mrs.’ a tradition whether or not it’s every year in Toronto. If it has a life outside of Ontario or Canada, we would love for the musical to be an annual tradition down the road for sure. Of course, it’ll be up to the audiences, and we hope word will get back to us to make the show an annual holiday traditional favourite.” A new musical is always exciting for all artists involved. What’s next for Katie and Matt once the show concludes its run? For Matt, it’s sleep, and we all had a good laugh. The two of them are keenly focused on making ‘Chris, Mrs.’ the best show it can be. They always have ideas about new material or adaptations, but Katie said: “It’s easy to get distracted by shiny new things,” and again, we shared a good laugh. Look for my opening night review after December 7. ‘Chris, Mrs.’ – A New Holiday Musical - runs December 5 – 31 at Toronto’s Winter Garden Theatre, 189 Yonge Street. To learn more about the show and to purchase tickets online visit www.chrismrs.com . Previous Next

Back Monique Lund Moving Forward Colton Curtis Joe Szekeres Toronto, Ontario, in the late 80s and early 90s saw a slew of first run, first-rate productions with some featuring an all Canadian cast. I liked to get to the theatre early so I could read the artist biographies in the programme to learn more about these talented individuals. One of those names I remember is Monique Lund. She appeared in an amazing production of ‘The Who’s Tommy’ and ‘Cats’ during these years. Again, since I began reviewing, I’ve seen her name in many Stratford Festival productions. She is indeed a talented lady. Monique received her early training on Prince Edward Island and started as a dancer there and moved to Montreal after high school to train with Les Ballets Jazz de Montreal on a full scholarship. She also studied voice at McGill University and acting in Montreal and Toronto before getting hired as a company member in ‘Cats’. The rest is history as they say! She has performed in eleven seasons at Stratford and hit the 90s jackpot doing musicals in Toronto during these golden years while appearing in ‘Cats’, ‘Crazy For You’, ‘Tommy’, ‘Joseph and the Amazing Technicolor Dreamcoat’ (with Donny Osmond), ‘Mamma Mia’ and ‘Lord of the Rings’. Monique has played the role of Donna Sheridan in ‘Mamma Mia’ in the US for two years as well as having played many leads from Vancouver to Halifax. Thank you, Monique, for participating: It appears that after five exceptionally long months, we are slowly, very slowly, emerging to a pre-pandemic lifestyle. Has your daily life and routine along with your immediate family’s life and routine been changed in any manner? Yes, I suppose EVERYTHING has changed in terms of our daily lives. My daughter is 15 and when March Break came and it was announced that the kids would be off for three weeks, that seemed implausible... impossible. And then when someone speculated that the kids wouldn’t be going back at all I couldn’t fathom it. But that’s what happened. And we adapted. I think we actually are a very adaptable species. I try to remember that. In terms of our lives now, I actually feel very lucky to be living in a small town. There aren’t reems of people around and it’s easy to see friends in the park or on a walk around the river. It’s easy to social distance when you have vast space around you. Sometimes I forget that we’re in the middle of a global pandemic and then I go to the grocery store and see everyone in masks and it’s sort of sci fi- esque. But like I said earlier, we adapt. People seem accustomed to it now. I know that masks will continue to be a part of our lives for a very long time and that’s as it should be. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? I did have several contracts that I was supposed to do in 2020 that were cancelled. It really is very sobering to watch your entire year go up in smoke. I feel there was a real tsunami effect..... spring contracts were cancelled which we all expected, then the summer ones evaporated, and the final blow was Christmas contracts being cancelled. I think our community went into mourning. It was shocking. Our employment is precarious at the best of times so to have this happen was incredibly difficult. And I do musicals, so the two things that are banned (and will be for the foreseeable future) are mass indoor gatherings and singing. PERFECT!!! Describe the most challenging element or moment of the isolation period for you. Did this element or moment significantly impact how you and your immediate family are living your lives today? I would say the most difficult moment was not being able to see my family. We’re quite spread out across the country and we always get together on PEI every summer for a reunion. Just knowing that was off the table really made me sad. I miss my parents and my sisters But having said that I feel so lucky that I live with people. My husband and daughter have literally saved my bacon throughout this. I have thought repeatedly of my single friends who have had to socially isolate AND lose their livelihood at the same time. Devastating. We really tried to make the best of it and look at the positives. Being home together, cooking, watching movies and living simply. What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? Since theatres will most likely be shuttered until the spring of 2021, where do you see your interests moving at this time? I have been extremely busy during lockdown. The first month or so I would say I was a bit aimless. I tried not to judge myself for it. Everyone reacted in their own way. But then I had a bit of a reckoning with myself. I had always had these other ventures that were of interest to me. But I’d never had the time to explore them. The upside of being employed pretty regularly in the theatre is that I never really had to do anything else. But suddenly I was faced with a blank page. So I started working toward launching my own jewelry line. I launched about six weeks ago and it’s been successful beyond my wildest dreams. It’s a creative outlet just like theatre is and I realized that that’s a vital and essential component to my innate happiness. I am also studying to become a personal trainer and nutrition coach. My dream is to have my own fitness company in Stratford, Ontario, that caters to women in the prime of their lives (45 +) It’s an incredibly detailed course of study and I’m finding it challenging and wonderful. I want to inspire women to feel great about themselves. At a certain age, haven’t we earned that?? I’m also involved with an incredible theatre company in town called Here for Now Theatre. The artistic producer, Fiona Mongillo, really has made an incredible thing happen. As the situation was unfolding with the pandemic and it became apparent that all contracts would be cancelled, she set to work to find a creative solution in taking advantage of what we COULD do. And that was to do outdoor theatre. She wanted a troubadour experience in which we’re light on our feet and can adapt to the ever-changing situation. So, we’re in the middle of an outdoor theatre festival at the Bruce Hotel in Stratford. We’re doing live theatre! It’s been an incredible experience. My husband Mark Weatherley wrote two of the plays (“Whack! “and “Infinite Possibilities”) and I came on board as a director. It’s been an incredible experience. The audiences are so appreciative. They’re starving for that live experience. We’re doing everything by the book including physically distancing the chairs, sterilizing them between seatings and limiting the numbers. Again, we adapt! The Festival has been so successful that we’ve been extended. So, for me, the pandemic has given me a bit of a kick in the pants to venture into new territory. I think it’s interesting how things have unfolded for me. I guess without the safety net of relying on doing musicals (and I use the term “safety net” very loosely!!) I sort of allowed myself to dream a little and act upon those dreams. I feel extraordinarily lucky. 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? In terms of advice for other performing artists right now, I would say be bold and just leap into that unknown. I mean we’re already living in an incredibly uncertain time so maybe now is the time to develop that new skill, to take that course, to try something new. I think as artists we all need that side hustle more than ever. As my husband wrote in his play “When nothing is certain, anything is possible!” I actually really believe that. And for the young’ uns coming up, I would say try to be as well rounded as possible. Develop those skills and passions and hobbies outside of theatre. Hopefully, it will translate into some income so you’re not solely reliant on theatre to pay the bills. I think it can only help you as an artist too! But also we now have the gift of time! So read those books, learn those new songs, have play readings in the park with your friends, phone up an older artist that you’ve always admired, and ask if you can pick their brain. Get creative! There are opportunities to be had if you so choose. But I also feel that to be too focused on our careers can limit and inhibit the scope and breadth we’re capable of as humans. I really feel that it’s important to look at this as an opportunity for growth. The alternative is to view it solely as a negative phenomenon which I think is not terribly helpful. But let’s face it, it’s HARD. I think it’s absolutely ok to go under the covers and cry it out. Just don’t stay there too long! Do you see anything positive stemming from this pandemic? The positives I see are families connecting more, people having more time to just be, people getting back to baking and cooking, people helping each other. If only the financial repercussions for artists were not so dire, I think we’d be happier. It’s really hard to be blissed out when you’re worried about money. It’s a very real quandary. But as I said before, it’s really interesting to see the creative ways people are forging new paths for themselves. But also a lot of brilliant artists are working jobs that they’re not particularly enjoying. It’s tough. But we’re a tough bunch! In your informed opinion, will the Canadian, Broadway, and Californian performing arts scene somehow be changed or impacted on account of the coronavirus? Man, if only I had a crystal ball! I have no idea. I try not to speculate too much because the information keeps changing and none of us have a clue what’s going to happen. All I know is that when I think about assembling together with a big cast for the first day of rehearsal it literally brings tears to my eyes. The joy I have felt over the years working with people in the theatre will stay with me forever. And I am by nature an optimist, so I have to believe we’ll get back there. What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? Have you been participating, or will you participate in any online streaming productions soon? In terms of live streaming, I think it absolutely will be a huge part of our industry moving forward. For me personally, I haven’t done anything, but I’ve certainly watched some content. But you know, I have come to a personal conclusion with it. I would rather watch the opening number of Ragtime at the Tony Awards for example with that huge cast brilliantly staged than something on Zoom. I find I’m looking to the past to get that fix. Watching throngs of performers interacting with each other with joy and abandon and physical proximity thrills me more than anything right now. But I certainly don’t judge those who are pursuing the online avenue!! It actually drives me crazy when we become divisive as artists. We must support each other right now more than ever! To each his own! Live and let live! And of course, if anyone did ask me to do a Zoom performance thing I’d be all over it. What is it about performing you still love given all the change, the confusion, and the drama surrounding our world now? Wow. So, this question has brought me to my knees. I have been a professional stage artist for over 35 years. I have had so many incredible opportunities and have met the most brilliant, funny, kind, compassionate, and exceptional people. I have sung exquisite songs, I have tap-danced on pianos, worn exquisite costumes, witnessed the most vulnerable moments, laughed, cried, bled, despaired, rejoiced, and felt everything in between. My life has been incredibly rich and varied and interesting for having done it. I can’t fathom myself ever giving it up and so, I never will. It’s given me too much joy and happiness and laughter. With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: a. What is your favourite word? Tolerance b. What is your least favourite word? Closed c. What turns you on? Creativity d. What turns you off? Materialism e. What sound or noise do you love? Cardinals f. What sound or noise bothers you? Dentist drill g. What is your favourite curse word? Zounds h. What profession, other than your own, would you have liked to attempt? Pilot i. What profession would you not like to do? Mortician j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Red or white? Thanks.” To learn more about Monique's jewelry line, visit https://www.etsy.com/ca/shop/minniebymoniquelund Previous Next

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

Back Randy Graff Moving Forward Michael Kushner Joe Szekeres The other day I was perusing some online pages about original Broadway companies and I saw the cast list for the first New York production of ‘Les Miserables’. I remember on my first trip to NYC that I tried to get tickets for the production and was told by the box office ‘What planet did I live on as I was to return in five years?’ I laugh about that now as that was the same response the Toronto box office used to give for the original Canadian company of ‘Les Miserables’ as well. As I reviewed the New York cast list online, it was great fun to see Colm Wilkinson’s name (who later played the Phantom in the original Toronto production) and then I came across Randy Graff’s name. She had originated the role of Fantine. It suddenly dawned on me that I remember hearing Randy sing the titular ‘I Dreamed a Dream’ on the original Broadway LP album. I thought, well, why not try to get in touch with Randy through her webpage to see if she would be interested and available for an interview. And I am grateful she responded in such a timely manner and welcomed the opportunity for the interview. I encourage everyone to visit her website as she holds an extensive resume in the performing arts industry. Randy has been an instructor for the past four years at Manhattan School of Music. She also received the Tony award for her work in CITY OF ANGELS (another hell of a good show, by the way). Randy has appeared on the Broadway stage, off Broadway, regional theatres and concert halls. She has appeared in such productions as ‘Moon Over Buffalo’ and ‘Laughter on the 23rd Floor’. Randy now appears in the Original Broadway cast of 'Mr. Saturday Night' opposite Billy Crystal. We conducted our conversation via email as she is one busy lady right now in her work as an active arts educator. Thank you so much for taking the time to answer questions, Randy: As an active arts educator and instructor for the past four years at Manhattan School of Music, what has been the most challenging moment of your teaching during this pandemic? There have and continue to be a few challenges about teaching musical theater performance during the pandemic. The first was purely technical. How to use Zoom? I had never even heard of it. Fortunately, we have great tech support at MSM. They offered us workshops and tutorials, and really invested in getting the faculty ready. I'm less of a luddite now. A little pandemic perk. But, what continues to be a challenge is how I keep my students engaged when we are not live in the classroom. How do I keep them excited about learning on a screen, when they're taking class from their bedrooms, dorm rooms, bathrooms and parent's cars? When we went into lockdown last March it was a little easier because I had already been working in the classroom with my students since September. I knew who they were as people and artists. The start of this school year, with a brand-new group of students. was one of the bigger challenges for all of us. We're six weeks in and now, I feel like I have more of a sense of who they are, and I think, they do of me. As a professional educator, what words of wisdom and sage advice have you been sharing with future artists given the unknown and uncertainty of the live performance industry? Have these messages been positively received? Ahhh, I want always to be honest with them. This sucks! It's hard and depressing, so go ahead and allow yourself to feel all those things. Then remember, this is temporary. You are always going to have down time in your chosen profession. This happens to be an extraordinary pause, and we are still uncertain about when live theater will return and how it will return. I never say if, because I am certain it will, and my students need to hear that truth from me. So, ask yourselves what you want to do with this time, and remember there is no wrong answer. You can stay connected to your art, or you can decide to get a real estate license or become an architect. What feels right to you? If you have chosen to be in school, then work hard at your craft. There is much to be learned about expressing yourself through the Zoom platform. More on that later. I find that when I don't lecture my students about what they should do, regarding Covid, they feel empowered to make their own decisions, and then my words are well received. As an artist and educator, do you see anything positive stemming from Covid 19? On a personal note, the pandemic has taught me to be more present. To take life one day at a time, and to be even more grateful for the wonderful friends, family, and colleagues in my life. It's taught me to take better care of my health. It has reinforced what I already know about live theater. We need it. Desperately. To unite us, teach us empathy, and when the day comes where I can sit in a packed house and watch my favorite performers on stage, some of which may be my very own students, I will cry buckets of happy tears. As an educator, I see my students finding imaginative ways to connect with each other and with students all around the country. Some are doing Zoom play readings, their own work included, and having group discussions after. Many are using the time to self-tape monologues and songs and get them up on their websites. They've started Youtube channels and some are Zoom directing as well. All motivated by the pandemic. They have acquired mad techno skills! Honestly, some of these tapes are so impressive! They look like mini independent films, and their own acting/singing work has deepened. The multitudes of feelings they live with on a daily basis, because of life during the pandemic, has absolutely fueled them as actors. As an artist and educator, what kind of impact will Covid 19 leave on the Broadway industry? This is a tough question. I don't know how it's going to impact our industry. When it comes back, when audiences are willing to gather inside a Broadway theatre, I suppose there will have to be a new financial model so a show can sustain itself. I trust that our unions and the Broadway League will figure it out. This much I do know; there will be an appreciation for the work by and for everyone who is responsible for it, onstage and off, that is so filled with love and joy. I might want to bottle and sell it. I need to think of a name. Any suggestions? Share with us your honest opinions about online streaming and You Tubing dramatic/musical work for others to see. Will streaming and You Tubing be the new media for the future artist going forward into the unknown? Honestly, I'm grateful for the live streaming right now. The opportunity for a young kid in the middle of nowhere to see "Hamilton" or the National Theatre's "Frankenstein" is awesome. I've also participated in Seth Rudetsky's "Stars In The House" with two cast reunions; the OBC of "Les Mis" and "City of Angels." It was so wonderful to see everyone in their little squares, and all donations go to the amazing, what would we do without them, Actor's Fund. I watched the "Sondheim 90th Birthday" live stream celebration in tears and loved BD Wong's "Songs from An Unmade Bed," which I saw on YouTube. As far as going into the unknown future, we, as educators, have a responsibility to prepare our students for it emotionally and practically. I do think it will continue to be a part of our art form. Streaming and YouTube are great platforms for artists to get their work out there to entertain, inspire and educate. Of course, it's not the real thing no matter how well it's filmed and watching them does have a twinge of "oh, I wish I was in the theatre." I do feel that there needs to be some payment made for people's work, and that's complicated, maybe even prohibitive, considering all the people who should be compensated. On another streaming note, I'm a Netflix addict. So there's that. Have you seen "The Queen's Gambit?' Fabulous! (Joe agrees it is a wonderful series) Despite all of the tension and drama surrounding the live entertainment industry, what specifically is it about performing that Covid will never destroy for artists now, the mid career artist and the upcoming and future artists? I'm going to quote Arthur Miller on this, because his words are far, far better than mine. "There is a certain immortality involved in theater, not created by monuments and books, but through the knowledge the actor keeps to his dying day that on a certain afternoon, in an empty and dusty theater, he cast a shadow of a being that was not himself, but the distillation of all he has ever observed; all the unsingable heart song the ordinary man may feel but never utter, he gave voice to. And by that he somehow joins the ages." To learn more about Randy, visit her website randygraff.com or her Official Fan Facebook page: Randy Graff Previous Next

Back Drew Hayden Taylor Self Isolated Artist Cylla von Tiedemann Joe Szekeres I had heard of playwright Drew Hayden Taylor as his play ‘Cottagers and Indians’ was to have been presented this summer by Port Perry Ontario’s Theatre on the Ridge. Unfortunately, the production was canceled so I am hoping it will take place next summer. When Drew sent me his CV, I was sorely mistaken when I thought he was a playwright. Self-described as a contemporary storyteller, Drew’s exploration of the storytelling tradition has crossed many boundaries. He has written more than twenty plays (resulting in almost a hundred productions). As a playwright, Drew has proudly been a part of what he refers to as the contemporary Native Literary Renascence. In the world of prose, he enjoys spreading the boundaries of what is considered Indigenous literature. Drew and I conducted our interview via email: 1. It has been nearly three months right now that we have been under this lockdown. How have you been doing during this period of isolation and quarantine? How is your immediate family doing? Life in the age of Covid is annoying and somewhat difficult but overall, things are fine. I go back and forth to my reserve north of Peterborough, Ontario, and Toronto for a change of scenery but overall, life as a writer I am used to long periods of isolation. One of my best memories was spending a month in the Leighton Studios in Banff…but three months is getting kind of ridiculous. I am so sick of my own cooking. Also, I am jonesing for a play/movie/restaurant or something like that. 2. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? Oh God, I think I’ve had four, maybe five productions of my work shut down this spring and fall, and about a good six to eight speaking engagements canceled. One of the projects I’m working on is a documentary series for APTN and we are several segments short of finishing the 13 episodes. Add to that I was to have a talk how on APTN too that was postponed. As a result, it has been a pretty quiet spring. 3. What has been the most difficult and/or challenging element of this period of isolation for you? I used to travel a lot. I love crossing this country and this world spreading the Gospel of Indigenous Literature. Some writers hate that, but I actually quite enjoy it. Ah, for the smell of jet fuel engine. 4. What have you been doing to keep yourself busy during this time of lockdown? Well, I’ve written a novel. Started work on another anthology in my ‘Me’ series of non-fiction. Developed two plays that I will be starting work on in about a week or two. Planted a garden and put on some weight. 5. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? I know many performing artists have been hit hard. All I can say is this too shall pass. Soon they’ll be back on stage being underpaid just like it never happened. As a writer, I just tell other writers to put it to good use. As I said, I don’t think I’ve been more productive. This time next year, there is going to be an explosion of babies, divorces, and novels/plays. Turn something negative into something positive. 6. Do you see anything positive stemming from this pandemic? I do not know if it’s positive but, up until six weeks ago, I had no idea what ZOOM was. Now I get ZOOMED regularly. And I’ve almost caught up on my reading. And again, I don’t know if it’s positive, but I binged all of the ‘Tiger King’ series. 7. In your estimation and informed opinion, will the Canadian performing arts scene somehow be changed or impacted as a result of COVID – 19? Will streaming/online performances become part of the scene? Good question. I don’t know. I am not a performing artist…other than lecturing and I have a feeling so much more of that will be done via ZOOM. It’s a lot cheaper and a lot less fuss for the hosts. 8. What is about the arts that COVID will never destroy? The ability to dream, to imagine. With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: a. What is your favourite word? In which language!?!?!? For the sake of argument, let’s say ‘coobmen’. I am not sure about the spelling but in my community’s dialect of Anishnawbemowin, it means ‘I’ll be seeing you.” There is no word for goodbye where I come from. b. What is your least favourite word? Primitive c. What turns you on? Intelligent humour d. What turns you off? Stupidity e. What sound or noise do you love? Cricket f. What sound or noise bothers you? Sirens g. What is your favourite curse word? Crap! h. What profession, other than your own, would you have liked to attempt? A chef i. What profession would you not like to do? Anything involving a cubicle j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Tell me a story.” To learn more about Drew, visit his website: www.drewhaydentaylor.com . Twitter: @TheDHTaylor Previous Next

Back Fall for Dance North – UNBOWED: 2023 Signature Program 2 – ​ Credit: Erin Baiano. Company from Oh, Courage. Geoffrey Coulter, actor, director, arts educator Fall For Dance North did it again! Toronto’s Premiere International Dance Festival is back with its ninth season chock full of eclectic dance companies of unparalleled talent and artistry. Creator and Artistic Director, Ilter Ibrahimof curated a rapturous 2-hour compilation of the dynamic dance stylings of four visionary companies, including one Canadian Premiere. FFDN “celebrates, nurtures and amplifies established and emerging Canadian dance artists…” offering mixed bills that include performances by large and small-scale local and international companies with EVERY seat for the incomparably low price of just $15. Extraordinary value for extraordinary performances! I caught this year’s program on the closing night of its two-week run. The energy from the audience and performers on this Thanksgiving weekend was palpable as the curtain rose to a Canadian premiere by a Tony-award winning choreographer, a collaborative piece with graduates of Toronto Metropolitan University’s School of Performance, a stunning duet with long-separated African brothers, and a poignant portrayal of the life and career of a civil rights icon. The stage was mostly bare with occasional simple props and inventive, evocative lighting. Act one began with the Canadian premiere of “Oh Courage” performed by the Gibney Company and choreographed by Tony and Emmy-Award winner Sonya Tayeh (Moulin Rouge, So You Think You Can Dance). The eight-member troupe performed to original music composed by The Bengsons (who were to play live on stage, but a band-member’s recent illness prohibited their travel, so backup recordings filled in). The company mastered Tayeh’s intricate modern style, mixing athleticism, and creating unique shapes and levels with their bodies. An ease of fluidity followed each hard-hitting beat. With a bare stage save for set designer Rachel Hauck’s quadrangle of four lights on tall stands with a stack of speakers at its centre, the company used the space superbly, allowing each member of the company to impossibly writhe, kick, bend, and flex. Costume designer Marion Talán de la Rosa’s baggy, three quarter length pants and loose-fitting sleeveless tops, enhanced the dancers’ movement allowing them a mesmerizing freedom. Asami Morita’s overall warm, dim, and moody lighting sometimes left the stage too dark, often masking facial expressions. The occasional use of strobes and bright beams shooting into the audience served more to blind this reviewer than add any artistic value. I wasn’t sure what story Sonya was telling, but it didn’t matter. This company told it with passion and artistry. Next up was Light-Print, choreographed by Jesse Obremski and performed by a dozen recent graduates of Toronto Metropolitan University’s School of Performance. In the explainer video preceding the performance, Obremski explains this modern piece to be a personal discovery of what it means to be analytical and factual. The performers begin in what seems to be a lab or research facility (an inspired design by Margaret Steinbach) exploring how ideas can overwhelm, ignite, and excite our conscious and collective energies. Though the program notes proclaim how this piece intends to “enlighten and remind us about the importance of constant self-discovery”, I wasn’t always clear on what the discoveries were and why they were important. Even the lab coat costumes by designer by Keiko Obremski, in collaboration with TMU's wardrobe department, didn’t fully convey the self-discovery these characters were supposed to be experiencing. It was all a little muddled. Lighting designer Asami Morita’s overall dim lighting is punctuated by the amber hits from hanging fixtures, swinging cleverly at different heights, and providing a unique interactive prop in addition to being highly practical. An original melancholic, bellicose, score by composer Trevor Bumgarner provided a rich musical canvas for these young dancers to stretch, writhe and roll to. While this cadre of dance grads showed impressive technique and superhuman flexibility, their movements lacked the passion and intent that was in such abundance in the evening’s other offerings. After a brief interval Act 2 opened with the exquisite narrative, “My Mother’s Son”, a duet performed by South African brothers Siphesihle and Mthuthuzeli November and choreographed by Mthuthuzeli November (who also provided the music). Both talented dancers, the brothers were separated as children to study at ballet schools a world apart – Siphe, here in Toronto at the National Ballet of Canada and Mthuthuzeli with Ballet Black in London, England. They come together for the first time since their childhood in Zolani to dance an incredibly powerful work inspired by their relationship as brothers. The result is simply breathtaking! The thoughtful and emotive choreography speaks to the pain of geographical separation and the enduring bonds of fraternal love. The intimacy is often overwhelming, the emotions raw and authentic, the dancers; magnificent! The narrative is impeccably told through not only the expressive choreography but through superb lighting that transports us through time and place. The shafts of harsh light beaming down from above perfectly evoke the trees of an African jungle, where we first encounter the brothers. The changing of shapes, angles and colours superbly and subtly accentuate their emotions of the love, angst, regret, sadness, reunion, redemption, and celebration. Clad in their own traditional African kilts, the story-telling these men do with their bodies is simply captivating. Siphe has been an undeniable force and integral part of the National Ballet of Canada while Mthuthuzeli’s work as a dancer and choreographer in London, England with Ballet Black continues to dazzle and win prestigious awards. No wonder then that after not breathing for 25 minutes, the audience leapt to its collective feet in rapturous applause. The evening concluded with another absolute gem – Ballet Black’s “Nina: By Whatever Means”. This love letter to musician, performer and civil rights activist Nina Simone isn’t just a dance number. This is theatre, a “playlet” brilliantly combining spoken word, ballet, jazz, and blues. Again, choreographed by Mthuthuzeli November, and performed by the captivating company of artists of Black and Asian descent, this thrilling and imaginative piece takes us through Simone’s turbulent and influential life. Jessica Cabassa’s period costumes are spot on, from Simone’s post war early life in the Methodist deep south, to her swanky high life in Atlantic City nightclubs, cuts, fabrics, and textures were accurate and convincing. David Plater’s inspired lighting design easily transported us through his use of soft, muted, amber tones evoking Southern heat while adding harsh, confining spots to piano classes, dressing rooms and nightclubs. Music by Mandisi Dyantyis and Mthuthuzeli November (and recordings of Simone herself) is beautifully punctuated with original vocals by the Zolani Youth Choir. This review wouldn’t be complete without acknowledging the extraordinary company of dancers, Isabela Coracy, Ebony Thomas, Taraja Hudson, Sayaka Ichikawa, Helga Paris-Morales, Mthuthuzeli November, Megan Chiu, Love Kotiya and Bhungane Mehlomakulu. Their phenomenal technique and ability to fuse their skills in ballet, jazz, lyrical and contemporary was simply incomparable. Special shout outs to the captivating Isabela Coracy as Nina Simone and Ebony Thomas as The Husband. Their expressive pas-des-deux, performed within the confines of Simone’s tiny dressing room was simply breathtaking, combining raw emotion with seemingly effortless facility. If you love dance or just want to be swept away by dazzling, ground-breaking, thought-provoking theatre that resonates with a modern audience, don’t miss Fall for Dance North’s ten-year celebration next year. Tickets are still $15 each! That’s a value that’s simply unheard of in today’s theatre scene. I can’t wait to see what Mr. Ibrahimof has up his sleeve in 2024 as FFDN celebrates ten remarkable years making audience fall in love with the transformative power of dance. Previous Next

Back Joelle Peters “It’s like Everything Everywhere All At Once: Theatre Version” Courtesy of Native Earth Performing Arts Joe Szekeres Early in the pandemic, I spoke with artist Joelle Peters when I was still writing for OnStage Blog about how she was faring in 2020 when we all wondered what was to become of the state of the performing arts. Like all of us, she felt this need for connection through one of the darkest moments that each of us has experienced. You can read Peters’ first profile here: https://www.onstageblog.com/profiles/2021/2/1/theatre-conversation-in-a-covid-world-with-joelle-peters Fast forward three years and Joelle Peters is now one very busy individual who has established many connections since 2020. You can read about her background and training on the Native Earth Performing Arts website: www.nativeearth.ca . She’s excited yet quite overwhelmed about the return to live theatre even though we are still in Covid’s embrace. In her words: “It’s like Everything Everywhere All At Once: Theatre Version” What has changed for Joelle since 2020? She is the Interim Artistic Director for Native Earth Performing Arts making bigger decisions than she was previously. With all this change and adjustment in her career, she’s trying her best not to burn out and also find some time to enjoy the opportunities coming up. One of these opportunities is her script 'Niizh' which opens at the Aki Studio this week. ‘Niizh’ is a coming-of-age comedy. Set on a reserve in Southwestern Ontario, the play follows the youngest of the ‘Little’ family, Lenna Little, who prepares to leave home for the first time. Amid this, she meets Sam Thomas, who has returned to the reserve after many years away. ‘Niizh’ and Joelle have been on quite a journey with a lot of support. The play began its germination at the Paprika Festival to Native Earth’s Animikiig Creator’s Unit, to the Indigenous Playwright’s Nest at the Banff Centre, a commission from the Blyth Festival and back to Native Earth for a sound workshop. Through the pandemic, a lot of work that went into the script midway, and later in the process, was done online. She felt this was probably the biggest challenge because ‘Niizh’ is a comedy with bits of movement and tons of props. If something landed weird or awkward in a Zoom reading automatically made Joelle feel she might have been a bad playwright and if the script would be ready for an audience. But thanks to what Joelle calls ‘wonderful’ actors in the rehearsal hall, ‘Niizh’ persevered. The response of the first-read audience was so warm and a huge sigh of relief for her and the story. What messages does she hope audiences will take away from ‘Niizh’?: “I’d like the play to remind audiences that it’s okay not to have everything figured out as we are all on our own journey. We can put some big expectations and be kind of hard on ourselves, but it doesn’t have to be that way! “ ‘Niizh’ has been a big reminder for Joelle of how intense those feelings were as a young adult - getting ready to go off to college, and how big the world felt at the time. Anything was possible back then. It was all new, scary, and exciting. I concluded our email conversation on what’s next for Joelle once ‘Niizh’ completes its run at Aki Studio. She will be off to shoot a television commitment and then will jump back into some Artistic Director responsibilities for Native Earth. And after that, she’s off to make her Stratford Festival debut in ‘Women of the Fur Trade’. Joelle knows she has a fair amount of juggling artistic responsibilities, but this is the work that she is most excited about. For her, that’s one of the most important goals of life in the theatre. To learn more about Native Earth Performing Arts and to purchase tickets online for ‘Niizh’ visit: www.nativeearth.ca . Previous Next

Home About Us Acknowledgements Endorsements News Profiles This Month's Reviews Review Archives Search More Thank you to the following artists for their endorsements. Jayme Armstrong What a pleasure to chat with Joe... One of the best interviewers I’ve come across with fabulous questions about creating theatre during a pandemic and the state of the industry moving forward. Drayton Entertainment & Enchanted Entertainment Steffi DiDomenicantonio Joe is so much fun to talk to and asks some awesome questions. I love talking about theatre and it's always nice to meet someone who likes to as much as I do. Artist and Performer in Toronto Company of ‘Come from Away’ Liz Callaway I am so appreciative of all the work Joe did in preparation of my profile and the other ones he has compiled. His attention to detail in the many points of our conversation, and in the other profiles I've read online, as well his caring manner made it easy for me to open up and share my thoughts on how I, as a performing artist am faring during this tumultuous time of the worldwide pandemic. I applaud his continued work in serving the theatre industry. Cynthia Dale I had a wonderful time speaking with Joe. He is a smart, kind and joyous man who loves our industry as much as I do. He made it easy to open up about the wonders and struggles of being a performer. I applaud his endeavours and say ’Bravo’ to all he is doing to remind us all about the magic of life in front of behind the footlights… Street Legal, Stratford Festival Michael Cerveris I had the distinct pleasure to be interviewed by Mr. Szekeres and, in addition to genuinely enjoying our conversation, was delighted with the finished piece. It accurately captured our discussion in a highly readable form. More importantly, his appreciation and respect for the theatre and concern for its future made the whole experience very worthwhile. Tony Award winner Mitchell Marcus Thank you for keeping the fire burning. Rick Miller Joe Szekeres has earned an important place in the Toronto theatre ecology, bringing commitment, curiosity and intellectual honesty to his … reviews. I’m grateful for his support of my work, both as a solo artist and as a co-director of Kidoons stage productions. BOOM, MacHomer : The Simpsons Do MacBeth Sergio Di Zio Joe Szekeres reached out, early in this pandemic, to feature me in his Artists in Isolation series of interviews. I thoroughly enjoyed our talk over Zoom. His questions provided an excellent opportunity for some self-examination of what an artist can aspire toward during Covid-19 and what gifts and challenges its struggles might bring. His curiosity is genuine, and his kindness is welcome in this unique and surreal time. And the feedback I received from friends who read the piece was that they could hear my authentic voice, which, in my opinion, is the highest praise of the interviewer. Flashpoint, Coal Mine Theatre Lucie Arnaz Luckinbill Intelligent. Engaging. Thought-provoking questions. Always a pleasure to be interviewed by a pro who does their homework and is truly interested in the person they are talking to. On the journalistic front, Joe is a rock star! Craig Lauzon I’ve done a lot of interviews and almost always you can’t wait for them to be over. Not with Joe, he actually knows how to talk to people and put them at ease…we could have chatted all afternoon. The Royal Canadian Air Farce, Soulpepper Amy Keating Collaborating with Joe was an absolute pleasure. He is thorough, passionate and highly knowledgeable about all things theatre. I felt engaged, taken care of, and heard during my time working with him. Raoul Bhaneja Remarkably, during such a dispiriting time in the theater, the majority of this pandemic so far, Joe took the time to speak to numerous theatre artists, including myself, to inquire about our state of mind and work. I not only appreciated the opportunity to be profiled but I enjoyed reading the profiles of my peers. An excellent contribution and chronicling of our theatre scene.

Back Aaron LaVigne Canadian Chat Bond Theatrical Joe Szekeres Sir Andrew Lloyd Webber and Tim Rice’s ‘Jesus Christ Superstar’ is on its 50th anniversary tour. Where did the years go? It might seem a bit odd to see the production as we enter Advent and the Christmas season for Catholics and Christians, but this is a milestone…fifty years. I must thank artist Aaron LaVigne who plays Jesus in this production that comes to Toronto’s Princess of Wales Theatre for taking the time to be profiled for this series. He is an actor-singer-songwriter originally from Cincinnati & based in NYC. He is honored to be playing the iconic role of Jesus in the 50th Anniversary production of Jesus Christ Superstar! Theater Highlights: Broadway: Spider-Man. Off-Broadway: RENT. National Tour: RENT. Regional & Concerts: tick,tick...BOOM!, Jesus Christ Superstar, Civil War. Aaron writes, performs, & tours his original music & is available on all major streaming platforms. B.F.A. Northern Kentucky University. We conducted our interview via Zoom. Thank you so much for your time, Aaron. I’m looking forward to seeing the production in Toronto: Could you share the names of one teacher and one mentor for whom you are thankful. Ooooo, this is tough. We’re going to go with some OG situations here. Okay, I could not, not thank Miss Connie Saho, La Salle High School in Cincinnati, Ohio, my high school Drama teacher who, when I was a Senior, I got the bug to start doing all this stuff. She’s been pushing me to try and do this since my freshman year, and I finally did it when I was a Senior. One mentor? Oh my gosh…let’s see here…….oh, man, oh, man, oh man…I could go with another teacher in college. I’m thinking of one. I would have to say Joe Conger at Northern Kentucky University. When I first started doing theatre, he was the Chair of the department even though he never taught me. He was an amazing mentor for me and put up with all of my young antics and guided me in spite of who I was. I’m trying to think positively that we have, fingers crossed, moved forward in dealing with Covid. How have you been able to move forward from these last 18 -19 months on a personal level? How have you been changed or transformed on a personal level? Oh my God, that is a loaded answer. I think, generally speaking, my tolerance for bullshit has gone down quite a bit. I think there were a lot of things that happened during the pandemic where a lot of skeletons came out of a lot of closets. Through social media we figured out who some people were and who some weren’t. I’ve learned to take a step back from things that I couldn’t tolerate because I don’t think it’s a way to live anymore. I don’t want to be angry or upset with things that I can’t control or don’t have any say over. I just look for the good in the people around me. That’s been my biggest change, and the other one is to be a little more forgiving of everyone and for who we are under such tough circumstances. This has been a long time since this has been going on, and for lots of people who lost jobs and many industries, including mine, I think a little tolerance and a little patience goes a long way. I’m trying to take that with me and I’m hoping people around me will also practice that if I have influence on anybody at all. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? Well, I understand where you’re coming from, but I think these two questions for me are intertwined. I bring so much of myself to my artistry and commitment to it. As an artist I have empathy for the world especially for ‘Jesus Christ Superstar’ and for the role I’m playing. The role requires a lot of getting knocked down in order to portray a decent version of this character. The world is fucked up right now and needs some healing and understanding, and in this particular production I try to bring that healing and understanding to my work everyday. I keep that focus because when you’re in the theatre you have to realize everyone is wearing a mask. We’re just not filling up theatres, and I don’t know people’s experiences with Covid. Many have got sick and have died. I cannot assume anything about people in the audiences out there and they can’t assume anything about me. But I can empathize with somebody out there who probably lost somebody to Covid. There’s a whole new world in which we are living right now that we have to recognize, at least I have to be able to recognize, and make that part of my reality at this point. In your professional opinion, how do you see the global landscape of professional theatre changing, adapting, and morphing as a result of these last 18 months? I think we’re seeing it right in front of our eyes. Even with our Equity union, it came out with certain protocols for performing during the pandemic. There were all these different ideas Equity and the producers had and were trying to make something happen along the way. The more they looked at it and the more watching the numbers and the waves of infection, everyone realized they required a vaccine and waited for it. Even within that there are still strict protocols – there are no backstage tours. I’m not doing any live press events as it’s all done virtually over Zoom or the phone. There are strict testing protocols for us as company members and for audiences. People still show up at the stage door for kind words of congratulations or for autographs and pictures. It’s discouraged but if we are out there we try to maintain our distance as best we can. We’re in the middle of this evolution and as it keeps going and the numbers go down and we learn to manage the virus better, I think we’re going to have to deal with this for a little while. The fact we’re doing live shows, live music and live theatre is coming back, we can see light at the tend of the tunnel. I think there’s going to be some ups and downs but there’s an evolution we’re in the middle of right now. Eventually we will get there. What intrigues/fascinates and excites Aaron LaVigne post Covid? Hmmm…post Covid? Oh wow. Hmmmm. I’m in a place in my life where the pandemic taught me to take care of myself first a little bit more. With self care, things then fall in line around you versus trying to take care of other people, or take care of your job or try to serve something without serving yourself in a way that helps you and lends better results. That fascinates and intrigues me. For me, I’m just trying to take care of myself more in regard to physical and mental health. For me, it’s opened my mind to say I don’t have to be a certain way anymore to subscribe to anything on a list as a person. That transcends me just being a theatre artist or a songwriter, I’m seeing that is a vital option for the rest of my life. At least I’m feeling that a lot more, and Covid taught me that. What disappoints, unnerves and upsets Aaron LaVigne post Covid? I’m all for independent thought. I’m all for freedom of speech and for all these things we have, these inalienable rights we have as humans, as Americans. There’s something that bothers me the most when someone doesn’t know something and they presume to know something, more so than an expert who knows something. These individuals who don’t know something sometimes speak louder than those who know something. That really bothers me and disappoints me for the bad information being spread and then perpetuating it. I don’t have any patience left for people who spread bad information and perpetuating it. It’s so easy to find bad information these days. With this tour being the 50th anniversary of ‘Jesus Christ Superstar’, how have audience reactions been so far? What is one message you hope audiences will take away from this production? Reactions have been great from audiences. It’s been really special to be able to perform this story again. Most people know the story of ‘Superstar’, but our version of the show is really fun and I think audiences are reacting in such a positive light. At this time right now in Covid, people just want to be entertained. They want to see a big band, the lights, the choreography and to hear the singers sing, scream, emote and do all of the things they do. The first time I was in a rehearsal hall with my cast was overwhelming to sing the show all the way through from top to bottom. Very overwhelming. I had to step out of the rehearsal hall for about ten minutes to compose myself and take a breath and re-evaluate everything in that moment. I’m very grateful. I think we’re doing a really great job as a cast, as a company. We hold each other in a place where there’s a bit more love and protection surrounding our company. The one message I hope audiences will take away…hmmm… that’s a tricky one as there are a lot of themes running through the show. I’m trying to answer from the show’s point of view, and not my point of view. Hmmmm…. “Hold a little bit more space for other people. Hold more space than you normally would for others.” RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I credit the late James Lipton and “Inside the Actors’ Studio’ for this idea: If you could say one thing to one of your mentors and teachers who encouraged you to get to this point as an artist, what would it be? “I wish I would have listened to you earlier.” If you could say something to any of the naysayers in your career who didn’t think you would make it as an artist, what would that be? “Hey, how’s it goin?” (Aaron says this with a gleeful wicked smile that sends me into laughter) What’s your favourite swear word? “Fuck”. You can use it in any context, funny or angry or animalistic. It’s a great word. What is a word you love to hear yourself say? Ooooo….”Thank you.” What is a word you don’t like to hear yourself say? “No” With whom would you like to have dinner and discuss the current state of the live North American performing arts scene? President Barack Obama, by far. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? Hmmm…. “Take a breath, open your mind, open your heart.” With the professional life experience you’ve gained, what would you now tell the upcoming Aaron LaVigne from years ago who was just in the throes of beginning a career as a performing artist? “Enjoy the ride.” What is one thing you still wish to accomplish both personally and professionally? Geez…. Personally, what do I want to accomplish personally? I don’t even know…maybe have kids someday. That is something I’d like to accomplish and enjoy. Professionally? I just want to be happy doing what I’m doing. Name one moment in your professional career that you wish you could re-visit again for a short while. Hmmmm…. Wow!!!! Hmmmmm…. I worked in Hawaii for a few months as a guest artist on a cruise ship and I worked one day a week. I could go back to that moment for awhile. It was awesome. What is one thing Aaron LaVigne will never take for granted again post Covid? Any of it. All of it. I don’t take anything for granted as of this point. So much gratitude. Would Aaron LaVigne do it all again if given the same professional opportunities? Fuck, yeah!!!! (and both he and I go into laughter) You can follow Aaron on his website: www.aaronlavigne.com and on Instagram:@aaron_lavinay The 50th anniversary tour of “Jesus Christ Superstar’ is slated to run at Toronto’s Princess of Wales Theatre November 30 – January 2, 2022. For further information and to purchase tickets online, visit www.mirvish.com . Previous Next

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

Back 'Mno Bimaadiziwin' (The Good Life) with Barrie, Ontario's Theatre By the Bay Theatre By the Bay Studio House Photography Joe Szekeres Normally I’m not one immediately to stand for an ovation after a live performance unless I have been truly moved by what I’ve just seen. Even though we were on our feet for the remarkable final scene of ‘Mno Bimmaadiziwn’ now onstage at the Orillia Opera House (I won’t disclose why), I made sure this select ensemble company of artists was immediately acknowledged for the highly moving production I had just witnessed by remaining standing and offering the applause they most certainly deserved and earned. According to the Programme Notes, Theatre by the Bay Artistic Director Iain Moggach asked playwright Ziigwen Mixemong what kind of show would it be if she were offered something by the company? She replied that she had a desire to write a show about healing, one that opened the rest of our community’s eyes to the world and experiences that she knows. These last eighteen months have ashamedly kicked me to become consciously aware of the struggles of our Indigenous people especially considering what has occurred historically at Canada’s residential school system. At the talkback following the show, Mixemong kindly spoke of the fact that if all of us can begin our journey to understand our Indigenous family members just by listening to and hearing the story we were about to see, then that is an important first step for all of us to take. Her request was personally met from me with many emotions and feelings of shame, acceptance, nobility, pride, and honour. Ziigwen wanted to tell the story of people whom she knows and “to give audiences a chance to interact with real Indigenous people, all while trying to demonstrate the collective trauma and the resiliency that helps us rise above it.” And we do see real people here as this strong ensemble cast naturally and convincingly reveal so many destructive social issues of suicide, drug abuse, illegitimate pregnancy, and unfair treatment of LGBTQAI members within our Indigenous peoples. I certainly hope this striking production set in Orillia might tour the province sometime soon because it is one which I believe must be seen by many of us (and our young people) as we continue to move forward with Truth and Reconciliation of our Canadian Indigenous brothers and sisters. We must use the QR scanner to access the online programme. I understand why this is done for Covid protocols of health and safety, and for the fact it also cuts down on paper consumption. My only thought is for those who do not have a phone with a QR code scanner. Might it be possible to have some print programmes available for these patrons? In any case, the programme contains important information about the production which I strongly advise audiences to read before hand. ‘Mno Bimaadiziwin’ explores briefly the lives of characters as they prepare for a sweat lodge ceremony. I’m going to be honest and say I had no idea what it was and I’m pleased to have learned it here. A Sweat is a spiritual undertaking that allows participants to speak directly with the Spirit Realm, giving thanks and petitioning for help and support. As a practicing Catholic, I made a connection of the Indigenous sweat ceremony to the sacrifice of the mass in which we too give thanks and also petition for help and support. There is so much to admire in this production. For example, the soundscape at the top of the show most certainly piqued my curiosity and interest. At one point there is the sound of a beating heart and I thought I also heard breath exhaling and inhaling which was highly effective as I felt my own breath exhaling and inhaling simultaneously. Mathew Magneson’s choice and selection of musical accompaniment effectively heightened many of the emotional moments throughout the play. Samantha McCue’s Set Design attractively utilized the playing space on the stage. Along the back wall is a silhouetted outline of various shapes of buildings which I’m assuming represent Orillia. There is a blue tent centre stage with an open entrance. Various props and set pieces stage left and right offer ample opportunities for vantage sight lines from where I sat in the auditorium. Echo Zhou’s sharply focused lighting design on the moments where the characters broke the fourth wall and talked to the audience nicely captured my attention to where it was needed. Herbie Barnes’ compassionate direction of Mixemong’s realistic script kept the story’s pace flowing smoothly. Once again, this decent ensemble cast narrated their individual stories with resonant precision and control of their monologues which, in turn, maintained my consistent interest in preparation for the sweat which took place inside the blue tent (which we never saw). Instead, the script focuses on events prior to and emerging from the ceremony. Final Comments: ‘Mno Bimaadiziwin’ remains a must see for all of us to begin our process in reconciling and healing with our Indigenous family members. Inspirational and stirring. Running time approximately one hour Production runs to October 3, 2021, at the Orillia Opera House, 20 Mississauga Street West, Orillia. For tickets, please call (705) 326-8011 or visit www.orilliaoperahouse.ca . Cast: Jordan M. Burns, Trina Paula Moyan, Pesch Nepoose, John Roldan, Brianne Tucker MNO BIMAADIZIWIN by Ziigwen Mixemong Presented by Theatre by the Bay, Barrie, Ontario Artistic Director and Producer: Iain Moggach Director: Herbie Barnes Production Manager: Karen Elizabeth Technical Director: Claude Labrecque Stage Manager: Barry Cook and Assistant Stage Manager: Ashley Frederick Set and Costume Designer: Samantha McCue Lighting Designer: Echo Zhou Props Master: Brenda Thompson Sound Designer and Composer: Mathew Magneson Set Builder: Diane Frederick Cultural Consultant: Kelly Brownbill Previous Next

Back 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 Uju Umenyi Looking Ahead - Emerging Playwright Provided by Uju Umenyi Joe Szekeres Recently I had the chance to speak with community theatre performer Uju Umenyi who has challenged herself both as a performer and someone who has a vested interest in the arts. As we are all too aware, Covid decimated live theatre on the professional and non-professional stages; ergo it’s crucial to help re-build the industry and the love of the oral arts plus re-ignite that creativity spark in any way we can. I applaud Uju heartily when I learned of her avid interest as an emerging playwright. She likes referring to herself in this term because she is never afraid of starting something again since emerging can take place at any time during one’s life as there’s no set specific age. Writing has always been a part of Uju’s vision to a greater and lesser degree. She fondly recalled as a child she liked writing stories and ‘clickety clacking’ away on an old school typewriter while she jokingly plagiarized (when she didn’t know what the word was) some of the story ideas from ‘The Babysitters Club’ novel series for young people. Earning a Thea Award for Best Performance by a Female in a Supporting Role for Scarborough Players’ ‘Doubt: A Parable’ as Mrs. Muller in 2019 at the ACT-CO Festival, Umenyi is appreciative for these opportunities to continue to grow in her love as a stage actor and would love to do so again. She really wants to try writing another play after completion of this current one in progress that you will discover shortly about the small town of Port Perry in Scugog Region, about a 45–50-minute drive east of Toronto. Further ideas she shared with me about possible future scripts would expand on the “spaces”, the types, and the fleshed-out roles that we don’t always see on stage for BIPOC individuals, for black people, for Indigenous people, queer and trans people or people fitting into different boxes they feel they cannot break out of. Uju has been selected to be part of the third lineup of residents in the 2022 Creatives in Residence as part of Ontario Culture Days. Since launching the program in 2020, the program has become a key component of the Ontario Culture Days Festival showcasing the vibrancy of the Ontario arts and culture community. Her residency is co-presented with Port Perry’s Theatre on the Ridge to create a new play inspired by the life of Samuel Stout, the first Black resident of Port Perry. Over the next five months, she will focus on community collaboration with her play culminating in community-based activities, a public reading and performance coupled with an audience feedback session and artist talk this fall in 2022. At the time of this article, Uju has developed and already led a workshop focusing on both the theatre creation process of her play while exploring local Black history. It was a phenomenal experience for that week, but she felt terrified going into it knowing she has never gone through a workshop experience before but the actors who were there have done so. One fear she candidly revealed was knowing her play is not done yet so she knew each night she would have to go home, write, and then return the next day. On top of that she was tired from the workshop and its five-hour intensive days. The biggest accomplishment to balance things out was getting the play sketched out. Uju didn’t even expect that to happen but was elated it did through the improvisation of the actors present. A lot has transpired for this personable, imaginative, and articulate lady since I last spoke with her for another column series I wrote at the height of the pandemic. First, she’s feeling a heck of a lot better emotionally compared to a year ago. Whether it’s the human nature aspect of falling into a rhythm and pattern even amid uncertainty regarding this pandemic and finding some balance within it, or maybe it’s because she feels privileged to be pursuing something which she passionately cares about, Uju knows for a lot of people the arts base was not accessible to us during the pandemic. She says: “No matter what end of the spectrum we may be on and how we feel about it, things have opened up and have brought about many opportunities for people to engage in the work once again both at the professional and amateur level, and this has done wonders for people’s mental health.” And how did she become involved with the small-town professional Durham Region’s Theatre on the Ridge in Port Perry? Uju saw the call through a Facebook group last year around June regarding this initiative of which she is now part. She humbly was trying to gather the courage to start writing. When she saw Theatre on the Ridge’s proposal, she thought it sounded like a really ‘cool idea’ as she has always been fascinated with history and the stories that emerge through time, and the stories we don’t always hear but happened. Uju wrote a requested proposal and, with a laugh, sheepishly admitted said she never submitted it. She had emailed Theatre on the Ridge’s Artistic Director Carey Nicholson to ask for more information as Carey had Uju’s contact information already. Umenyi playfully poked fun at herself as she knows herself too well in that she habitually does not follow through sometimes on things, and she is trying to stop doing that. When Carey emailed Uju that September to say that, even though the deadline had passed for submission, would she still be interested to submit a proposal? Uju took this as a sign regarding her proposal so she dusted it off, polished it a little bit, sent it to her mentor for some feedback, and handed it in thinking what’s the worst that could happen. A conversation took place between the two ladies and the rest, as they say, is history. Uju credits Theatre on the Ridge in taking a leap of trust and faith with her in obtaining this work experience as an emerging artist/playwright for her first play as funding in the theatre sometimes is limited or sets specific parameters for a purpose. Oftentimes there is an age restriction for emerging artists and, as members of marginalized communities are being given more and more opportunities than there were five, ten years ago who identify as BIPOC or across the LGBTQ2+ spectrum, it’s unfortunate to see funding parameters set by funders are such that they require these age limits. She firmly stated: “If we’re going to start talking about breaking barriers down for people who have been marginalized for a sundry of reasons (socio-economic etc), then we have to break down the barrier that suggests an individual cannot emerge unless they are below whatever age gap. The assumption made here about those marginalized who have been pushed out wouldn’t have access to the opportunities to emerge at the point where it’s deemed as an acceptable time to emerge.” What appeals to her about the person Samuel Stout from her research? Uju described him as a fascinating person and became intrigued with the fact she could bring to light a story about him. But so little is still known about Stout, and Uju doesn’t negate the fact there was racism in the 1850s and how did Stout navigate all this. For example, he was a prolific musician who played many instruments, so where did he learn to play and how did he learn to play. She also discovered that Stout led the first Port Perry Town Band for many years; he might not have been the only black man then, but at one point he was. Stout added a richness and vibrancy to Port Perry and Uju believes this is a human element we hope that we can all bring to a small town. I’m going to keep my eye on the progress of Uju’s script going forward and am looking forward to the fall and to the public reading and performance of the piece. To learn more about Durham and Scugog Region’s professional Theatre on the Ridge, visit the website: www.theatreontheridge.ca . Previous Next

Back Jason Sermonia Looking Ahead Billy Bustamante Joe Szekeres Jason Sermonia is one extraordinary artist in the world of dance. He has appeared in some memorable musicals at the Stratford Festival including ‘A Chorus Line’, ‘The Music Man’, ‘Jesus Christ Superstar’, ‘The Rocky Horror Picture Show’ and appeared in the Broadway production of ‘Superstar’ when it transferred. I also saw Jason perform at Port Hope’s Capitol Theatre in a very naughty and adult production of ‘Snow White: The Panto’ which was a riot to watch and so much fun. At 18 years of age, Jason appeared in the Toronto production of ‘The Lion King’. He also appeared as a dancer in the film version of ‘Chicago’ and performed in two Tony Award presentations in New York. We conducted our conversation via email. Thank you for adding to the discussion, Jason: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. Over the course of the pandemic, I’ve come to realize that the world works heavily on a structured and scheduled way of life. We are always looking ahead and planning what’s next. Making multiple backup plans for every scenario or barrier that may get in our way. The pandemic forced me to slow down and take life day by day because you never know what the future will hold. We live in a world where everything is fast paced. Everything has a time slot or time limit, to a point that it is no longer quality time well spent. The pandemic taught me to take my time, use my time wisely and spend quality time with those who I love. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? No matter what the circumstances are in the world, artists will always find a way make art or use their amazing skills to find or create work. Artists are so versatile. We can wear many hats no matter what challenges are put forth. Although the live theatre industry is at its worldwide interval, nothing has stopped me from continuing my training. I will be ready when those curtains open again. The world needs live theatre. The world needs that reality check out. Art will always survive, and I believe that the industry will be stronger than ever when it returns. As a professional artist, what are you missing the most about the live theatre industry? As much as I miss performing in front of a live audience, what I miss the most is the rehearsal space. It’s the place where you get to create art onto a blank canvas, explore your craft, tell stories, crack jokes and most importantly build a community… build a family. It’s where all the magic happens. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? That the last time you perform on a stage may be your last. Embrace every moment. Enjoy every moment. Be grateful for every moment. As an artist, every job, every gig, every opportunity is temporary. It has a beginning and an end. I always think that every time I hit that stage, I am possibly changing someone’s perception and possibly someone’s life. Describe one element you hope has changed concerning the live theatre industry. I hope the live theatre industry continues to represent more and more BIPOC artists not only onstage but offstage as well. I hope the live theatre industry continues their efforts to celebrate diversity and embrace all kinds. Explain what specifically you believe you must still accomplish within the industry. I would love to accomplish becoming a choreographer within the industry. My love of dance and movement is itching for the opportunity to choreograph a musical or dance piece for film and tv. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I believe that it’s too soon. It’s too close to home. Live theatre, yes, is to relate to stories and themes of our society but I think live theatre should focus on getting patrons back into the theatre and give them an opportunity to escape reality just for a moment. I think live theatre should and will present Covid themed stories but just not at this time. As an artist, what specifically is it about your work that you want future audiences to remember about you? I would want people to remember me for my love of the arts. How I danced and performed my heart out every night on stage. My joy of creating works with friends not for money or fame but for the love of art. How I was a strong leader and team player. Previous Next

Back 'The Importance of Being Earnest' by Oscar Wilde Shaw Festival Shaw Festival Dave Rabjohn The Shaw Festival is now running a delightful production of Oscar Wilde’s eminent play ‘The Importance of Being Earnest.’ This period piece is subtly directed by Shaw’s artistic director Tim Carroll and highlights the delicious banter and cynical wit of these characters who exude a complete absence of moral commitment. Completely true to the traditional text, some surprises come from a unique set design and clever scene introductions that penetrate the social stratification. Indeed a comedy of manners, it features preposterous situations and comic confusions of identity. John Worthing (Ernest) has been raised as an orphan in the higher levels of society. In the flat of his friend Algernon, played boldly by Peter Fernandes, they discuss the various merits of love, marriage and proposing. Their dialogue is filled with the aforementioned cynicism. The core of their conversation is the admittance of getting away from the city and using fake identities to roam for pleasure. Enter Algernon’s aunt, Lady Bracknell who uses her overbearing personality to intimidate the young men. Kate Hennig plays the imperious autocrat with overweening delight. Lady Bracknell refuses Worthing’s connection with her niece, but Ernest and Gwendolen commit to each other secretly. Moving to the country Algernon arrives and proposes to Cecily (Worthing’s niece) and then they are joined by “Ernest” and Gwendolyn and mayhem ensues as identities are mixed or lost. Ancient discoveries are made that comically return all characters happily to their trivial lives. Martin Happer, as Ernest, is efficiently cool and emotionless – physical humour was amusing as he flops with fake dread on a couch or spends too much time on his knees addressing various characters. Julia Course plays Gwendolen with great wry humour and excellent timing. Gabriella Sundar Singh, as Cecily, feeds energy into Act 2 with her saucy wit – big eyes and bouncy spirit poorly hiding her manipulative calculations. The unathletic Algernon (Peter Fernandes) is hilarious as he attempts to leap over a shrub and then abandons the attempt. The death of Banbury speech was a brilliant highlight. Gillian Gallow’s set design was traditionally elegant, but some twists were a signatory. A series of deepening prosceniums drew the audience eyes into almost a bandbox that moved forward in act one. This resulted in an intimacy with the opening dialogue. Pursuant scenes used various sized prosceniums to regulate outdoor venues or larger ornate rooms. The final library scene is cleverly fitted with a flat displaying a large bookcase, but no book titles exist. This subtly parallels the thin veneer of upper-crust society – all show, no substance. The manor house garden was largely filled with shrubbery, so finely tuned that it was almost cartoonish – again reflecting the pretensions of Wilde’s characters. Delighting the audience were comic entrances and exits through the silly labyrinth. Another clever surprise was a momentary treat that opened each of the three acts. Played by the servants, a small distinctive playlet or musical whimsy introduced moments in each scene. One could almost perceive, under the guise of droll professionalism, their disgust and wink-wink observations of the lampooned upper class. This production clearly displays the pretentious characters who do not change from beginning to end. Wilde skewers Victorian society unabashedly. This play seems to be governed by Wilde’s paradoxical aphorism – “Life is far too important a thing ever to talk seriously about it.” Fun fact: When the SARS outbreak hit Ontario in 2003, then director of the Shaw Festival, Jackie Maxwell, decided to take out pandemic insurance – one of the very few companies to do so. Because of that instinct, virtually all Shaw employees continued to work and be paid throughout the covid crisis. Well done, Ms. Maxwell! ‘The Importance of Being Earnest’ by Oscar Wilde Performers: Julia Course, Peter Fernandes, Martin Happer, Kate Hennig, Gabriella Sundar Singh, Neil Barclay, Patty Jamieson, Andre Morin, Ric Reid, Graeme Sommerville, Jaqueline Thair Director: Tim Carroll Set Design: Gillian Gallow Costumes: Christina Poddubiuk Music and sound: James Smith Production runs through October 9, 2022. Tickets at: shawfest.com Previous Next

Back Other People, written and performed by Daniel Brooks Canadian Stage, Marilyn and Charles Baillie Theatre, Toronto Bronwen Sharp Joe Szekeres The Bombshell of Feeling Alive For someone nearly 63 years of age, Daniel Brooks opens his show with some surprisingly physical agility and sleek dance moves which made me envious of him. This opening night audience of the World Premiere of his ‘Other People’ personally appeared to appreciate seeing him back on stage after an absence of some time. And then a silent tsunami wave enveloped the Baillie auditorium when Brooks announced he has Stage 4 terminal lung cancer, not from smoking. If you are one of those individuals where the dreaded ‘c’ word has not affected any family members or friends, you are fortunate and must count your blessings. For me, the mention of the ‘c’ word makes me hold my breath and slowly exhale to not reveal what I’m personally feeling inside. I try not to become emotional but as a colorectal cancer survivor myself over 13 years ago, losing a younger sibling that same year and a father over sixty years ago, and having an older sister and our mother who have experienced other forms of the disease and survived, cancer takes its toll not only on the person but also on the community members who are there and want to help. So, when Brooks dropped his bombshell announcement, it hit me full face knockout hard.. However, he and director Brendan Healy wisely and safely chose not to turn this one hour and forty-minute story into potential trigger moments where there might or could have been continued wiping away of tears (from me) or possible uncontrollable silent sobbing (from others). Healy’s subtly nuanced direction in having Daniel sit in a chair and tell the story did not create a contrived performance from the artist. Not at all for me. Instead, Brooks carefully exposes and fervently narrates what he experienced with vivid clarity and ardent perspicacity the roller coaster (I know, a tired comparison) one experiences in dealing with cancer. I get it. I know it because I've been there personally and re-experienced vicariously those same raw emotions in watching last night's opening. I also saw how Brooks who, through incorporating sharp wit, combats the fear, the anger, and the helplessness he must continue to feel daily as he moves forward as best he can. Now, where does the title ‘Other People’ fit in? It’s here where I believe this story resonated strongly within me as a survivor. Brooks often realistically and sometimes candidly explores the grace, the equanimity, and the humour behind what he calls his ‘dancing and love affair with cancer’ through meeting other people on his journey on the ten-day silent meditation retreat in Montebello, Québec. In my mind, I could visualize some of these other people who were at the retreat - The Regurgitator, Red Crocs, Tony Small are only a handful of names - and smiled hearing about Daniel’s response to them. Cancer is a journey where the individual is not alone. A retreat allows the individual to be alone but recognizes there are other people around who are also there for different reasons. As a practicing Catholic, I’ve participated in two, two-night, three-day silent retreats before. So, I understand the framework is to re-connect the individual back to that spiritual life-giving force that exists within each of us that cannot be destroyed. I will concur that sometimes during these two silent retreats my mind did wander to other things. During his retreat meant to help centre him in his healing process, Daniel’s mind sometimes ventured away from this specific task. He speaks to us about his daughters and is pleased they now return his telephone calls. Yet, Daniel is concerned about the effect of his eventual death on them. Brooks also refers to some Russian literature in which he is interested. He also speaks about a woman with whom he had an affair years ago that was very satisfying at that time in his life. Brooks delivers a naturalistic, convincing performance throughout of a man who now takes stock of what has become most important in his life, those who have helped to shape who he is now and what time remains of his being here on earth, eerily emphasized with the tolling sound of the bell. I have no idea and will not even comment on whether Brooks practices his faith but, as a practicing Catholic myself, I am grateful ‘Other People’ became a validation of my faith when I heard Daniel speak about the reality that none of us knows how much time we have left here on earth. This same universal truth is of paramount importance from a Christian faith perspective as death is something not to be feared since it is not the end of life. Daniel even comments near the end of the production about ‘the great privilege of being alive’, another universal truth which is ensconced in Christianity. Final Comments: I am saddened that I have never had the opportunity to see other plays by Daniel Brooks either as playwright, actor, or director. I feel terrible that he has Stage 4 terminal lung cancer as I know that same fear and sadness that stems from this horrible disease. Other People continually reminded me of that great privilege of being alive and it’s one I so desperately needed to hear especially now in emerging from the worldwide pandemic and violence in Ukraine and Russia. Running Time: One hour and 40 minutes, no intermission. ‘Other People’ runs to April 3 at the Marilyn and Charles Baillie Theatre at Canadian Stage, 26 Berkeley Street, Toronto. For tickets, call 416-368-3110 or visit www.canadianstage.com . Directed by Brendan Healy Featuring: Daniel Brooks Set and Lighting Design by: Kimberly Purtell Wardrobe Coordinator by: Ming Wong and Laura Delchiaro Stage Manager: Arwen MacDonell Sound Design: Thomas Ryder Payne Previous Next BACK TO TOP

Back 'Indecent' by Paula Vogel David Mirvish presents A Studio 180 Theatre Production at CAA Theatre Cylla von Tiedemann Joe Szekeres An intricately astounding and artfully crafted story of forward-thinking ideology Even though the title is ‘Indecent’, it truly is a decent show but it’s more than just that. In 1923, after widely celebrated productions of Sholem Asch’s ‘God of Vengeance’ in Europe, the production finally opened on Broadway in an English translation where audiences found the play disturbing and were shocked and disgusted by the plot. Asch’s work explored religious hypocrisy which garnered so much attention that the entire cast of that New York production was arrested and charged with obscenity. When the play first arrived in New York, however, it was presented in Yiddish Theatre where it was respected. In 2015, playwright Paula Vogel debuted ‘Indecent’ where her play focused on what was going on behind the scenes of the 1923 controversial production. Vogel’s play explores what is the nature of theatre, anti-Semitism, censorship, and homophobia. Absolutely marvelous to watch this production with a powerful ensemble of actors who play several roles and who are ready to share this story with dignity and respect. Laetitia Francoz-Levesque, Emilyn Stam and John David Williams exquisitely underscore and enhance the unfolding story through music. Directed with the utmost ultimate care by Joel Greenberg who took me back to a time in the early twentieth century when things were just ‘different’ compared to the world we know, I left the CAA Theatre opening night in complete astonishment at seeing how the creation of art can be viewed from different extremes of unique individuals. Not that these extremes of opposing viewpoints of artistic freedom are considered either right or wrong. ‘Indecent’ is that reminder of just how art truly does influence all of us right down to our very soul and core of our being. Ken Mackenzie’s set design for me evoked that era of the early twentieth-century setting. The riser most amply allowed for excellent sightlines throughout the entire auditorium. A video projection along the top included the title of the play and underneath read ‘the true story of a little Jewish play.’ This is more than just a little Jewish play in my opinion. It is an epic one of proportions regarding art and censorship hidden behind homophobia and anti-Semitism all encapsulated within the vehicular realm of the theatre. One of the stagecraft elements that caught my eye was in the opening when Lemml the stage manager of ‘God of Vengeance’ introduces the cast to us. It looks as if ashes are streaming out of not only his hands but also of the others actor as they step forward to speak to us. Highly effective image in my humble opinion. I kept being reminded of the phoenix rising from the ashes in the new world. And then the short statement projected at the top of the stage: ‘from ashes they rise’. Powerful and haunting. The ensemble cast is primo from start to finish. Matt Barram’s Lemml, the stage manager of ‘God of Vengeance’, breaks the fourth wall to speak to us about this contentious play and the events which follow. Known as Lou when he comes to America, Barram’s welcoming demeanour to enter, at least for the moment, the safe area to learn more about what transpired during this time. This unflinching and determined ensemble in playing several roles truthfully conveys the heart of the piece. Jonathan Gould plays the playwright of ‘God of Vengeance’ Sholem Asch whose unwavering determination in 1906 to get his play read in an upscale salon hits a brick wall when the lesbian love affair is revealed. She’s listed in the programme as Chana, but Jessica Greenberg plays Majde, Sholem’s extremely supportive wife, with passionate ardour. Jessica Greenberg and Tracy Michaildis play the women who fall in love with each other both in the play and in real-time in the play. Both Greenberg and Michaildis bravely and securely seize the moment which pushes all of us into forward-thinking mode about the lives and loves of ALL people both in art and in real life. Dov Mickelson, Sarah Orenstein, and Nicholas Rice play offer strong supporting performances as the effects of ‘God of Vengeance’ become strongly felt. Final Comments: Another ‘must see’ for your fall things theatrical. Running Time: approximately one hour and 40 minutes with no intermission. ‘Indecent’ runs until November 6 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. David Mirvish presents ‘Indecent’ by Paula Vogel A Studio 180 Theatre Production Set Designer: Ken Mackenzie Lighting Designer: Kimberly Purtell Projection Designer: Cameron Davis Costume Designer: Michelle Tracey Sound Designer: Thomas Ryder Payne Music Director: Emily Stam Performers: Matt Baram, Jonathan Gould, Jessica Greenberg, Tracy Michaildis, Dov Michelson, Sarah Orenstein, Nicholas Rice Musicians: Laetitia Francoz-Levesque, Emily Stam, John David Williams. Previous Next

Back Mike Payette Theatre Conversation in a Covid World Sabrina Reeves Joe Szekeres Toronto’s Tarragon Theatre welcomes its newest Artistic Director, Mike Payette. And what an impressive resume he holds. Mike is an award-winning actor, director and educator. Born and raised in the borough of Nôtre[1]Dame-de-Grace (aka NDG) in Montreal, Quebec, he was introduced to the arts from a young age and quickly dove in. He remarks this introduction as a significant moment that helped him see how theatre truly lifts and inspires potential. While completing his BFA in Specialization in Theatre and Development from Concordia University, he was the co-founding Artistic Director of award-winning Tableau D’Hôte Theatre (now celebrating 15 years). Later, he became a founding member of Metachroma Theatre, served as Artist[1]in-Residence for Neworld Theatre in Vancouver, and was Assistant Artistic Director for Black Theatre Workshop where he helped lead the creation of one of the country’s most acclaimed mentorship programs for BIPOC emerging artists. He has served on the boards of the MAI (Montréal, arts interculturels) and the Quebec Drama Federation, and currently sits on the board of Maison Théâtre as well as serving as Vice President of PACT (Professional Association of Canadian Theatres). For six seasons, Mike has been the Artistic and Executive Director of Geordie Theatre, Quebec’s largest English-language Theatre for Young Audiences company. As an actor, he has worked in some of Canada’s finest theatres including The Citadel, MTYP, The Grand, Factory Theatre, Neptune, and the National Arts Centre, as well as with great local companies Geordie, Black Theatre Workshop, Imago, Scapegoat Carnivale, Repercussion Theatre, Centaur Theatre and Segal Centre among others. Directing credits include the Montreal premieres of ‘A Line in the Sand’ by Guillermo Verdecchia and Marcus Youssef, ‘Elizabeth Rex’ by Timothy Findley, ‘Another Home Invasion’ by Joan MacLeod, and the Montreal English-language premiere of Michel Tremblay’s ‘Hosanna’ (Centaur/Tableau D’Hôte Theatre). Other credits include the Quebec premiere of ‘Harlem Duet’ by Djanet Sears (Black Theatre Workshop), ‘Around the World in 80 Days’ (Geordie), the Canadian premiere of ‘Choir Boy’ by Tarell Alvin McCraney (Centaur), and the national tours of ‘Angelique’ by Lorena Gale (National Arts Centre/Factory Theatre/Black Theatre Workshop/Tableau D’Hôte Theatre) and the ‘Tashme Project: The Living Archives’ by Julie Tamiko Manning and Matt Miwa (Tashme Prods/Factory Theatre/Firehall/Prismatic). Mike also directed the French-language premiere of Lorraine Hansberry’s ‘Héritage’ (A Raisin in the Sun) with Théâtre Jean-Duceppe; marking a large Quebec institution’s first time producing a Black playwright helmed by a Black director and featuring a predominantly Black cast. Mike has commissioned and developed many works by some of the country’s most vibrant emerging and established voices with Geordie and elsewhere, and he continues to be inspired by the evolving ways storytelling can take form; inviting new audiences and artists to be engaged in the many facets of theatre creation and practice. He is a two-time META (Montreal English Theatre Award) recipient and has been a guest artist and speaker for McGill University, Brock University, University of Calgary, as well as the National Theatre School of Canada, among others. I find the following words by Mike extremely important given what we have witnessed during this pandemic: “The work that I am attracted to leans into stories that dig deep into the complexities of the human condition. Embracing the visceral, challenging assumption, and empowering the silenced. Discovering stories that seemingly encompass one individual, or individual community, and emboldening the ways that story, through the shared experience of theatre, champions empathy and understanding of one another. I seek voices and stories that open doors for audiences and communities that have never felt welcome to the theatre and to share a space with those that have enjoyed its impact for years. I am motivated by the urgency of our current world; highlighting the value of theatre as a means for discourse between each other.” We conducted our conversation via Zoom. Mike, I look forward to speaking with you in person very soon: Well, Mike, we are one year where the doors of live theatre have been shut. How have you been faring during this time? Your immediate family? Not unlike so many of our colleagues in the rest of the sector, never mind the sector but the rest of the world just trying to cope with these new realities, I’ve been okay, thankfully. I’ve been in my little home office bubble for most of the year, really. My family is healthy and safe and that’s all I can ask. Certainly, on the work end of it, it’s been really non-stop. It really does feel that since late February early March (of last year) that time and space have completely gone out the window. Thankfully, with the conversations we’re still having great mobilization of the theatre and arts sector, not just Canada but regionally and in Montreal, there’s a lot of advocacy that we’ve been doing, and I’m super proud of all that has been accomplished with my company Geordie. We’ve been really active; we shifted our program fairly early. We had a touring show that went into livestream. We are still doing mainstage productions that are recorded so the work is still going, but it’s a different kind of work and different kind of headspace. The biggest checkpoint is just making sure we are okay in mental health. Some days are better than others, but I’m generally okay, thanks for asking, Joe. In preparation of your new role as Artistic Director at Tarragon Theatre, how else have you been spending your time outside of theatre? Oh, Joe, I wish there was a fancier answer beyond. I’ve been all about the work, but I’m going to search for some things that have been fun outside of theatre. Diving into cooking, building some recipes that I haven’t necessarily used before. Finding new music and listening to new artists, that’s been really cool. And reading a lot about the great things that the other companies across the country have been doing to keep connections with their own communities and their artists, and really looking at how art is shared and how to invite audiences into the development and the artistic process. That is something I’ve been really inspired by, not just here at home but across the country. So much has been in balancing the reactionary versus being proactive, and so because Geordie and myself we are pro-active entities that’s why there seems to be a lot of work. I’ve been teaching as well which is great at Montreal’s National Theatre School. I taught a class in December and am teaching a class right now so it’s good to get outside sometimes to see some fresh voices and fresh artists who thankfully get to practice and train, and I get to be a part of that so it gives me life, it gives me energy. It’s good. Many artists I’ve profiled and interviewed have shared so much of themselves and how the pandemic has affected them from Black Lives Matter and the BIPOC communities to the staggering number of illnesses and deaths. Could you share one element, either positive or negative, from this time that you believe will remain with you forever. I can give you a few things. I can tell you in terms of the resurgence of BLM or the mainstream acknowledgement of historical injustice, that’s what shifted. In terms of the actual stories and events, nothing has really changed, just the attention to these stories and to these realities has shifted to a more global conversation which has been a positive step forward. In terms of my relationship to it, I’m still on the heels of generations of artists and BIPOC artists who have really tried to mobilize this conversation for decades before me. I’m just riding that wave along with them in terms of this generation. It’s a deeply personal conversation when it comes to the representation of the kinds of stories or the kinds of artists that we want there. For me, there hasn’t really been a shift or change in terms of the work that I have been doing or the work I will do. I will continue fostering those new voices and ensure that everyone has room at the table. I do think a positive thing from a societal or social level – it’s forced us all to take a great pause reflecting our relationship to what it is that we do, how we exist and communicate with each other, and to actually meaningfully and significantly value somebody else’s story. I think it’s given us a lot of time to do some deep soul searching about who we are as individuals and who we are as a greater community. Artistically speaking, it has given us agency to re-connect or re-check ourselves in how we connect with our audiences. How to maintain those special relationships we’ve maintained over the years. If we can’t all be in the same room together and can’t go into theatres, how do we keep art alive, how do we keep theatre alive, and the conversation that theatre provokes alive for communities and audiences. So that’s why we’ve seen so many shifts in digital investigation OR virtual investigation of works and inviting people into our companies and our companies work. Institutionally, the merging of the various crises during this time has put a huge, this might sound like a trite wind and I can’t think of another polite word or way to say it right now, it’s forced us to ‘SHIT OR GET OFF THE POT’ kind of thing. Okay, so we know what it is. We’ve got this thing happening, we’ve got this pandemic happening, what are we doing in terms of our art and our audience? We have the social and racial injustice, Indigenous lives are dying, black lives are dying, these are two facts, so what are we going to do about it, as opposed to resting historically on the laurels of what we have done before. There is no more room for that. We’ve been given this opportunity for that deep, deep, deep reflection. After this is done, we will come back together, and we’ll see who makes it. We’ll see the artists and we’ll see the companies who have been able to ride wave and come out greater on the other side of it. Because this is all a big test. I see this as a huge test of ourselves mentally, emotionally, artistically, all of those things and it’s huge wait and a big burden for us all. We will find triumph at the end if we invest and deepen that reflection process. I think that’s what this time has afforded us, and I think it will continue to go for awhile. When we come back together, we will be checked. We will check ourselves and force us to check why we do what we do during a time when we are seeking that valuable connection and understanding of each other on a social level. The late Hal Prince spoke that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked further curiosity in you as an artist yourself and how you will move forward in your new designation as Artistic Director for Tarragon? That’s a good question, and Joe you’ll discover that I can’t just give one answer, I have to give multiple answers (and Mike and I share a good laugh). Fundamentally, the belief that the theatre has always been the vessel for that discourse. The theatre, the piece, the experience of the time in the theatre being in a room with others, experiencing a live story all together at once. The second part of that is the conversation that comes from that story itself And theatre has always been that agency for that discourse. I imagine that won’t change but the content may. The content – we have a responsibility to humanize ourselves in terms of what it is the audience needs when they come back. Does it mean what kind of content we are bringing forward? We will need to think about that more wholly. On an artistic front, intimacy is a huge thing. Just seeing two characters hug, all the things we miss. With the National Theatre School, I directed the graduating students in ‘Indecent’ by Paula Vogel and this play is all about intimacy and connection. What we discovered even in that training ground what are the moments we can embrace in a heightened theatrical world that doesn’t necessary mean you have to physically connect, but you see an emotional connection that allows for tension that the audience feels even more so. I’m curious about how to embrace that, to actually elevate those moments of suspended tension when you want something because you legitimately cannot make it so. What does that do in terms of storytelling itself and how moments are executed? Or how those stories that crave intimacy are actually executed? I think that’s a test for all of us creators at the end of the day. It’s an awesome opportunity because it means that we’re actually giving more interest to the audience to fill in the gaps. And so, that’s a really exciting thing. I think we’ll also learn in what the digital platform has afforded us. It’s communicating, working, developing and still creating works virtually that has cut geographical issues. Now we can expand that, have more collaboration or discussion with artists that are outside of our geography. That’s nothing but good because we want to include a multitude of creative voices. What are the opportunities of connecting with a company in South Africa and seeing how that company works? Or seeing a company in Belgium? Or Australia? How are artists working and how can we exchange ideas so that we can learn from each other in a shared knowledge kind of way. That is an exciting thing, and we’ll still be able to develop meaningful connections because geography is no longer an issue. We’ll see how far that lasts, but I’m excited by and to bridge that digital dramaturgy with the parts of live theatre we love so much that we create a really unique experience, a hybrid that encompasses both. Margaret Atwood has spoken of Canadians as survivors who are able to withstand anything thrown in their path. Would you share what has helped you survive in this time of uncertainty. Oh, wow! I suppose I could get a little emotional about this when I reflect on it for real. What has allowed me to survive is to try to go outside myself a little bit to remind myself why I’m doing this in the first place. It’s not for me; it’s an acknowledgment of others that they don’t have the same platform or agency that I’ve been afforded; that are creating breath, levity, light, life, escape and that has been a driving force for me in recognising what folks have been missing during this time. If I have the opportunity to give something because of my role in the community or my role with Geordie, then that’s all I want to do. That’s why I’m here is that I want someone to feel after seeing something that I’ve been a part of in some way, shape or perform that there was a moment of remembering their value and why they’re important. We’ve lost a lot of people during this time. Yes, because of the pandemic but also artists, our technicians, our production people, that one shop that had that one special thing that no other store in the city had that a set designer would go to. There has been a lot of loss and a lot of darkness and it’s not to say that I haven’t endured that darkness, but the thing that gets me up in the morning is recognizing the purpose is greater than myself. That I feel a greater responsibility to make someone feel okay through theatre, through my work. Even though it’s taxing, hard work and exhausting, there’s great personal cost to it. I believe in empowering the other. I hope this doesn’t sound cheesy. I agree that we as human beings are, in essence, survivors and this has been a test for us all. We need to acknowledge those who have needed the support that they didn’t necessarily get, and to do everything that we can to be that supportive mechanism for others. I have my partner, she’s amazing; I have my stepdaughter, so there’s also the everyday realities as well in making sure my mom is healthy. That’s super important to me as I want them to be okay. I want them to survive. Previous Next

Back 'Charlie and the Chocolate Factory' Now onstage at London, Ontario's Grand Theatre Credit: Dahlia Katz. Pictured: Mark Uhre as Willy Wonka Joe Szekeres "Even adults can learn life messages from stories that seemingly only appeal to children. That forgotten thought becomes abundantly clear watching this slick ‘Charlie and the Chocolate Factory’ now onstage at The Grand." I owe the memory of Roald Dahl the sincerest of apologies over these last years. I was never a fan of his children’s books and considered them odd growing up. I wasn’t interested in watching the 1971 film where Gene Wilder plays Willy Wonka, either. What an unimaginative choice to make on my part. Be imaginative, you colossal fool. This slick opening night production of ‘Charlie and the Chocolate Factory’ at London’s Grand Theatre allows audiences to return to the childhood wonder of imagination. Although the musical is not at the top of my must-see lists, ‘Charlie’ is worth doing, especially since I’ve never seen the show. There are tuneful songs like ‘The Candy Man’ and ‘Pure Imagination’. There are some glitzy dance numbers to see. Much work has gone into the Grand’s production, and it shows. But why the apology to Roald Dahl’s memory? ‘Charlie’ becomes a teachable reminder to all, youth and senior, never to lose sight of tapping into imagination at any age. I did. Sometimes, being imaginative can help cope with daily life’s complex, actual, and often harsh realities. The story focuses on a selfless and compassionate Charlie Bucket (a precocious and adorable Greyson Reign Armer at this performance) who dreams of acquiring one of the five golden tickets to tour Willy Wonka’s (Mark Uhre) Chocolate Factory. Charlie is among the last to find the ticket in a candy bar he purchases. He can’t believe his luck when it finally happens. Let’s look past this immediate gratification of childhood wants for the moment. What the young Charlie does not recognize to be his luck are the adult role models in his life who care about him. Yes, the father figure is absent. However, he has a mother (poignant moments by Melissa Mackenzie) who works hard because she knows she must do so. She loves her son very much. Although they may not be as sprightly as they once were, Charlie has his two sets of grandparents alive who love him very much: Grandma Georgina (Krystle Chance), Grandma Josephine (Barbara Fulton), Grandpa George (Salvatore Scozzari) and Grandpa Joe (a doting, adventurous David Talbot) who accompanies the young lad on the tour even though he doesn’t feel well. The other four winners to tour the factory represent deadly vices. There is the gluttonous Bavarian Augustus Gloop (Nathanael Judah), accompanied by his mother (Krystle Chance), and the petulant and greedy Veruca Salt (an over-the-top demanding Nicole Norsworthy) accompanied by her patsy of a father (Salvatore Scozzari) who gives his daughter anything she demands. We also meet the world champion gum-chewing dancing celebrity Violet Beauregarde (Mikela Marcellin), who is fascinated with fame and achievement no matter the cost. She is accompanied by her father (Aadin Church). There is Mike TeaVee (Elena ‘Elm’ Reyes), a hyper computer hacker who represents the vice of sloth. He is accompanied by his mother (Meg Buchanan-Lunn). Each of these supporting characters has their moment to shine in some terrific song and dance numbers backed by a lively ensemble of dancers. ‘Veruca’s Nutcracker Sweet’ and ‘Auf Wiedersehen Augustus’ are only two examples. When the five contest winners attend the tour, their parents must sign a dubious and unclear contract. Everyone has no idea what they’re getting themselves into. Couple this with the reality that Wonka does not appear to be what he seems to be on the outside – as the story goes on, we discover that he might be, in fact, a rather dangerous individual. Scott Penner’s set design remains visually impressive, especially in the second act when everyone finally enters Wonka’s factory. The colours, shapes, and sizes are extraordinary. Every inch of space on the Spriet stage is used to the full extent, and it works. Nothing ever appears cramped. Siobhán Sleath captures gorgeous lighting designs throughout the show with beautiful hues and tints. Sound is also vital in this production to ensure everything can be heard. For the most part, it is thanks to Brian Kenny’s work. The spoken dialogue is clear. There are moments in a few of the musical numbers where I couldn’t hear all the lyrics. I’m not concerned about this quibble; I’m sure it will be rectified now that the show is running. Cameron Fraser’s projection designs nicely transport us to another world. Skylar Fox’s magic designs are perfectly timed. Something happens in the first act that flies over the audience’s heads and just disappears. Truly outstanding to watch. Joseph Abetria’s vibrant costume designs are truly remarkable as they help delineate who the characters are. The Oompa Loompas’ costumes are only one example of Abetria’s fine choices he makes. Director Jan Alexandra Smith, Music Director Alexandra Kane, and Choreographer Robin Calvert joyfully transport the audience to another time with a knowing wink, a tuneful ditty, and a jig of a dance. I liked the introduction of The Candy Man (Mark Uhre in an effective disguise) at the top of Act One. He is an oddity who owns the local candy store. Everyone likes candy; however, Smith, Kane and Calvert cleverly use this opening scene as a teaching moment. Maintain your sense of humour when things get a bit odd in life, as they sometimes will. It’s okay to indulge in a bit of chocolate. Don’t sacrifice your health in the meantime as the contest winners do. Mark Uhre is a theatrical gem as Wonka. He dances and moves with tremendous fluidity and ease. But Uhre purposefully reveals a dark side to Wonka, as do all humans. This becomes another teaching moment. Uhre shows that some people may not appear the same on the inside when we see them from the outside. For example, when some contest winners get their just deserts for not following instructions or not listening carefully, Uhre simply gives a suggestive stare to the others of “I told you not to do that” and simply moves on as if the individual did not exist. Harsh, callous, and cold are only three adjectives that may come to mind, but they are reminders to all, as Republican Candace Owens recently told a group of entitled young college sophomores – “Life’s tough. Get a helmet.” Final Comments: Just because the Christmas/holiday season fast approaches does not mean people will not experience the challenges of daily life that we all face. They will. Yes, it’s a wonderful time of the year. It’s a filling to the belly time of year. It’s also a grim reminder that life may be harsh for some. “Charlie and the Chocolate Factory’ is that theatrical reminder of this fact. London’s Grand Theatre made a solid choice to stage this production as the holiday season approaches for its razzle-dazzle excitement of colour, song and dance. Don’t forget the critical messages lying underneath the text. Running time: approximately two hours and 30 minutes. The production runs until December 24 on the Spriet Stage at the Grand Theatre, 471 Richmond Street, London, Ontario. Call the Box Office (519) 672-8800 or visit grandtheatre.com for tickets. GRAND THEATRE presents Roald Dahl’s ‘Charlie and the Chocolate Factory’ Book by David Greig, Music by Marc Shaiman with Lyrics by Scott Wittman/Marc Shaiman Based on the novel by Roald Dahl Songs from the Motion Picture by Leslie Bricusse/Anthony Newley Orchestrations by Doug Besterman and arrangements by Marc Shaiman Directed by Jan Alexandra Smith Music Director: Alexandra Kane Choreographer: Robin Calvert Costume Design: Joseph Abetria Set Design: Scott Penner Lighting Designer: Siobhán Sleath Sound Designer: Brian Kenny Projections Designer: Cameron Fraser Magic and Illusions Designer: Skylar Fox Stage Manager: Kelly Luft Performers: Greyson Reign Armer/Neela Noble, Matthew Armet, Kih Becke, Meg Buchanan-Lunn, Krystle Chance, Aadin Church, Barbara Fulton, Nathanael Judah, Christopher Lucas, Amanda Lundgren, Mikela Marcellin, Jamie Murray, Nicole Norsworthy, Melissa Mackenzie, Elena “Elm” Reyes, Salvatore Scozzari, Julius Sermonia, Michele Shuster, David Talbot, Mark Uhre. 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Back 'Icemen' by Vern Thiessen World Premiere presented by Theatre by the Bay now onstage at Five Points Theatre, 1 Dunlop Street West, Barrie Credit: Hollinshead Media. L-R: Tom Keat, Nathan Howe, Isaish Kolundzic Joe Szekeres "Suspenseful! Thrilling! Entertaining! ‘Icemen’ is a Canadian story, and it’s ours!" Vern Thiessen’s newest world premiere takes place on the icy banks of Barrie at the height of the Great Depression in the 1930s. Times are tough for everyone, not only for the characters of ‘Icemen’ but those who live in Barrie. When times are tough, sometimes the unthinkable can very well happen. The setting is a wooden icehouse. We meet two desperate brothers: Joe (Isaiah Kolundzic) and his not-too-swift brother, Rennie (Tom Keat). The two commit an act of vengeance and defiance against their upscale employer, F. F. (Nathan Howe) and hold him hostage. F. F. threatens to destroy the brothers’ livelihood – ice harvesting on Kempenfelt Bay. I won’t spoil here what F. F. stands for, as you will find out. This opening night edge-of-the-seat thriller has a great deal going for it. For one, Barrie’s Theatre by the Bay's mandate is to continue showcasing and producing rich local stories. The company commissioned Thiessen to write a play about Barrie. He had never been to the city before and didn’t know anything about it but discovered a treasure trove of stories – one of them being the ice harvesters who worked on Kempenfelt Bay. In the playwright’s programme note, Thiessen writes how the ice harvesters saw their livelihood taken away by greed and refrigeration, an ‘innovation’ that, over time, has contributed to the climate change that now threatens Canadian lakes and oceans. I did not know the local history of Barrie, and this bit of information piqued my curiosity about how it would tie into the story. So, “Icemen” is a story of high stakes. The world of the Depression was one of gradual change and innovation. There was great social inequity and economic disparity, as playwright Thiessen tells in his Programme Note. People in the Depression had a tough time making ends meet. There were also individuals at this time who had too much power. Sounds somewhat familiar, doesn’t it? We’re experiencing this right now in our twenty-first century woke world. The big question – did this opening night production work on the Five Points Theatre stage? Yes, it does. Skillfully, I will add. This world-premiere production is one of which I hope other Canadian theatre companies will take notice. Not only is it suspenseful, thrilling, and entertaining, but ‘Icemen’ is one of our stories as Canadians and for Canadians. Joe Pagnan’s gorgeous set design of the rugged wooden icehouse prominently figures centre stage. I closely examined what I could do from my seat about three-quarters of the way up in the house. Brenda Thompson has paid meticulous attention to the selection of 1930s-period piece props. I loved the icepick that would have been used to help drag the ice blocks to the wooden house. Like all good suspenseful stories, nevertheless, some of these items become nefariously used for shocking purposes. Logan Raju Cracknell’s shadowy lighting designs duly enhance the suspenseful atmosphere of both the ruggedness and the sense of loneliness that might also surround the lives of these ice harvesters. Madeline Ius’s costumes are believable period recreations of the clothing the brothers would have worn as they worked outside. F.F.’s clothing strongly gives the impression there is a social and financial strata division. Mathew Magneson creates an extraordinary soundscape of howling winds that strongly emphasizes how cold it must have been for these harvesters. Not only that, but the sound also underscores how lonely and abandoned it must have felt for these individuals who worked out on the Bay. Magneson also places the sound of the howling wind throughout to help in the growing and suspenseful plot momentum. It’s effective in the aural sense, that’s for sure. Vern Thiessen’s gripping script makes the audience listen carefully to the spoken dialogue, which becomes crucial to the suspenseful intensity of any edge-of-the-seat story. Thiessen surely knows how to grab an audience’s attention right away. At the top of the show, F. F. is tied to a chair, and Joe casually smokes a cigarette while talking to F.F. and the audience. A strong word of advice - make sure you do listen carefully because the play is wordy but oh, so very important in building to the story’s climax. Iain Moggach directs with an assured confidence that never wavers. Not only does he envision believable characters, but he also creates one hell of an excellent Canadian story that makes our culture a unique one. As he writes in his programme note, “Icemen” is more than just ice. ‘Icemen’ is a story of history repeating itself in new ways. Yes, that’s a scary thought, but it also makes for good entertainment. The three-member cast remains solid throughout, always listening and responding with a credible believability. As brothers Joe and Rennie, Isaiah Kolundzic and Tom Keat deliver bold and fearless performances. Rennie is not a dimwit, but he doesn’t have the ‘smarts’ like his brother, Joe. Kolundzic and Keat are in synchronicity with each other. They behave and speak as brothers often do, especially when the two might not agree on handling the situation with F. F. I applaud Nathan Howe’s work as F. F, Joe and Rennie’s supervisor. For a good portion of the play, Howe is tied to a chair, so there is little room for him to move about the stage like Kolundzic and Keat. Instead, Howe’s performance strength emanates from his listening carefully to the other two and using his voice to indicate the varied emotional levels he experiences. When freed from the chair, Howe effectively controls his energy level and doesn’t allow it to upstage Kolundzic and Keat. There’s a bubbling, boiling and ultimately scalding intensity watching the events unfold at the end. And it’s good theatre. And that’s why you should get to the Five Points Theatre to see this Canadian piece that will hopefully be picked up and produced around the province. Running time: approximately 85 minutes with no intermission. ‘Icemen’ runs until November 12 at the Five Points Theatre, 1 Dunlop Street West, Barrie. For tickets, call the Box Office at (705) 739-4228 or visit https://tprocob.ticketpro.ca/en/pages/COB_TBTB_Icemen Theatre by the Bay presents the world premiere of ‘Icemen’ by Vern Thiessen Directed and produced by Iain Moggach Stage Manager: Khaleel Gandi Production Manager: Rochelle Reynolds Set Designer: Joe Pagnan Lighting Designer: Logan Raju Cracknell Music Director/Composer: Mathew Magneson Costume Designer: Madeline Ius Props: Brenda Thompson Performers: Nathan Howe as F. F.; Tom Keat as Rennie; Isaiah Kolundzic as Joe Previous Next

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

Back 'The Sound Inside' by Adam Rapp Now onstage at Toronto's Coal Mine Theatre Tim Leyes Joe Szekeres Haunting and powerful. Tony-nominated ‘The Sound Inside’ by Adam Rapp recently made its Toronto debut at the newly relocated Coal Mine Theatre. Bella Baird (Moya O’Connell) is a 53-year-old tenured creative writing professor at Yale University. With this assurance in hand, one might think she lives a grateful privileged life as a university instructor. Far from it. Thanks to Laura Delchiaro’s spot-on costume design for Bella, flashy clothes on the Yale campus are not the norm for her. Dressed in a nondescript plain-looking tan sweater, slacks, and blouse, Bella reflects matter-of-factly she doesn’t have a lot of associates on campus with whom she might go to lunch during the day. There’s a pervasive sadness about Bella. She doesn’t own a home but lives in the faculty housing on campus. She reads a lot when she is at home along with completing her responsibilities for her career. The plot briskly moves when Bella begins to mentor a visionary and extremely intelligent but enigmatically puzzling student Christopher (Aidan Correia) who’s in her ‘Reading Fiction for Craft’ class. Christopher prefers writing in longhand, doesn’t like using email to make appointments, and hates using Twitter. Dressed inappropriately for the fall weather on the university campus, Christopher shows up one day without an appointment during Bella’s office hours just to talk. He sports long hair, an earring, a spring jacket, loose fitting shirt, jeans, and wearing white sneakers. Although the instructor and student initially appear awkward at first, they begin to form an intense bond with each other (perhaps out of wanting to feel a sense of belonging or loneliness?). Ultimately Bella asks Christopher to do something quite unpredictable and out of the ordinary which initially surprises him as well as the audience. Will Christopher go through with this request? Wes Babcock’s simple set design of an office desk and chair is an apt choice. The actors deftly move the set pieces around to create several scenes. The intimacy of the Coal Mine Theatre swiftly brings the plot action right into the audience’s personal space. But something just doesn’t appear quite right even at the top of the show which intrigues even more. Babcock’s extreme shadowy pre-show lighting casts an ominous look on Coal Mine’s intimate stage. That shadowy gloom becomes twofold in purpose. It permeated into the darkness of the house as the audience enters. Truth be told it is so dark that one audience member behind me remarked how dangerous it is if someone doesn’t have good eyesight while walking in. Throughout the 90-minute production, Babcock’s lighting still incorporates that sense of gloom even in focusing the audience’s attention on the action and the characters. Hmm…are we being prepped for something earth-shattering? Yes, we are. Leora Morris thrillingly directs the production. Moya O’Connell and Aidan Correia sweetly savour the delicious wordplay of Adam Rapp’s thrilling script. The actors listen and hear each other while reacting and responding soundly with believable emotional impact in their chemistry. Several monologues are delivered compellingly. As Bella, O’Connell becomes a matriarchal university professor. There are moments when the actress speaks to the audience as if she delivers a typical university undergraduate lecture, and how important it is to pay attention, hear and listen to what is said. How true that is as the plot further unravels and the truth comes out. Correia’s glaring silent responses as Christopher gradually become unnerving. It appears as if he will explode in rage at any minute when O’Connell may either ask a question or make a comment. When Bella finally asks Christopher to do something for her, Correia’s stone-faced reaction becomes haunting. And yet this mysterious bond between Bella and Christopher becomes fascinating. How can two individuals who appear so different from each other be drawn together? Christopher is writing a novella and wants to share it with Bella. I smiled at this remembering what it was like to be a full-time undergraduate student taking a full course load. How could anyone even consider such a grand task? But Christopher does. Bella does read Christopher’s work. Leora Morris’s intelligent staging amidst the shadowy lighting design again becomes completely mesmerizing. O’Connell and Correia become like chess pieces and move around the stage with purposeful intent and a clear reason why they move and remain still. Final Comments: At times, this Toronto debut of ‘The Sound Inside’ is a mystery akin to that of Alfred Hitchcock. But there’s more going on than just the mystery. ‘The Sound Inside’ becomes an understanding of the human psyche and asks how far individuals would go to follow through on a request that would certainly alter the course of events for everyone. Haunting and powerful work by Moya O’Connell and Aidan Correia. Go see ‘The Sound Inside’ A fine production indeed. Running time: approximately 90 minutes. The production runs until May 28 at The Coal Mine Theatre, 2076 Danforth Avenue, Toronto. For tickets, visit coalminetheatre.com. THE SOUND INSIDE by Adam Rapp Director: Leora Morris Set, Lighting, and Prop Design: Wes Babcock Costume Design: Laura Delchiaro Sound Design and Music Composition: Chris Ross-Ewart Stage Manager: Elyse Quesnel Performers: Moya O’Connell, Aidan Correia 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 Cyrus Lane Looking Ahead Colton Curtis Joe Szekeres Once again, Cyrus and I shared some good laughter during our 45-minute conversation. He was candid, frank and honest with me (and yes, we sometimes did dive into some ‘colourful’ language during our conversation.) OnStage Blog Newsletter! Play Video I did see his work last year in ‘Oil’ at ARC Theatre, thankfully before the pandemic shut down all productions worldwide. Some of Cyrus’s credits include: ‘Bunny’ at the Tarragon. Scrooge in Ross Petty’s A Christmas Carol: The Family Musical with a Scrooge Loose at the Elgin Theatre. Selected shows from his 6 seasons at the Stratford Festival include The Changeling, Macbeth, As You Like It, Bunny (original production), The Taming of the Shrew, Possible Worlds, Cymbeline, Peter Pan, Titus Andronicus, Richard III and Wanderlust. Happy moving between musicals and dramas, some favourite credits are Twelve Angry Men (Soulpepper – Dora Award, Ensemble), Kiss of the Spider Woman (Talk is Free), Passion Play (Convergence/Outside the March/Sheep No Wool – Dora Award, Ensemble), You’re a Good Man, Charlie Brown (YPT), The Tin Drum (UnSpun Theatre) and An Inconvenient Musical (Factory). After two seasons at the Shaw Festival, Cyrus acted in several shows for Canadian Stage including Rock N Roll, Habeas Corpus, and Take Me Out. TV credits include Reign, The Border, The Summit, Anne of Green Gables: A New Beginning, and on the Murdoch Mysteries playing Roger Newsome, and now that Roger is dead, his identical twin brother, Rupert. Cyrus trained at the London Academy of Music and Dramatic Art. He is married to comedian, podcast, and television writer, Joanne O’Sullivan. They have an 11-year-old daughter, Eliza. We conducted our conversation via Zoom. Thanks again for your time, Cyrus: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. (Cyrus laughs)…that’s like three massive questions you’ve asked… Man, oh man, way to cut out the small talk, Joe…(he laughs again) I don’t want to give a glib answer because this is a big question…I think, for me, it’s just a hugely increased sense of precariousness and uncertainty. It’s been a period of great reflection and time to think and time to reconsider everything from relationships to politics to professional practice. And now, in the spring of 2021, I wish I could say I had some calm, gathered insight but what I have is complete uncertainty about what the future will bring for my family and myself, specifically and especially for my kid. There’s a lot of fear, not just in me but in the majority of my colleagues I speak to. There’s a real sense of ‘What’s next?’ It’s not a hopeless feeling. There have been so many things in our profession, especially in the last year, that have been so meaningful and important. Most significantly, we’ve had time as a profession to question the racism and colonial roots of theatre in Canada, and the very nature and structure of power in our profession. All of that is vital and exciting and important, but I wonder about the world those changes will be enacted in. (Cyrus laughs again) That’s maybe a bit of a joyless answer but, to be honest, that’s kind of where I’m at now, where my wife is at and where many, many, many, many, many of my colleagues are at. It’s just a sense of ‘Geez, what are we gonna do?” This pandemic will affect the kids in ways that I think are difficult to measure. I think of my daughter, Eliza. She’s in Grade 5 now. It can’t possibly be healthy for them to be sitting in front of a screen for eight hours a day. And who knows, kids are incredibly resilient, and I’ll know she’ll be back in her groups of friends soon for socializing, but it’s a habit forming thing, this time with a screen. And kids today live with so much fear. Set aside they’re living through a pandemic, all the children my kid’s age are aware of the impending climate catastrophe which, at this point, is not if but when. God, Joe, it appears all I’m saying is gloomy shit…it’s not a very encouraging time to be a parent and there’s not a lot of faith in our elected officials the majority of time that they will effect positive change that will last and be meaningful for their generation. I’ve become much more politicized. I was protest oriented and political before all this stuff started. And this pandemic has only made me more so, on her behalf and people younger than me. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? Well, you know within the shutdown there’s been a great questioning for our profession. As someone who represents the dominant culture, I’ve done a lot of questioning about my own role in how things are. Professionally, I’ve questioned a lot about what my role is now, and what I ought to be thinking about and doing has all been questioned. There’s not a lot of intellectual or emotional stability to be found in terms of ‘This is what I like’ or ‘This is what I want to do’ or ‘Here’s what I’m going to aim for”. I don’t know any of that anymore. And I don’t necessarily think that’s an unhealthy thing. It’s just a precarious thing. My main feeling is ‘Can I actually call this a profession?’ When I think ‘profession’, I think of something that sustains you and while my love for it is unabated, I really question how many people the theatre is going to be able to sustain when it comes back because a theatre can’t run off a 20% Covid spaced house. I’m not without hope. I think a lot of the thinking and the re-considering and the attempt to change the way theatre is structured and administered will be hugely positive in the end. It will be. Right now, mostly it’s a profound sense of how we’re going to move forward. I’m working with Talk Is Three Theatre in Barrie, and (Artistic Director) Arkady Spivak has created this amazing thing called the “Artist BIG” Program. He is really trying to re-configure the relationship between artists and institutions in a way that I think is incredibly important and powerful, and smart. And so, a lot of theatre companies talk about having a company; that company model is really more corporate, meaning company or family is what’s invoked when someone is being disciplined, but most of the time there’s no real loyalty and no real sense of continuity or home or artistic ownership. Whereas Arkady is bringing artists on and saying [he] will guarantee a certain amount of work for three years in a row and giving the artists enormous agency around what work they’ll be doing, and that’s extraordinary. The feeling of having an artistic home is an incredible thing which I hope eventually more theatres will seek to emulate. Arkady didn’t invent this idea. Obviously there have been resident artists in most companies at some point, as there is at Soulpepper, for example. But the idea of having a basic guaranteed income is really innovative in Canada. As a professional artist, what are you missing the most about the live theatre industry? I miss nothing about the ‘industry’ part of that sentence. I miss everything about the community. I miss my colleagues. I miss the thrill of risk and closeness and exploration and vulnerability and humour and love and fun, and just adrenaline and audiences and that awesome roller coaster kind of fear. I miss all of it. No one in this business ever misses the business part. (Cyrus grinned and offered a good hearty laugh) Whatever complaints you might have about Canadian theatre, the community is just gorgeous. People are fantastic, and I feel tremendous love for my community here and for my friends and colleagues. (I could see then in Cyrus’s eyes and his voice began to quiver a bit that he truly meant what he said.) I miss the work, the work of acting. You don’t realize how much you’re wired for something until it’s gone. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? Any of it. The last show in Toronto I did was ‘Oil’. It was one of the last shows to close. I thought a lot back to how I felt doing that show. It was a great. I felt great love for the cast, the work, the production. Huge pride in it, but I was also hitting a wall of weariness with being precarious with the business side of things. A bit of a “meaning” wall – what does this mean, doing this? Who are we doing it for? And it had nothing to do with the production. It was just where I was at professionally. There were younger people in the cast who were new to the business and so excited, and that made me aware that I had become a little jaded. Not about the work, but about the life that comes with it. But now what I would not take for granted is ever doing it again. Because I don’t feel I’ll ever do it again in a regular way. Theatre will be something I do perhaps once or twice a year and that’ll be it. Describe one element you hope has changed concerning live theatre. Oh my God….This year has been a massive time for change and reflection. I mean, 2020 wasn’t the beginning of the conversation, but the BLM uprisings of 2020 and the time and space for reflection imposed by COVID on theatre forced us as a community to face the systemic racism built into our culture and our profession. I hope that the positive changes that happen in our theatre ecology as a result of that reflection extend into the power structures of our business and institutions and aren’t just gestural, performative, and superficial. That is my hope. I am trying to figure out my own role in all that and figure out how my own voice will be useful in that conversation, if at all. I’m not sure. Explain what specifically you believe you must still accomplish within the industry. ‘I don’t know’ is the answer to that question. If I did, I’d be a much less restless brain. I don’t know. I don’t know. Honestly, the baseline answer is, “Make a fucking living.” That’s been the baseline for so long. That’s been the baseline for most actors. The idea of choice is available to maybe 5% of our business. Unless you’ve been hugely lucky in film and TV or your parents are rich or both, most of the time you’re just trying to survive. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I think that is an unlikely prognostication. From the beginning of this thing, there have been jokes about all of the Covid plays that are going to happen. But I think the better theatre artists will take this and run with it from a metaphorical standpoint rather than a literal one. Hopefully. But because I need to survive, sign me up for your Covid plays, folks! But, I don’t even think that’s true. Everyone is so fucking bored with it. What playwright is going to say, ‘You know what I need more of in my life? You need what I need to dedicate two years of my life to? Writing about Covid.” You know how long it takes to write a fucking play? It takes forever. And then after you finish it, nobody knows if it will be produced. Obviously, some playwrights know, but It’s a massive commitment. If I were a real playwright, I wouldn’t suffer through two years of writing a Covid play because I want this out of my life. If you are sensible, you will avoid this theme and it’s pretty unlikely any theatre producer would pick or pay you or pay to mount that show unless it was MINDBLOWING!!!! Seems unlikely. As an artist, what specifically is it about your work that you want future audiences to remember about you? (Cyrus begins to laugh again) As a theatre artist, I have very little hope that my work will be remembered. I mean, it’s written on water, it’s written on air. I guess if I were to hope for anything if people have seen me work, it’s that I didn’t make safe choices. I like risk, but again everybody thinks they’re doing something risky, but who fucking knows? I don’t know, man. If anyone remembers me at all, even if it was a negative memory, that would feel like a win at this point. I’m being facetious. My kid doesn’t know any of the actors I adored when I was a kid. So, it doesn’t even matter if you’re massively famous, you will be forgotten. Eventually. (And Cyrus laughs again) I think that’s a really healthy way to think as an artist, especially in theatre when you know this is not made to last. Theatre is for right now. And it should be. Previous Next

Back 'The Normal Heart' by Larry Kramer Saint John Theatre Company Courtesy of Saint John Theatre Company Facebook page Aaron Kropf Every once in a while a show of great significance comes along and tells a story of our past and future. The Normal Heart is one such story. The semi-autobiographical show tells one man’s story of love and loss at the beginning of the HIV/AIDS epidemic in America. Given that we are currently in Pride month is apropos that the Saint John Theatre Company presents their production of The Normal Heart during the last weekend of Pride month. Larry Kramer’s wonderful script is a semi-autobiographical story of Ned (deftly performed by Peter Boyce) navigating the early days of the HIV/AIDS epidemic. Ned quickly loses many of his friends to a disease that few know little about, except for Emma. Emma is a doctor struggling to learn all she can about this mysterious illness that has infiltrated the gay community, making many men extremely ill ultimately resulting in their deaths. Soon a group is formed because of Ned’s dedication to getting the word out about this unknown disease with friends Bruce (Mariah Darling), Tommy (Joseph Debly) and a few others. The conflict of the piece revolves around the best approach to getting the word out and how the community should curb the rapid rate with which the virus is spreading through the gay community. The cast of this production of The Normal Heart is exceptional! Peter Boyce’s stoic portrayal of Ned is a master class in taking on a character and finding those little eccentricities that really make a character come alive. To maintain a characterization like that while on stage for the bulk of the production is truly a pleasure to watch and is only topped by the range Boyce gives, particularly in the second half of the production. Jillian Bonner’s Emma is another note worthy performance. Her perseverance in learning more about the mystery illness and concern for her patients is resplendent. Mariah Darling took on another of the production's most challenging roles. Darling deftly navigates Bruce’s struggle of being a leader yet keeping his sexuality from his employer. It’s really unfortunate that many people throughout the world still fear they will lose their livelihood should their sexuality be exposed, one of the many reasons 'The Normal Heart' continues to be a vital work for the stage. There were a couple of challenges that should be overcome as the show runs until the 25th at the BMO Studio Theatre in Saint John. When an actor is to take on an accent it’s of the utmost importance that they maintain that accent throughout the whole production. If that cannot be done it really is best to drop the accent altogether . A couple performers were a little stiff; perhaps it’s opening jitters but hopefully, they can iron out this issue during the remainder of the run. However, these two things shouldn’t stop anyone from getting a ticket and taking in such important theatrical work. It was wise of director Matt Hamilton-Snow to keep a minimal set. A few tables, chairs, a desk, and side table moved around the stage to create new locations was great. And to keep the furniture primarily black and white allowed the script and actors to take centre stage. I also really like when a movie, tv show, or theatrical production shows photos of the real people at the end. I’m glad this was done for this production. This shed the light on those that were at the forefront of the fight to learn all that could be learned about the HIV/AIDS epidemic. 'The Normal Heart' is so important because of the story it tells. I believe, it’s something that needs to be presented more than it is, and should be seen by more people. This production is a seminal work of art told with the heart and conviction of a wonderful cast and artistic team. Previous Next

Back 'Three Men in a Boat' by Jerome K Jerome and reimagined by Mark Brownell Now onstage at Guild Festival Theatre, 201 Guildwood Parkway, Scarborough Now onstage at Guild Festival Theatre, 201 Guildwood Parkway, Scarborough Dave Rabjohn The premiere of Mark Brownwell’s re-creation of the original 1889 farce by Jerome K. Jerome is now playing at the dramatic “Greek Theatre” at the Guildwood Park in Scarborough, Ontario. Unapologetic full-bore schadenfreude is the rule of the day. A fine cast lets us laugh at misfortunes, but somehow we are also endeared with their antics. The production style is very austere with mime in lieu of props and movement suggesting place and scenery. The life force of this play then is dependent on the skill of the three cast members and, for the most part, they deliver. The three young, naïve “city” boys plan to get away from their comfortable lives to seek their adventurous souls. They clownishly plan a trip down the Thames in a small boat with large luggage. Intending to leave at a lively 6 am, they manage to get away by 10. Misadventures include stumbling through a maze of hedges, outdoor camping without the skills, fighting with a tin of pineapple, and the ever-requisite “fish story.” Finally soaked through from unrelenting rain, our boys escape to more familiar comforts of inns and dining rooms. The mentioned austerity is tempered by the costumes – gaudy primary colours remind us of a Mary Poppins adventure through a chalk picture. The clownish suits give zest to the characters while also underlining their foolish credulity. Jay is played with manic gullibility by Azeem Nathoo. Even as a hypochondriac, Jay is delighted to act as leader (even without the skills.) He is overly verbose and considers himself poetic. Some hesitation with a few lines tended to derail the important rhythm this play depends on. Harris, played by Jack Copland, is, again, naïve but thoroughly optimistic and positive. He is the most agile of the cast playing a variety of comic accents as a hilarious train supervisor and a variety of English fops in the “fish story.” His comic artistry is best established in a send-up of various Gilbert and Sullivan numbers that barely get off the ground. George, played by Suchiththa Wickremesooriya, is equally adept at a variety of accents. A highlight is the rendition of a grave and very droll German opera singer angered by an audience of Philistines. As mentioned, movement and tableaux create both scene and humour. Becoming lost in the maze is articulated by mincing footsteps and hilarious side-stepping. Putting up a mimed tent looked like a spirited wrestling match. A near drowning of the boat was a balletic tour de force which did not require an actual boat. Barbershop harmonies were generally a fine supplement to the action. Floor mikes instead of individual mikes were an odd option. The sound was sometimes inconsistent and a buzzy feedback from a stage right speaker lost some audience focus. If you have ever seen unprepared artless canoeists filling a sixteen-footer with three 24s and a backyard barb-b-que (I have), you understand our three guileless characters. It is fun to absorb their simple-mindedness and a riot to experience their Griswold-like adventures. ‘Three Men in a Boat’ by Mark Brownwell/Jerome K. Jerome Performers: Suchihtha Wickremesooriya, Azeem Nathoo, Jack Copland Director: Sue Miner Production Designer: Ina Kerklaan. Playing through: August 13, 2023. Tickets: guildfestivaltheatre.ca Previous Next

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

Back 'Here Lies Henry' by Daniel MacIvor Now onstage at Toronto's Factory Theatre Credit: Dahlia Katz. Pictured: Damien Atkins Zoe Marin, Contributor "Damien Atkins masterfully plays an unreliable narrator." ‘Here Lies Henry’ is part of a double bill of Daniel MacIvor’s solo shows currently playing at Factory Theatre. Damien Atkins masterfully plays the title character, an unreliable narrator whose incoherent attempts at explaining his life story explore the universal struggle of finding meaning in life and death. From the darkness appears a thin rectangle of white light through which Henry first enters, followed by a startling flash of white light that propels him toward the audience. In reading the words ‘Here Lies Henry,’ one can already assume he’s dead. Maybe this is the afterlife, or a dream, or simply a white box of light on stage. We also don’t know why Henry is standing here right now, but it appears that Henry doesn’t know either. Still, he stands before an audience and understands he’s meant to entertain them. He opens with a sheepish rendition of ‘On the Sunny Side of the Street’ before dancing, telling jokes and sharing anecdotes about his loved ones for the remainder of the show. But occasionally, there is a crack to this façade: an awkward pause, a somber look at the audience that lingers for a bit too long, or an erratic over-correction of these slip-ups that leaves Henry looking deranged. In these rare moments of apparent sincerity, we are reminded that Henry is dead, and we are watching him struggle to find meaning in his life. Since its original 2007 production, the updated text has included references to various social media platforms, including ‘X,’ ‘Tik Tok’ and ‘Threads,’ watching ‘seventy-seven streaming sites’ and even Covid-19. These extremely modern, specific references usually get an eye roll from me, but they felt necessary in exploring Henry’s desperation to connect with people and understand the world. Atkins’ performance is captivating, even when portraying Henry’s awkward demeanour at the top of the show. Whenever he flopped a joke, I was rooting for him to remember the punchline. When he proclaimed, “Let’s have some music”, Henry became more and more comfortable with the audience and allowed us to get to know him. He eventually tells his jokes confidently, does a full dance number to CeCe Peniston’s “Finally,” and is able to talk about his past. However, Henry is also a self-proclaimed liar. Once I understood that I couldn’t trust anything coming out of his mouth, I was able to focus on his story as a portrait of his dreams, desires, and regrets rather than his reality. As he becomes more comfortable with the audience, his behaviour grows more erratic. And his curiosity about life and death becomes a full-blown existential crisis that is surprisingly moving because, by this point, the audience has also got to know Henry. I thoroughly enjoyed how the design elements enhanced Henry’s character development, particularly the costume design (Allie Marshall) and lighting design (Andre Du Toit). Henry begins the show in a neat suit and tie, eventually loosening his tie and collar. By the show's end, he finally removes his jacket and tie. He then casually rolls up his sleeves, revealing a lesion on his left forearm that he doesn’t address. The more information he reveals, the more secrets I realize he’s still holding. He seems more comfortable while simultaneously looking much more dishevelled. The costuming helps emphasize how his newfound confidence is really just a portrait of a man spiralling. Furthermore, with no set pieces for most of the show, the lighting acts as a cage for Henry. Initially, he is stuck inside a small white rectangular box of light that limits his movement. When the box enlarges, his gestures become bigger and slightly more off-putting. When he is finally able to use the width of the stage during the dance sequence, Henry instantly becomes more confident and vulgar and violent in his movements. Since I sat in the middle of the front row, Atkins genuinely startled me several times. Having been introduced to Henry’s meek, reserved persona at the top of the show, I felt uncomfortable hearing him yell, “What a shitty mood I’m in tonight you lucky fuckers!” I was used to subtler reveals of his true feelings, so these sudden outbursts felt uncharacteristically bold at first. However, no matter how large and/or random his words and actions seem, Atkins fully commits and plays them with an emotional authenticity that made me want to understand and even save Henry from his turmoil. Reading the show’s description gave me little context. Having now watched ‘Here Lies Henry,’ I still couldn’t tell you what the show is technically ‘about’, but its questions about life, death, and seeking connection are sure to resonate with any audience member. Running time: approximately 80 minutes with no intermission. ‘Here Lies Henry’ runs until December 17, 2023, on the Mainspace Theatre at Toronto’s Factory Theatre, 125 Bathurst Street. For tickets, visit factorytheatre.ca or call the Box Office (416) 504-9971. ‘HERE LIES HENRY’ by Daniel MacIvor Directed by Tawiah M’Carthy Set, Props and Lighting Design: Andre Du Toit Sound Design: Olivia Wheeler Wardrobe Stylist: Allie Marshall Stage Manager: Laura Baxter Performer: Damien Atkins Previous Next BACK TO TOP

Back Jonathan Goad Moving Forward The Company Theatre website Joe Szekeres It took me many weeks online to get Stratford resident Jonathan Goad and pin him down for an interview. I was so pleased and grateful when he thanked me in an email for not giving up on him since his schedule was an extremely busy one when the pandemic hit, and life changed for all of us. I’ve tremendous respect for Jonathan’s work at the Festival and remember his extraordinary performance as Atticus Finch in ‘To Kill a Mockingbird’ which left me in tears at the standing ovation. Jonathan also directed another personal favourite of mine at the Festival, Arthur Miller’s ‘The Crucible’, whose message is still connected to our world today. Jonathan also appeared on one of my favourite CBC shows ‘Republic of Doyle’ as Jake Doyle’s (Allan Hawco) wayward brother, Christian, who returns home. It was also nice to learn that Jonathan attended Bowmanville High School and knows about the Durham Region and the fact his parents attended local community theatre productions in Durham. We conducted our interview via Zoom. Thank you again, Jonathan, for taking time to chat with me as we all move forward in this pandemic: 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? Well, I mean (and then there was a somewhat nervous laugh) I’d have to be half crazy to say that there’s anything about it that I like, ya know, in terms of disease and disease progress. I’m not entirely surprised and I don’t think anyone else is. We were warned of the second wave. I think we did a pretty impressive job in Ontario in getting things essentially in a much better place in the summer but clearly this second wave is a doozy. What it requires of us is an even greater fortitude and bearing down and being brave and doing what we have to do, at best, mitigate and contain to the best of our abilities this virus. To be succinct, it’s not good news but at the same time it’s also not necessarily unexpected. And what I’m hoping is that maybe around 1,000 we can start to see the precipice of this hill and get on the other side of this wave and maybe, somehow, stymie a third wave. I’m definitely an optimist about our prospects for ultimately beating this thing. I think science minds all over the world, despite not always being helped by some of the political bodies out there, some of the greatest minds are working on it because they all care about humanity. I think humanity cares about the majority of humanity so that energy alone will ultimately prevail in this thing. For awhile I was checking the numbers every day just out of my own fascination and to make good personal and community decisions and those for family as well. I wasn’t obsessive about it, but I was checking because I was trying to see how this thing was shaping up. Now I find I’m doing that less and what I’m checking on is vaccine progress and therapy progress, and just checking on how people are finding ways creatively to continue to live and feel like there is life. I’m more focused on these things. It’s a weird way to use the term ‘happy medium’ but we’re probably not going to get a vaccine as quickly as they thought. I don’t think it’s going to be nearly as long as the initial prospects were when people were talking about a vaccine taking 5-10 years. Miracles are happening in the science field. Now, does that mean spring? Summer? Fall? 2022? I don’t really know, but I do feel we will get back to a new but utterly to a normal that won’t feel like we’ve had to cash in on everything we’ve believed in and savoured about life and freedom. I’m always an optimist, almost a foolish optimist but not a naïve one as I believe it’s always worthwhile going now we’re going to fix this sooner than you think. With the right will and energy, miracles happen. How have you been faring? How has your immediate family been doing during these last eight months? All things considered, pretty good. We’re lucky we live in Stratford as it has been a little bit of a bubble in that we haven’t had the same sort of evidence of the disease in the community. That said, from what I’ve experienced, and I’ve been out in the community since this thing began, people take it quite seriously which is really good. Generally speaking, people are pretty adherent to masks here in Stratford and care about each other in the community. There was a part of me that was concerned about impact on the kids because kids are antithetical to the nature of this virus. Kids beautifully embrace each other at close distances. Kids don’t wear masks literally and figuratively as they are open souls and so the idea of mask wearing and fearing the person standing across from you is antithetical to how kids embrace life, I think. That said, kids are pretty cool and pragmatic and can find fun in anything if you help them. Kids have made a thing about being pretty smart in wearing masks, hand washing, social distancing and even about protecting one another. Kids care and that’s a really inspiring thing. My own kids have been pretty good. They have moments where they quite rightly express they can’t have the birthday they wanted or that they can’t do this and that’s to be expected. For the most part, my kids and all the kids around them have been amazingly brave and got on with the business of living. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? (Jonathan paused and thought a great deal before responding) I’m definitely a mid career artist and I’ve had a lot of great fortune. I’ve been utterly blessed in this profession. If anything, I haven’t felt sorry for myself. I don’t mean to say that like I have such nobility, as I’m just fine. I’ve mourned for the loss of some personal projects, maybe. More so I feel like I’m at a stage in my career that I’ve had an opportunity to do a lot of things. I’ve a lot more I like to do. The hardest thing has been to watch other artists around me, some friends, and even just young artists I know simply through their work get stopped as they have. This immediate shutdown of our industry which was quick and severe can be difficult especially when you’re an artist that is just emerging, an artist that is about to do their first big part in a play. Some artists I was working with just landed their first contract and first season at the Stratford Festival in one of the musicals. That has been one of the hardest things to watch that. Ultimately you can offer words as a balm but what you really can’t do is much about it at the moment. The reality is so evident. In the world of the theatre it’s impossible to deal with as there is no simple or easy fix for the situation. Theatre is more vulnerable to this particular thing than anything else. I’ve been on a film set a couple of times in this pandemic. There are big adjustments, it’s not perfect and even that industry is working at a quarter of what it was, but it is crawling back. It’s quite possible with the calculated risk in television and film is lower. But theatre is the quintessential communal artistic endeavour. It thrives on its aliveness and certain forms of close proximity. All that to say, the hardest thing is to think of friends, colleagues, and particularly young people on the crest of their first big show or any part and everything stopped. I find it hard to decide what to say about it. 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 three weeks into rehearsal for ‘Spamalot’. Just from the way it worked out in terms of scheduling, I was only doing ‘Spamalot’. While it was a wild, vigorous, challenging, and hilarious rehearsal process, once I opened ‘Spamalot’ I was going to have a pretty sweet summer. We would have done four shows a week and a show that is about as ludicrous as they come and is designed 100% to ensure that we never take ourselves too seriously in this life. It was a real gift on so many fronts. We had just staged a great deal of one of the massive, massive numbers where they go back to Camelot for debauchery. I was to play King Arthur. I have no idea what the Festival’s plans are regarding a future staging of ‘Spamalot’ or any of the productions. I’m sure the Festival is spending a portion of their days coming up with a series of contingency plans based on how things roll out, how we navigate this crisis. I don’t know. My feeling is that the Festival is committed for many reasons to do everything they had planned this year at some point in the future. That rollout will probably be over the next number of years. Whether ‘Spamalot’ makes the cut or not, I’m not sure. It all depends on the theatre they plan to open. The challenge for Stratford is that they were on probably five, six or seven of their major shows they were probably 80% or more built. They invested all that time and money up front and, of course, there is no return until people are in seats, so it was a bit of a perfect or terrible storm (as you might say) for the Festival. On that level, they are committed to doing these things because they have the beautiful sets, the costumes, the props designed. If next year, the Festival only opens two of its theatres the shows in those theatres last year might be the only ones they would consider. Even then they might not be the right fit or reduced company sizes. I feel they might make an outdoor space next year and ‘Spamalot’ could certainly work outdoors. I think it’s a great initiative if they consider doing some outdoor theatre. I directed a show this summer, a one woman show, that was part of a small festival here in Stratford. When I first saw outdoor theatre, that’s what I think really inspired me to go into the theatre. Certainly, particularly, in sort of a Shakespeare bend. The fundamental beauty that happens in an outdoor setting when a group of people is telling a story to another group of people is almost second to none. Of course, I love indoor theatre as well as there are some challenges to outdoor theatre that you wish weren’t there. In the end, outdoor theatre is not a compromise. It’s not some sort of lesser form, it’s actually the roots of what we do and maybe the roots of why we do it. What have you been doing to keep yourself busy during this time? I’m crazy about building. I’ve got a whole series of projects that I was finishing up. I’d always promise the girls I’d build them a playhouse in the back, and it became an ethic project. Home building projects, many of which have been started, are much closer to their completion. Spending as much time with my family as I could which is always been my priority and now there’s no way around it. In many ways, the challenge of parenting hasn’t got any easier. You may have more time on your hands, but you have to be more creative in how you deal with things. I directed a play in the summer and helped out in any way I could with this ‘Here For Now’ Theatre, a local young woman started with a couple of friends and it ended up being a real success. They worked hand in hand with the local health unit, all outdoors in a safe endeavour and environment, tiny cast ( 1 person show). A local improv group also did one of their shows. What was inspiring and illuminating was the hunger that people were craving for this experience. The numbers are humble compared to the Festival but a ton of people came out with their love and generosity and their hearts to see the shows. This fall I’ve been auditioning for film and tv. I’ve had a couple of voice over stuff and just recently I’ve returned to set for a couple of episodes of things, so yeah, no shortage of busy. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? I don’t know if it is sage, but I don’t think my advice would change from what I would tell a group five years ago or five in the future, and that is ‘To Keep At It’ Never stop dreaming. We will come through this and the optimist in me says we will come through stronger, more resilient with a greater sort of passion in our hearts, maybe a greater passion for the grand project of humanity. If there’s a definitive in this, it’s the fact we are all in this together. The enemy is no longer each other; I say that with condition as not everyone is on board with that. But I do feel what this brings home is that truly we are all in this together. It took me a long time to come round to living a life in the arts. I had incredibly supportive parents, but I grew up in a small class working town (Bowmanville) and it took me a long time for me to say that performance is my job. This is a legitimate thing to do with my life. If anything, this pandemic has re-affirmed for me the value of artists in society and that we’re in this rare position of your job requires utter vulnerability, and at the same time resilience. Never forget as an artist that vulnerability is at the core of your being, your willingness to share, to be open, to pursue personal and societal truths. These are the things to define an artist. And so, what I would say to young people or any artist (and I certainly say this to myself), ‘Keep going. Keep moving forward. If you feel as if you are about to give up reach out to another artist friend and talk to them, or any friend. This is temporary, but how long is temporary? I would never be so bold as to say. We emerge from this as artists stronger and more resilient and as society and focusing on bigger and more eternal truths.” Do you see anything positive stemming from Covid 19? I sort of have a belief and speak directly about the work in the theater because I’m part of The Company Theatre in Toronto, our work with that is all about incubation. Incubation is happening all over the place. It always does happen, but it’s happening in a profound way. Crows Theatre has a number of initiatives in that same regard. Theatres everywhere are going, “Ok, we can’t perform”, but they can still do things, we can think, reach out, we can write, collaborate, share. The collaborations are happening everywhere. People are sowing seeds in the field. That’s a real positive. When you realize you can’t make money at this time, you’re reminded of the essence of theatre anyway in that it’s not really a commercial venture. We scratch out livings from it, but in the end there’s something much bigger, much more profound about what it’s like to pursue a life in the theatre. And no one goes into the theatre for money away (and Jonathan and I share a good laugh over that statement). If they do, then I’ve got some swampland to sell them. Ya, there are the Andrew Lloyd Webbers out there, but even ALW probably didn’t even know he would be Sir ALW. And to his credit he believes in making theatre all the time and he gives a lot of people jobs. We don’t get rich from this thing, but hopefully not to sound too cliched, we hopefully become spiritually rich and enriched where we live a life of meaning. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? On a bigger sense of things, for those of us who have lost work overnight and find ourselves faced daily with the notion that our career is on hold, we inevitably will find make work projects but we will still be busy with other things. This pause on a grander scale does offer time for reflection which is very important in a job where you are essentially and always on the hustle. Theatre is a hustle. I think most artists probably have had a moment or numerous moments to reflect on the bigger questions on why we do this job of performing and the life you want to make. There’s real value in that and you come out of that more informed, more involved person. There are great gifts in that. Even just gratitude that is something that I’ve made a point of focusing on is what to be thankful for daily, and that’s not easy. That’s an evolving process. In my experience I’ve been around hard workers all my life. I worked on farms when I was younger. But it is in the theatre industry where you find the hard workers. That’s not to say they’re the hardest workers but they are out there working hard. The hustle can put you in a frame of mind where you never take a moment to just breathe it all in and think about why you do the things you do. This time is a gift in that way. I do feel no matter how difficult this has been, there’s nothing more difficult than being in the ground. That’s something I have to remind myself constantly of each day. I may have lost some work and having had to make some hard choices and we’re all in this boat to varying degrees. At the same time, we have enough examples of people who have had a much harder go in this pandemic for the obvious reasons. We owe it to them to keep our own dreams alive and contribute to as little spread of this disease as possible until we find a really good way through it. 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? As this pandemic becomes prolonged and the restrictions around performing for each other inside spaces clearly is something that’s not going to happen tomorrow, the initial nature of online work was a way to keep the ghost light on as Graham Abbey’s initiative is. Some of those efforts were around whether it was the Festival putting up the series of plays or even people getting together and do readings, it was a way of getting together and keeping spirits up. I feel that no matter what level kind of technical savvy online streaming comes to or fantastically filmed versions of theatrical performances that I really enjoy watching, them, they are nothing compared to the real thing. They are a different thing I’m thrilled that they’re out there, but I don’t see them as a viable alternative, maybe as a complementary to live theatre. But I don’t think they are the future of theatre by any means. I just think because they become something else. And so, that said, live streaming is a great way of reminding us about theatre, but it is not THE THEATRE. Despite all this fraught tension, confusion and drama surrounding the pandemic, what is it about performing that Covid will never destroy for you? Well, if anything, Covid has affirmed for me the need and the desire for us as humans to tell stories, to share our stories. The roots of lighting the fire and having some food, we’re around the fire and tell a story. It’s an essential behaviour to communicate and share. That can take a lot of forms as theatre is a profound form for me as is film and tv. Theatre is so raw in its essence. Covid doesn’t take that away. What we really want is that human contact and the sharing of feeling and story is as essential as virtually anything. Covid just forces the artist to re-affirm that for themselves and to dig even deeper into their soul for the day when we can commune in a freer capacity again. Previous Next

Back E B. Smith Self Isolated Artist James Banaziak Joe Szekeres Just this past Saturday June 6, The Stratford Festival held ‘Black Like Me past, present and future: Behind the Stratford Curtain’ round table discussion involving 10 black artists on its social media channels. I didn’t get the opportunity to watch the discussion until Sunday evening, and all I am going to say is this is essential must-see viewing for patrons of the Festival. I was shocked, angered, annoyed (and these are only three words) to hear of the abuses suffered and endured by black artists. Absolutely deplorable behaviour on all accounts. After I watched the round table discussion, I immediately sent a message to EB Smith who was a member of the panel to ask him if he might be available for an interview. I wasn’t sure if he would be up for one since he and the other artists shared emotional moments where I often wondered if they would even be willing to speak about them again. As I was writing the message to EB, he started responding back to me. I was most appreciative when he said he would be interested in being interviewed. His calm eloquence combined with just the right moments where he made me laugh made for a fascinating Zoom discussion: 1. It has been the almost three-month mark since we’ve all been in isolation. Just yesterday I finally saw ‘Black Like Me: Behind the Stratford Curtain’ and, right now, I have no words as I am stunned. How have you been doing with this pandemic and now having to deal with this awful reality which has been obviously going on at the Festival for quite some time? How has your immediate family been doing during this time? I’m doing great. This time is very interesting. The pandemic is hard in some ways. Routine has been shaken, and we’re all trying to figure out who we are in isolation. That’s a scary prospect for a lot of us as that requires navel-gazing and self reflection. But I think it’s also allowed people to listen in more genuine ways than they have in a long time. This industry because it’s stopped has been able to look at itself. For the first time in my career or education frankly, I feel like I’m not being gaslighted. My immediate family is okay. My parents and my grandmother live together in Cleveland. I think they’re doing fine. It’s crowded in the house and they might be getting a little tired of each other. They get to be with people they love so there could be worse fates. 2. As a performer, what has been the most difficult and challenging for you professionally and personally during this pandemic? Most difficult thing professionally for me, I guess, has been trying to figure how to get this message out. I think part of the reason why it’s coming to the surface for so many of us right now is the power structures of this industry have shifted fundamentally. Actors feel like they can speak their minds right now because they’re not afraid of any kind of retribution. Look, right now, there’s not a single artistic director in the world that can give me a job, so I have no fear of losing a job to anybody. Reality is starting to sink in across the industry where folks are finally taking agency that they haven’t given themselves licence to take yet, and I don’t blame them. There are a lot of actors out there and very few jobs in the theatre. So, if you make those enemies of powerful people you run the risk of running afoul of them and losing employment. Losing the ability to do the work and it’s always been assumed that the price for doing the work is a forfeiture of your agency. Personally, it’s a little weird going to the grocery store and wearing a mask. Trying to remember not to touch your face and all the other stuff we didn’t think about before. It’s strange when I really take a good look at this time of isolation, I’m doing better than I have done in years. And I think it’s because I don’t have to walk into a place that I have to convince myself every day isn’t harming me. I love the theatre and what I do. The conditions under which we do this work are toxic and deadly. And there’s no reason for it. That’s ultimately what I’ve realized. I don’t miss being responsible for having to take care of people’s feelings, emotions, impulses that impinge upon my own agency, freedom, and ability to live. I don’t miss having to take care of that white fragility in the room. And that was an everyday balance you have to strike. What I do miss is speaking the words and telling the stories. I miss playing with my friends on stage. That is why I do this. I think my experience of this social isolation is unique in some ways. I don’t hear a lot of people talking about finding release in it. Financially it’s hell, and that’s a common experience. I used to think the financial stresses were the things that really stressed me out. I tell you something, I’ve been on the edge this whole time. And I’m fine. The variable I was missing was walking into a rehearsal hall where I knew I had to be on guard 24/7. 3. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? We were in rehearsals for ‘Richard III’ and ‘All’s Well that Ends Well’ at the Festival Theatre. I was set to begin rehearsals for ‘Hamlet 911’ last week. We were well in process for a few weeks of rehearsal for staging and doing our thing. It was exciting because the new Tom Patterson was opening so these shows were going to be in the brand-new building. It was jarring like being launched out of a canon and there’s no netting beneath you. We were in the middle of rehearsal and things started getting a little weird as there was some strange disease happening in the world. Then it got closer and closer and closer. We went through a few surreal days weird rehearsals where we tried to be socially distant and it didn’t work. It was very odd, but ultimately it was clear we had to stop. We walked away from the rehearsal halls. I’m not an epidemiologist so I have no idea if whether Stratford will be able to present this slate of plays for next year. Personally, I think it’s probably ambitious. I hope Stratford does a season next year. The sooner we can get theatre going again, the better in terms of organizational health and the health of the industry. I do hope that, in the meantime, we make some fundamental changes in the way we do business in this industry. The not for profit theatre is broken. Theatre is broken in general. The practices we employ are outmoded and catered to a white supremacist patriarchy that just isn’t helpful in making art. It needs to be addressed. 4. What have you been doing to keep yourself busy during this time? Well, actually, I’ve been working with some friends of mine in launching a company called Ghostlight which is an online theatre training and education company. We’re trying to engage our students with material they won’t gather in theatre school. We want to develop and work with diverse stories. We also have digital production services. We’re doing online live-streamed productions of theatrical work and interview style productions. I’m writing a pod cast with a friend of mine from Atlanta. Generally just trying to keep myself engaged in what’s happening in this industry and how to move forward with it once we’re able to resume. The thing about this discussion this week – for me, it has been going on for twenty years for me. This has been my life for twenty years trying to say, “Look, something’s wrong.” I love this work but something’s wrong, so we gotta fix it, we gotta fix it, gotta fix it. And finally, those messages have gotten some traction from people of colour in this industry. Some of my white friends have been in touch this last week with me to ask, “Are you okay, this is a lot of work going on.” And I tell them, “I haven’t been okay since Rodney King got beat up. Since I’ve been old enough to recognize my relationship to the world as a black man, I’ve not been okay. I’ve been able to manage but I haven’t been good. Is now what’s happening a new revelation for me? I got news for you. And that’s why I said earlier in the interview, that’s why I’m not feeling like I’m being gaslighted by my industry and my chosen profession. It goes further. Part of the reason why this discussion was so impactful was the fact it was solution-oriented. It was the black artists’ decision to broadcast because we have to build the empathy first done through narrative first. When empathy is built, we have connection and then a solution with the motivation there to attack it. This was a unique opportunity to speak with the entire community. 5. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty? Don’t panic. We’re going to come back. When is in question, but in the meantime tell stories however you can. Use your imagination – digitally, socially distant, online, YouTube, stream. Even telling stories around a campfire is the first form of theatre. This isolation is a reset button. We’re giving a rebirth to the industry all over again. At the end of the day this is about the people. I think the institutions can forget all that. You cannot have a play without the actors performing. I don’t care what the stage looks like. Get back in touch with that across the industry. That’s what’s critical. 6. Do you see anything positive stemming from COVID 19? All of this is positive. Look, we’re sitting in a place where we have 18 months of reconstruction we can do. We can do nothing, sit around and let the theatre re-boot itself, or we can re-design this industry to be empowering, to be collaborative, and to be all that it hasn’t been for a hundred years. I think that’s an amazing gift, as tragic the cost of that gift, we’ve been given it and we have to honour that cost with really hard work. When we come back, we have to re-focus our energies on people and not profits. 7. Do you think ‘Behind the Stratford Curtain’ will leave some lasting impact on the Canadian/North American performing arts scene? I’m reminded from a line by Shakespeare – “We know not what we do.” The Festival didn’t know the damage they had done. A lot of arts leaders right now are having this epiphany. When I hear of people’s reactions, white artistic directors about all this, I’m reminded of ‘King Lear’ – “I’ve taken too little care of this.” They’re realizing they’ve had a responsibility they’ve neglected in terms of the shepherdship of this industry. So much of the power structure in the rehearsal room is an import that favours a top down patriarchy. It’s a way to do theatre, but not the only way to do theatre. But the buck has to stop somewhere. There are so many other practices to employ that would allow people to have a much fuller and freer engagement with the work. Who are we talking to in the industry? Who is the master in this industry? It’s not just removing detrimental practices, but you have to replace them with something. 8. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? Sure. I think so. We’ve been doing it for a long time. It’s not new technology. We’re figuring out ways of utilizing it, but it’s nothing new. Look, one of things it has always been is theatre is inaccessible. And theatre has always touted itself as an exercise in empathy, universal experience. But, at the end of the day, you’re not allowed to come see a Shakespeare play unless you have $200.00. Or, you go to see Shakespeare in the Park. To get the experience of something like Stratford, you need a lot of money. It’s a lot of money for some people. This online work can bridge that divide because everyone has a cell phone. Way more people have access to YouTube than they do to a theatre. If we can start to figure out how to utilize that accessibility, we’ll fill our theatres up again. We’ve been looking at the writing on the wall for years that attendance has been dwindling at theatres. So, I think we need to be realistic about that and say, “It was time for a pivot, anyway.” No amount of outreach is going to do that. We need new practices, we need a new approach to how we tell stories and what the impact of live performance is. If we can figure out how to distribute the weight of what we’re doing across the platforms, it can only serve to help us. It’s a diversification of a portfolio. I’m all for figuring this stuff out. Streaming could be great and these immersive experiences that we might be able to create one day. Ghostlight is looking into that heavily right now because we want to free people from the Zoom window because it’s terrible. But there must be ways we can utilize technology in terms of innovation and theatrical experiences. The entire experience doesn’t have to happen in a theatre, perhaps part of it can happen online. Or it’s personalized. You can personalize with technology, but you can’t personalize for 300 people watching a live performance all at once. It’s going to take a lot of hard work, but that’s what professional theatre has the time for right now. 9. Despite all this fraught tension and confusion of Covid and of ‘Behind the Stratford Curtain’ reality, what is it about performing that neither of these will ever destroy for you? We did a Ghost light broadcast called ‘Friday Night at the Ghost Light’ about a month and a half ago. In it, Torquil Campbell (son of Stratford Festival veteran Douglas Campbell). He played a song. Graeme played Torquil excerpts from an interview done with his father. Douglas talks in those audio clips about the ectoplasm. And that’s what I miss. I miss those moments that you cannot recreate anywhere but on stage. I miss playing with my friends. I miss the opening scene of ‘Coriolanus’ where I sat across from Tom McCamus and got to mess with him. I miss those moments of the bar of soap look where the actor dries as if the bar of soap just slipped out of their hands in the shower. I miss the vitality. I don’t miss the building and the lights – it’s fun and beautiful. What I miss are the human moments. With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton here are the ten questions he used to ask his guests: 1. What is your favourite word? Fuck! (EB says this with a definitive tone in his voice) 2. What is your least favourite word? No. 3. What turns you on? Hmmm…A specific and excellent use of language. 4. What turns you off? An unappreciation of the difference between there, they’re and their. 5. What sound or noise do you love? I love the sound my dog makes when he sees another dog. 6. What sound or noise bothers you? The sound of my cat scratching in the litter box. I hear a lot of these things right now ‘cause I’m not around other people. 7. What is your favourite curse word? Fuck. b) What is your least favourite curse word? (thanks to Nigel Shawn Williams for this suggestion) – Least favourite curse word? Damn it, Nigel…you gotta give me a minute there, Joe…I don’t know. I love words. Cursing for me is one of the more honest forms of expression. My least favourite curse words are the ones they dub in on movies for television. 8. Other than your own, what other career profession could you see yourself doing? I could see myself doing a lot of things. Pilot probably. I learned how to fly when I was a kid. I almost did it for a career but that would have involved going into the military and I didn’t want to have to kill anybody. So I became an actor. 9. What career choice could you not see yourself doing? Accountant. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? Oh, that’s a good question…”How did you get here?” Follow E. B. on Social Media: Twitter: @starringeb Instagram: @storyforge Previous Next

Back Shauna Thompson “It is important to make ‘Bad Roads’ accessible to Canadian audiences while maintaining the integrity of the script’s Ukrainian roots.” ​ Joe Szekeres Artist Shauna Thompson is a multi-disciplinary artist. I’ve had the opportunity to catch some of her work on stage. She opens this month in ‘Bad Roads’ at Crow’s Theatre with quite an extraordinary cast and dedicated crew led by director Andrew Kushnir. Thompson completed her formal acting training at Montréal’s National Theatre School. She also took as many acting classes as she could fit into her schedule at Guelph University prior to attending the National, but she was not a theatre major. From the Factory Theatre website: “She’s played Romeo in Repercussion Theatre’s ‘Romeo and Juliet: Love is Love; she’s also performed in three seasons at the Shaw (‘Man and Superman’; ‘Victory’; ‘The Devil’s Disciple’ etc.) and has also appeared in several world premiere productions including George F. Walker’s ‘Orphans for the Czar,’ Michael Ross Albert’s ‘Beautiful Renegades’ and Paolo Santalucia’s ‘Prodigal.’ She also appeared in ‘Vierge’ at Factory. I connected with Shauna via email as she was smack dab into rehearsals for ‘Bad Roads.’ First, she told me she’s excited to be back in the theatre as it feels like coming home. She has made great reconnections with her fellow arts workers and audiences. When I saw the cast list for ‘Bad Roads,’ I could just sense how much excitement has been building for the production. I had the opportunity to profile Director Andrew Kushnir during the pandemic. Just this past summer, I also saw his ‘Casey and Diana’ at Stratford, which left me bereft of emotion. I’m expecting ‘Bad Roads’ to do the same. Shauna feels very lucky to be sharing the space with those involved on the stage and behind the scenes: “Everyone attached to this production has brought a ton of care, compassion, joy, vulnerability, thoughtfulness, and passion to the rehearsal process. Everything that makes for a great work environment and even better theatre.” Crow’s Theatre website provides information about this North American premiere: “In the Donbas region of Ukraine, a war is raging, and people want to understand why. Based on astonishing testimonies from the outset of Russia’s invasion of Ukraine in 2014, BAD ROADS explores the heartbreaking effects of conflict on intimate relationships and a country’s social fabric. Ukrainian playwright Natal’ya Vorozhbit deftly intertwines themes of love, sex, trauma, loss, and resistance through powerful and darkly comic episodes exploring, most of all, what it is to be a woman in wartime.” Thompson hopes that more than anything, audiences are moved by the immediacy of ‘Bad Roads’. It’s not a history or dystopian play. She says of the play: “This is now,” as stories such as the ones depicted in this piece are happening today. From her perspective, she sees Andrew’s vision for the play rooted in the relationships between the characters but with a very focused understanding of Ukrainian culture, language, and history. She also adds: “The chosen words in this translated version of the text will always come across differently depending on where and who is involved in the production because how people communicate with one another is influenced by how and where they were raised. So, it was important to make it accessible to Canadian audiences while maintaining the integrity of the show’s Ukrainian roots.” The show is broken into six episodes that present characters navigating loss, love, old and new varying relationship dynamics, and challenging decision-making, all in the context of an ongoing war in Ukraine. While the play is set and focuses on the war, Thompson says the subject matter stretches beyond those borders, especially today. She plays three very different characters: a teenage girl, an army medic and a young woman looking to right a wrong before the start of the war. Kushnir’s vision has enhanced her involvement because he continually offered vital insight and knowledge that only someone with a direct connection to both Canada and Ukraine could offer. He has been the vital bridge to both worlds that this production requires. She’s appreciative of this opportunity to present this story. This invitation has allowed her to explore and perform in a way that she feels like she’s contributing to the extension of that vital bridge. What’s next for Shauna once ‘Bad Roads’ completes its run? She’ll work on ‘Rockabye’, a co-production between ARC (Actors Repertory Company) and Factory Theatre. Well, another play features an exciting cast and crew led by ARC Artistic Director/Capitol Artistic Director (and director of ‘Rockabye’) Rob Kempson. Stay tuned for more information about ‘Rockabye’, which runs from January 26 to February 11, 2024, at Factory Theatre. ‘Bad Roads’ runs November 10-November 26 at Crow’s Theatre, 345 Carlaw Avenue. For tickets and other information, visit crowtheatre.com. Previous Next

Back Rick Miller ‘That’s how the young Rick Miller understood the world – by listening, hearing, learning and taking on a voice in order to better understand someone else.’ Joe Szekeres Joe Szekeres Rick Miller is one helluva busy guy. In 2020, he agreed to be one of the first few actors whom I profiled when all our lives had changed when the pandemic hit. We talked about his work when I first heard of his name in ‘MacHomer: The Simpsons do Macbeth’ at Toronto’s Massey Hall and, in a provocative turn, ‘Venus in Fur’ through Canadian Stage. I also saw him host the Dora Awards. I last saw him onstage at Port Hope’s Capitol Theatre in 2022 in ‘Boom’. I had seen the production at Montréal’s Segal Centre before then and enjoyed it so much. When the opportunity arose to see it again in 2022, I jumped at the chance. Miller will have just returned from premiering ‘Boom X’ and ‘Boom YZ’ in Taiwan where he has performed both shows in repertory. In 2021, Rick travelled to Taiwan with ‘Boom’ where the production was adored, and the overseas audience response was for the show to continue. A lot of work has gone into the preparation of the two shows for Taiwan. Miller learned some Mandarin over the last two years he can speak during the show which will also be subtitled. Amid all the travel and craziness involved in moving the show overseas, ‘Boom X’ arrives at Toronto’s Crow’s Theatre on May 10 and plays until May 28. An east-end Toronto guy, this will be his first time performing here and Miller is excited and proud to perform his work in his home and the neighbourhood which is so very important to him. He wants to give back to the community he knows and loves the opportunity to show those around him what he has been doing in travelling all over the world. ‘Boom X’ is billed on the Kidoons website as: “[Spanning] 1970-1995, this second in a trilogy of solo multimedia performances which collectively with ‘Boom’ spans 75 years of history, politics, culture, and technology on our planet. ‘Boom X’ picks up where ‘Boom’ left off, at Woodstock in August 1969 and takes the audience all the way to 1995 when the internet began to dominate our lives. Miller plays over 100 colourful characters from the days of disco, the oil crisis, Watergate, the Cold War, video games, punk rock, the (second) British invasion and more.” The form of ‘Boom X’ has altered from ‘Boom’. There’s a lot going on. It’s a busier show, technically heavy, and it’s a reflection of the beginning of the polarizing of the cable news that we started to live in at that time. The show begins that complex reflection of the media of the 1970s-1995 era, and that’s the magic and wonder of the live production that is high performance. Several weeks ago, I spoke with Rick in a coffee shop in the east end of Toronto and wanted to get caught up with him before he headed to Taiwan. He had just returned from performances in Regina with ‘Boom’ where he had never worked before. The show went extremely well in his words and there’s talk now of bringing ‘Boom X’ there, and Rick loves when that connection is made. On a personal and poignant note, he shared it was the first series of shows he had done since his mother passed away several weeks ago. Rick plays his mother over the course of this trilogy so he was curious how he would pull it off and how it would feel: “It felt less sad and more of a gift and honour to be able to tell [my mother’s story] and to share her voice and to play her in the show.” Rick says it’s hard to describe both the tightrope performances of ‘Boom’ and ‘Boom X’. On the one hand, they’re part entertainment, part documentary and part jukebox musical. Music is key and the heartbeat to these shows. It’s hard to pin down, but what comes across is a celebration of joy, humanity, light and humour. What leads out there is someone genuinely smiling and really trying to please. Artists shouldn’t be shying away from wanting to please and to give to audiences. It doesn’t all have to be introspective. While Miller doesn’t shy away from serious topics, audiences are looking for and want to be uplifted. ‘Boom’ and ‘Boom X’ are not only a history of the celebration of history, culture, and politics in all its complexity, but they’re performed with great spirit, joy, and humour and people love to see that. It’s a very high performance and Miller gives everything he’s got when he’s performing on stage. He literally lays it all out there in what he calls failure and sweat. The ‘Boom’ trilogy is a unique experience compared to what one can get online these days. He also said something that I find important as we all return to the theatre. Why bother going anymore? After the last few years, Rick stated the best writing in the world is happening on television and streaming platforms, but acknowledges: “It’s our responsibility as theatre performers to create something that is different from television and film. Don’t write or film-present a failed tv scenario on stage. That’s not serving the medium. If you want to bring people to the theatre, do something theatrical. You don’t have to spend a million dollars. Just be inventive and celebrate the fact people are in the room with you and create something special and unique.” Rick is proud to say his shows feel like events that leave an impression. He’s very grateful for this high compliment and praise he receives. He’s not simply a Vegas performer who can do voices. Miller feels he has the kind of skills that can leave an impression on someone’s heart and head. If he can bring something to light or jostle an idea through connection to an audience that leaves them even slightly transformed, that is a magical thing for him. That’s why he keeps doing these shows repeatedly. What keeps him grounded? Miller is 53 now and at that age where family responsibilities pull him in one direction and his parents in the other. He’s at that tricky stage of his life as a professional artist in asking the question: “What is the next chapter? or What is the last chapter?” To keep himself grounded, Rick practices mindfulness and meditation in this workout of his mind along with physical workouts. Essentially, he begins to understand how his brain works as everything is connected generally to well-being. By doing that, he puts all his thoughts, emotions, and craziness of our world into a little bit of perspective where he can breathe, set his feet on the ground, and set himself in the moment wherever he is. Rick calls himself a theatre performer even though he has done work in film and television. He takes this responsibility very seriously. People have paid good money to see him perform. They don’t want to see Rick do ‘Boom’ for the 400th time. They want to see him perform for the first time and Miller says that’s a huge responsibility on his shoulders. As we concluded our conversation, Rick mentioned how he is trying to ‘Fail better’, a Samuel Beckett quote. It means trying again, failing again, and doing better. Failure is part of any creative process whether you’re an actor, an athlete, a scientist, or an artist. You must try and fail, and only through that search and that failure do you find anything resembling success as it is fleeting. Rick doesn’t like hearing someone say they’ve arrived because everything is always changing in that sense. It’s a mindfulness thing. Everything moves on including one’s successes so don’t sit in outrage or exult in your own glory because these will pass. What’s next once 'Boom X' has completed its run? Over this coming summer, Miller will continue developing work with his Kidoons partner Craig Francis and then be back on the road in the fall with a tour of ‘Frankenstein’ and ‘Jungle Book’. Next year there will be five shows on the road including the three-part ‘Boom’ trilogy. Boom opens May 10 and runs until May 28 at Streetcar Crowsnest Theatre, 345 Carlaw Avenue. To book tickets, call the Box Office at (647) 341-7390 or visit crowstheatre.com. To learn more about Rick Miller and Kidoons, visit kidoons.com. To learn more about Rick Miller, the actor, visit rickmiller.ca. Previous Next

Back 'Intimate Apparel' by Lynn Nottage Now onstage at the Firehall Theatre until August 27 as part of the Thousand Islands Playhouse Series Credit: Randy deKleine-Stimpson. Jonathan Silver as Mr. Marks and Gloria Mampuya as Esther Joe Szekeres A Voice Choice. ‘Intimate Apparel’ remains a gripping production with an empathetic vision in direction and highly credible performances. Playwright Lynn Nottage had been helping her grandmother move from her family home when she came across an old passport photo of Nottage’s great-grandmother. For Lynn, that photo invited questions about her great-grandmother that no living person could answer. ‘Intimate Apparel’ resulted from questions Nottage gathered about her great-grandmother, Ethel, who lived as a seamstress in New York City at the dawn of the twentieth century. The production is set in 1905, in New York City (and in a segregated America). ‘Intimate Apparel’ focuses on central protagonist Esther Mills (Gloria Mampuya), a 35-year-old unmarried black seamstress living in a boarding house for women. Her landlord is Mrs. Dickson (Kirsten Alter). Esther makes intimate apparel for women ranging from high society white individuals like Mrs. Van Buren (Olivia Neary-Hatton) to prostitutes like Mayme (KhaRå Martin). Esther is in high demand for her work as a seamstress. She has set aside money over the years and has stuffed it into the quilt on her bed. She hopes one day to open a beauty parlour for black women where they will receive the same treatment as wealthy socialite white women. Esther is also lonely. She has watched other women from the boarding house marry and leave. She longs for a husband and her own life as well. Her heart appears to lie with the Hasidic fabric shopkeeper Mr. Marks, (Jonathan Silver), from whom she buys the fabric to make the garments. Mr. Marks is also smitten with Esther; however, his strict faith does not permit him to pursue this relationship. Additionally, he is part of an arranged marriage set by his parents years ago. An unseen mutual acquaintance introduces Esther to George Armstrong (Fode Bangoura), who works in Panama building the canal. They correspond by letters. Throughout Act One, we never see George but only hear his voice as he reads his letters. Esther is illiterate, so she has someone write for her. Soon, these letters move from formal introductions to intimate connections where George suggests he and Esther marry without seeing each other. Great care has been taken to accurately depict the early 1900s down to minor details in the three-quarter theatre setting of the Firehall. Sarah Uwadiae’s has created four distinct playing areas. At centre stage on a raised circular dais is Esther’s room. There is a bed and a quilt stuffed with her money. A turn of the twentieth-century century foot-pumped Singer sewing machine figures prominently centre stage. Stage right is the boudoir of Mrs. Van Buren. Stage left is Mayme’s apartment where she entertains her ‘guests,’ and Mr. Marks’ fabric shop. Frederick Kennedy’s sound design is solid in hearing the sound of the door knocks and bells as Esther moved around the stage. Jareth Li’s lighting design adroitly sets the appropriate mood. Joyce Padua’s costume designs finely replicate the early 1900s. This ‘Intimate Apparel’ remains a gripping production. The creative team has taken great care to ensure the poetry of Nottage’s language is never overshadowed by the, at times, underlying violent tones. Director Lisa Karen Cox clearly shows empathy for Esther and the role of women in the early 1900s. Gloria Mampuya delivers a graceful and human performance of the central character. Although not school-educated, Esther has worked diligently to reach her current position in life. Despite Esther’s illiteracy, Mampuya duly reveals the protagonist’s determination to succeed in establishing her future beauty parlour and in wanting to find a husband who will love her for who she is. While she falls prey to George Armstrong's hands, Mampuya duly maintains Esther’s dignity and worth. Women at the turn of the twentieth century were not highly valued. Playwright Lynn Nottage shows these opposing societal standards in the socialite Mrs. Van Buren and prostitute Mayme. Olivia Neary-Hatton’s Mrs. Van Buren is vain and egotistical at first. There are moments when she, too, shows her white privilege over Esther. However, once Van Buren's backstory of a loveless marriage is revealed, Neary-Hatton's emotional outburst and desire for connection with anyone, including Esther, become heartfelt. Esther's friend, Mayme (KhaRå Martin), has personal interactions with men, of which Esther disapproves. Mayme may initially be viewed as "the tart with a heart," but Martin wisely reveals more on stage. Like Mampuya, Martin’s solid performance duly asserts dignity and worth in Mayme, elevating her to a significant influence in Esther's life. Kirsten Alter is likeable and commanding in the role of boarding house landlady Mrs. Dickson who becomes the voice of reason in Esther’s life. It becomes interesting that Dickson is the only person who speaks the truth to Esther while the other characters all have hidden secrets lying underneath. Lynn Nottage effectively reveals how patriarchal societal norms affect the life paths of her male characters. As shy fabric retailer Mr. Marks, Jonathan Silver's initial bashfulness in concealing his feelings for Esther remains quite touching. Director Cox skillfully utilizes this initial meekness to heighten the sexual synchronicity between Esther and Mr. Marks. Whenever the retailer brings forth new fabric, Silver lovingly and intimately strokes the material with his fingers as he presents it to Esther. Mampuya responds by touching the material with the same long finger strokes. These scenes are intensely passionate moments between the two without touching each other. Throughout Act One, we only hear Fode Bangoura’s voice read the letters as George Armstrong. Bangoura’s voice is mellifluous and sultry. As the letters become more intimately personal throughout Act One, Mampuya dreamily listens to them read like a bride on her wedding night and finely responds as one. She is a woman who hopes George is the one who will sweep her away and allow her to open the beauty parlour. However, all is not right as Mrs. Dickson suspects. When the audience finally sees George at the end of Act One, he is not what his letters sound like. For instance, when the audience first sees George, his ill-fitting suit with the slightly ripped fedora indicates he is not the man he says he is. Bangoura delivers more than just the proverbial ‘snake oil’ salesman in his performance. His George Armstrong is deceptively cunning and dangerous, filled with a desire for destruction. His relationship with Esther is not one of sexual attraction but rather a violent and twisted connection lacking in passion. Final Comment: In her Director’s Note in the Program, Lisa Karen Cox writes that she is deeply vested in celebrating and sharing Esther’s perspective (and the perspective of others that look like her) with the theatre-going public. While Esther may not be ‘school educated,’ this production clearly shows a woman who is deeply intelligent because she has lived life and will continue to do so despite repressive societal standards for women. The audience is richer for this experience as this terrific cast has successfully captured Cox’s wish and heartfully honours it. Please see ‘Intimate Apparel.’ Running time: approximately two hours with one intermission. ‘Intimate Apparel’ runs until August 27 at the Firehall Theatre, 185 South Street. For tickets, call the Box Office at (613) 382-7020 or visit 1000islandsplayhouse.com. THOUSAND ISLANDS PLAYHOUSE presents ‘Intimate Apparel’ by Lynn Nottage Directed by Lisa Karen Cox Set Designer: Sarah Uwadiae Costume Designer: Joyce Padua Lighting Designer: Jareth Li Sound Designer: Frederick Kennedy Stage Manager: Rebecca Eamon Campbell Intimacy Choreographer: Corey Tazmania Performers: Gloria Mampuya, Kirsten Alter, Olivia Neary-Hatton, Jonathan Silver, KhaRå Martin, Fode Bangoura Previous Next