Now on stage until March 29 at 80 Bradford Street, Barrie. Back Blackbird Now on stage until March 29 at 80 Bradford Street, Barrie. Credit: Dahlia Katz. Pictured: Cyrus Lane and Kirstyn Russelle Joe Szekeres VOICE CHOICE “Superlative, masterful performances by Cyrus Lane and Kirstyn Russelle. Bold and audacious direction by Dean Deffett.” David Harrower’s ‘Blackbird’ is an intense, edge-of-the-seat psychological thriller that breathlessly speeds toward its haunting conclusion. At fifty-five, Ray (Cyrus Lane) has a new identity and has created a new life. He spent years in prison and faced subsequent hardships. He hopes his new identity will keep him from being found out about something horrible that occurred. Fifteen years ago, 40-year-old Ray had a passionate affair with twelve-year-old Una (Kirstyn Russelle). Now twenty-seven, she has thought of nothing but what occurred with the man. She saw Ray’s photo in a magazine and arrived at his office unannounced. This lunchroom encounter oozes rawness. Designer Lauren Cully's set coordination is filthy and cramped. Garbage is scattered everywhere, spilling over into the far-left side of the seating area. Flared emotions run the gamut. Amid the litter that piles higher as this encounter continues, Ray and Una sometimes recall what occurred differently. The two of them (and the audience) endure an exhausting journey full of rage, anger, and bitterness. Exhausting, indeed. But let’s not forget that theatre is meant to move audiences emotionally. At times, it can profoundly unnerve them. ‘Blackbird’ is one of those plays that unnerves. It remains unsettling due to the subject matter involving an adult who should have known better than to have engaged inappropriately with a young girl. Read pedophilia in here if you want because I did. In a pre-show discussion, director Dean Deffett shared that we are all flawed individuals. Under certain circumstances, anyone can become either a victim or a villain. Deffett explains how the play also frighteningly delves into love, kindness, and the importance of holding space for those who matter to us. That’s an unsettling dilemma in interpreting playwright Harrower’s script. Do people in love behave as Ray and Una do? Do people who hold space for those who matter genuinely behave in the way these characters do? Shouldn’t the person who is the ‘adult’ in this relationship have known better? These are questions that kept niggling within me. Yet, I’m hooked on what I see playing out before me. I don’t want to stop watching. There are two reasons why. The first is Deffett’s direction, which remains decidedly audacious. Using what he calls ‘juicy’ words from Harrower’s script, Deffett’s intriguing vision confronts two troubled individuals and their emotional baggage with gripping yet daunting boldness. The second is Cyrus Lane and Kirstyn Russelle. Their Ray and Una are complex and real human beings who are damaged. On the outside, they appear to be conventional. Sequoia Erickson dresses Lane and Russelle smartly. With his cell phone strapped to his belt, Ray wears an appropriate, professional-looking dress shirt, tie, slacks and shoes. While Una wears a lovely floral pattern sleeveless dress, there is a slight slit in it that could (might?) perhaps show she has an ulterior motive regarding meeting up with Ray. Lane and Russell’s superlative and masterful performances, in collaboration with Deffett’s taut direction, make ‘Blackbird’ unforgettable. For this reason, I’m giving this performance a VOICE CHOICE. Lane and Russelle succinctly illustrate how individuals react and respond when faced with volatile issues that strike at their very core. They stutter, pause, and listen intently to one another. Lane’s Ray feels frightened, agitated, and nervous at first. He can’t comprehend why Russelle’s Una appears suddenly. She is determined to confront Ray again after seeing his picture in a magazine. Yet throughout Deffett’s clever cat-and-mouse staging, Lane and Russelle's reactions are genuinely believable. Clenched fists, horrific glares, and unfinished thoughts become harrowing and mesmerizing. At one point, Lane holds power in the scene while Russell cowers. Just moments later, Russelle maintains control, and Lane quivers, appearing as though he might either burst into tears at any moment or fling himself across the room at Russelle. I have to give credit to Barrie’s Talk Is Free Theatre. The company truly understands what risk-taking is all about. Theatre doesn’t need to be confined to the traditional proscenium arch setting; it can happen anywhere. What an imaginative idea to set ‘Blackbird’ in a warehouse office in Barrie. There’s a small audience at each performance. However, the intimacy of the setting makes the space the third character in the play, as noted by Deffett. The audience can’t help but buy into what’s happening right before them. The late Natalie Cole sang a line from her father’s famous song ‘Unforgettable’. There’s part of the song lyric that comes to my mind: ‘Unforgettable in every way.’ Talk is Free's production of David Harrower’s ‘Blackbird’ is magnificently unforgettable. Please go and see it. Running time: approximately 80 minutes with no interval/intermission. ‘Blackbird’ runs until March 29 at 80 Bradford Street, Barrie. For tickets: www.tift.ca . TALK IS FREE THEATRE presents ‘Blackbird’ by David Harrower Directed by Dean Deffett Costume Designer: Sequois Erickson Sound Designer: Nolan Moberly Set and Props Coordinator: Lauren Cully Fight and Intimacy Director: Christina Fox Stage Manager: Tracy Lynne Cann Performers: Cyrus Lane and Kirstyn Russelle Previous Next

Welcome to Monthly Reviews All monthly reviews will be placed under this tab. Once a show closes, each review will then be placed into its separate thematic category. March Reviews Blackbird Click Here There is Violence and There is Righteous Violence and There is Death or, The Born-Again Crow Click Here Inside American Pie Click Here Trident Moon Click Here

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 and Equity based theatres throughout Ontario and Montreal. Joe recently left his role as Chief Toronto Critic for OnStage Blog to set off on his own. @szekeresjoe at Twitter/X @OurTheatreVoice on 'X' 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" with Lynn Slotkin Theatre Ontario Workshop : "Writing Reviews that Matter" with Lynn Slotkin Our Story At Our Theatre Voice, we strive to be of service to write fair, unbiased and impartial reviews and commentaries. By doing this, we hope to encourage audiences to continue attending live theatre, an essential cultural format in community gatherings. Please send an email to us at ourtheatrevoice@gmail.com and we will get back to you in a timely manner. 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. She is currently updating our website and continues to do so to build OUR THEATRE VOICE's web presence. Elodie will begin her second year of undergraduate studies in Behavioural Science at Durham College. She will remain part of OUR THEATRE VOICE's 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 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 Guest Writers “I’ve known Dave Rabjohn and Geoffrey Coulter 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, what's happening on stage in professional theatre on Canada’s east coast, in Toronto, Stratford, London, Gananoque and Montreal.” Contributing writers to OUR THEATRE VOICE: Peter Mazzucco, 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. Meet Contributing Writer Geoffrey Coulter Award-winning actor, director, singer, arts educator, and adjudicator. He is proud to add theatre reviewer to his credentials. Geoff has performed and directed in Canada and the U.S. for over four decades. He has served as an adjudicator for regional play festivals. He has been the artistic director of many youth theatre programs/productions with the hope of inspiring the next generation of artists. Geoff has appeared in theatre, commercials, TV series and feature films, and his voice can be heard narrating documentaries, video games and educational programs. When he’s not in a theatre or recording studio, he’s teaching TV performance at the community college level.

Dramas encompass the human response to a created life situation on the stage. Back Blackbird Now on stage at 80 Bradford Street, Barrie Credit: Dahlia Katz. Pictured: Cyrus Lane and Kirstyn Russelle Joe Szekeres VOICE CHOICE “Superlative, masterful performances by Cyrus Lane and Kirstyn Russelle. Bold and audacious direction by Dean Deffett.” David Harrower’s ‘Blackbird’ is an intense, edge-of-the-seat psychological thriller that breathlessly speeds toward its haunting conclusion. At fifty-five, Ray (Cyrus Lane) has a new identity and has created a new life. He spent years in prison and faced subsequent hardships. He hopes his new identity will keep him from being found out about something horrible that occurred. Fifteen years ago, 40-year-old Ray had a passionate affair with twelve-year-old Una (Kirstyn Russelle). Now twenty-seven, she has thought of nothing but what occurred with the man. She saw Ray’s photo in a magazine and arrived at his office unannounced. This lunchroom encounter oozes rawness. Designer Lauren Cully's set coordination is filthy and cramped. Garbage is scattered everywhere, spilling over into the far-left side of the seating area. Flared emotions run the gamut. Amid the litter that piles higher as this encounter continues, Ray and Una sometimes recall what occurred differently. The two of them (and the audience) endure an exhausting journey full of rage, anger, and bitterness. Exhausting, indeed. But let’s not forget that theatre is meant to move audiences emotionally. At times, it can profoundly unnerve them. ‘Blackbird’ is one of those plays that unnerves. It remains unsettling due to the subject matter involving an adult who should have known better than to have engaged inappropriately with a young girl. Read pedophilia in here if you want because I did. In a pre-show discussion, director Dean Deffett shared that we are all flawed individuals. Under certain circumstances, anyone can become either a victim or a villain. Deffett explains how the play also frighteningly delves into love, kindness, and the importance of holding space for those who matter to us. That’s an unsettling dilemma in interpreting playwright Harrower’s script. Do people in love behave as Ray and Una do? Do people who hold space for those who matter genuinely behave in the way these characters do? Shouldn’t the person who is the ‘adult’ in this relationship have known better? These are questions that kept niggling within me. Yet, I’m hooked on what I see playing out before me. I don’t want to stop watching. There are two reasons why. The first is Deffett’s direction, which remains decidedly audacious. Using what he calls ‘juicy’ words from Harrower’s script, Deffett’s intriguing vision confronts two troubled individuals and their emotional baggage with gripping yet daunting boldness. The second is Cyrus Lane and Kirstyn Russelle. Their Ray and Una are complex and real human beings who are damaged. On the outside, they appear to be conventional. Sequoia Erickson dresses Lane and Russelle smartly. With his cell phone strapped to his belt, Ray wears an appropriate, professional-looking dress shirt, tie, slacks and shoes. While Una wears a lovely floral pattern sleeveless dress, there is a slight slit in it that could (might?) perhaps show she has an ulterior motive regarding meeting up with Ray. Lane and Russell’s superlative and masterful performances, in collaboration with Deffett’s taut direction, make ‘Blackbird’ unforgettable. For this reason, I’m giving this performance a VOICE CHOICE. Lane and Russelle succinctly illustrate how individuals react and respond when faced with volatile issues that strike at their very core. They stutter, pause, and listen intently to one another. Lane’s Ray feels frightened, agitated, and nervous at first. He can’t comprehend why Russelle’s Una appears suddenly. She is determined to confront Ray again after seeing his picture in a magazine. Yet throughout Deffett’s clever cat-and-mouse staging, Lane and Russelle's reactions are genuinely believable. Clenched fists, horrific glares, and unfinished thoughts become harrowing and mesmerizing. At one point, Lane holds power in the scene while Russell cowers. Just moments later, Russelle maintains control, and Lane quivers, appearing as though he might either burst into tears at any moment or fling himself across the room at Russelle. I have to give credit to Barrie’s Talk Is Free Theatre. The company truly understands what risk-taking is all about. Theatre doesn’t need to be confined to the traditional proscenium arch setting; it can happen anywhere. What an imaginative idea to set ‘Blackbird’ in a warehouse office in Barrie. There’s a small audience at each performance. However, the intimacy of the setting makes the space the third character in the play, as noted by Deffett. The audience can’t help but buy into what’s happening right before them. The late Natalie Cole sang a line from her father’s famous song ‘Unforgettable’. There’s part of the song lyric that comes to my mind: ‘Unforgettable in every way.’ Talk is Free's production of David Harrower’s ‘Blackbird’ is magnificently unforgettable. Please go and see it. Running time: approximately 80 minutes with no interval/intermission. ‘Blackbird’ runs until March 29 at 80 Bradford Street, Barrie. For tickets: www.tift.ca . TALK IS FREE THEATRE presents ‘Blackbird’ by David Harrower Directed by Dean Deffett Costume Designer: Sequois Erickson Sound Designer: Nolan Moberly Set and Props Coordinator: Lauren Cully Fight and Intimacy Director: Christina Fox Stage Manager: Tracy Lynne Cann Performers: Cyrus Lane and Kirstyn Russelle Previous Next

A universal look at what provides an effective way to create tension on the stage. Dramas Blackbird Click Here People, Places and Things Click Here The Bee's Knees by Judy Reynolds Click Here 'Rosmersholm' by Henrik Ibsen. Adaptation by Duncan Macmillan Click Here 'The Diviners' based on Margaret Laurence's novel with text by Vern Thiessen with Yvette Nolan WORLD PREMIERE Click Here 'Get That Hope' by Andrea Scott WORLD PREMIERE Click Here Trident Moon Click Here Who's Afraid of Virginia Woolf Click Here 'Sequence' by Arun Lakra Click Here 'Doubt' by John Patrick Shanley Click Here 'Mary's Wedding' by Stephen Massicotte Click Here 'Isle of Demons' by Robert Chafe THE TORONTO PREMIERE Click Here

“The Pandemic Profile series stemmed from a friendly checkin in on professional and Equity based theatre. The profiles continue...” Welcome to Profiles “A friendly check-in on professional and equity-based theatre artists .” Profiles Gallery Marshall-Pynkoski-and-Jeannette-Lajeunesse-Zingg- Sandra Laronde Hannan Younis and Rakhee Morzaria Jonathan Wilson Julia Nish-Lapidus, Hallie Seline, Cameron Laurie Rachel Cairns Elena Belyea Meghan Lindsay Andy Massingham Kim Blackwell Chris Tolley and Laura Mullin Linda Kash Megan Follows Jamar Adams Thompson Eponine Lee Rob Kempson Rose Napoli Frances Koncan Iain Moggach Lynn Slotkin Rodrigo Beilfuss Arkady Spivak Brett Christopher Naishi Wang and Jean Abreu Soheil Parsa Gregory Prest Damien Atkins Eric Woolfe Michael Man Sergio Di Zio Katie Kerr and Matt Stodolak Paul Constable and Steve Ross Louise Lecavalier Maev Beaty Shauna Thompson Gerard Gauci Michael Mori Slava Polunin Ins Choi Cliff Cardinal Rebecca Northan 郝邦宇 Steven Hao Walter Borden Matt Baram and Naomi Snieckus Dawn Jani Birley and Ramesh Mayyappan Jeremy Smith Marie Beath Badian - Playwright Lucie Arnaz Luckinbill Krystin Pellerin Tracy Michailidis Tim Leyes_edited_edited Show More

A talk with a professional artist about their career. Back Marshall Pynkoski and Jeannette Lajeunesse Zingg “The opportunity to focus exclusively on the creation of new repertoire is a luxury we could never have dreamed of when Opera Atelier first began.” Credit: Bruce Zinger. Photo of Jeannette and Marshall taken from the Opera Atelier website. Joe Szekeres I’ve had a few conversations with Marshall Pynkoski and Jeannette Lajeunesse Zingg over the years. They are a warm and personable couple who enjoy chatting with theatre lovers, particularly those who appreciate attending the opera and ballet. Respect is the first thing that comes to mind whenever I speak with them. Marshall and Jeannette command respect. Additionally, their respect for others and of others professionally can be seen in their love for the fine theatrical art forms of opera and ballet. They also show respect for the audiences who have been loyal to Opera Atelier. 2025 marks a celebratory milestone – forty years. How are they both feeling about their selfless work with the company? In a recent email interview, Marshall and Jeannette expressed their overwhelming gratitude for the passion the Opera Atelier community has shown for the company. The years have raced by. Atelier has defined their lives. It is the creative process that gives their lives meaning. The eternal values of truth, beauty, and goodness are not figments of their imagination. These values exist, and Marshall and Jeannette, as artists, are designed to seek them. The past five years have not always fostered the growth of the artist, nor of opera and ballet, however. The world we know has changed from Covid, budget concerns and a constantly shifting political landscape. These hard facts have presented Atelier with challenges that could have been insurmountable. Nevertheless, the company’s vision and reality remain constant. By that, Marshall and Jeannette don’t mean their vision is rigid or codified: “Adhering to the principles that ground our creative process and lives ensure that we have a base that encourages fluidity, change and a constant reassessing of our creative process and a constant re-assessing of [the company’s] mandate.” As the two of them look at the list of productions Atelier has produced and their international touring schedule over the past four decades, it has little sense of reality. All the component parts are part of a much bigger picture that makes up the very fabric of their lives. Going forward, they say: “Our belief in the importance of Opera Atelier’s repertoire and the unwavering commitment of our artists carries us through these challenges and ensures that we never lose sight of the ultimate goal – the reaching and striving for excellence and the commitment to productions that remain coherent and life-affirming.” From April 9 – 13, 2025, Opera Atelier presents Marc Antoine Charpentier’s opera ‘David and Jonathas.’ In Charpentier’s hands, the opera becomes an extraordinary love story—in fact, a love triangle, with the complicated relationships between Saül and his son Jonathas and the extraordinary events that thrust the young shepherd, David, into their lives. Marshall does not want the audience to forget that a love story does not necessarily romance. It is the ambiguity of the love shared by the three protagonists that make ‘David et Jonathas,’ in Marshall’s mind, a masterpiece of psychological tension. In fact, it is Saul’s love/hate obsession with David that drives the action of the opera, beginning with the Prologue in which Saül compromises his very soul by turning to the Pythonisse in an effort to foresee the future. Marshall says that it is to OA’s great advantage that Charpentier emerges as a consummate man of the theatre who understands that his job is both to inform and entertain. Charpentier masterfully realizes both responsibilities as he integrates the chorus and dancers as an integral part of the action. As a retired teacher myself, I wondered if Atelier encourages secondary school students to attend the opera, especially in a twenty-first-century world of gadgets and the internet. Jeannette and Marshall speak about the Making of an Opera program through the company, which continues to provide students with free arts education led by a diverse group of artists who have learned how to navigate the performing arts scene in Canada – opening doors of opportunity that would otherwise remain closed to underserved young people. Through hands-on workshops, masterclasses, and tickets to mainstage Opera Atelier productions of opera and ballet – all offered free of charge – Opera Atelier is committed to making a real and measurable difference in the lives of young people. Opera Atelier offers its bi-annual weeks of MOAO Workshops to Toronto area schools and presents a series of in-school workshops directly to students in Toronto's Neighbourhood Improvement Areas (NIAs). This season, the company expands its workshops to serve Hamilton and the Halton Region at Theatre Aquarius. Additionally, Atelier offers ongoing arts opportunities and performance tickets to first-generation Canadians, ensuring they are reaching young and new audiences across a broad spectrum of Toronto with more than 1,000 free tickets offered annually. What is 25/26's theme for Opera Atelier? It will be a Season of Magic. The season begins this Fall when the company presents the best-loved production of its entire repertoire Mozart’s ‘The Magic Flute.’ This life-affirming masterpiece seamlessly combines comedy with the profound belief that music has the power to give meaning and purpose to the lives of children, young people and adults alike. When Opera Atelier’s production of The Magic Flute premiered in 1991, it broke new ground as the first-period production in North America, propelling the company into the international spotlight. The second offering of the 25/26 season promises to do the same. After decades of planning, Atelier will unveil its production of Debussy’s dream-like masterpiece, ‘Pelléas et Mélisande.’ Both ‘The Magic Flute’ and ‘Pelléas et Mélisande’ represent pivotal moments in Opera Atelier’s continued journey as they reshape the concept of period performance. Audiences have always stood by Atelier. The company asks its audiences to do so again in going forward. In concluding our online conversation, Marshall and Jeannette avow that the well-being of Opera Atelier and the creation of new repertoire take up the majority of their time. That being said, their relationship with Château de Versailles Spectacles and the Royal Opera House in Versailles is one of the most fulfilling aspects of their creative lives. Thanks to the generosity and the vision of Château de Versailles Spectacles Director Laurent Brunner, they have the opportunity to produce in the most beautiful theatre in the world yearly and in an environment in which they have no responsibilities regarding fundraising or ticket sales. Artists are also dreamers, always looking to the positivity of the future. Marshall concluded our conversation with the following statement: “The opportunity to focus exclusively on the creation of new repertoire is a luxury we could never have dreamed of when Opera Atelier first began.” I look forward to saying hello to Marshall and Jeannette again very soon. To learn more about Opera Atelier, please visit www.operaatelier.com . Previous Next

Where we disscus controversial topics in an intelligent and rational way. Back The Birds and the Bees On stage March 21 and 22 at Scarborough Village Theatre, 3600 Kingston Road Credit: Julie Adams Photography. Pictured: Piranavan Vivekanantharajah and Esther Raday Joe Szekeres SZEKERES SAYS… Scarborough Theatre Guild’s production of Mark Crawford’s ‘The Birds and The Bees’ is a good choice to end your work or school week (or if you’re exhausted from hearing about tariffs). Crawford’s comic script remains adeptly in good hands. In ‘Bees,’ the comedy arises from the absurdity of moments when people learn dubious things about others, often with a double-edged meaning. There are two bedrooms on stage (kudos to designer Jackie McCowan for terrific visionary work in utilizing the playing space to its maximum). The term bedroom can ignite all kinds of double meanings. In this case, the title ‘The Birds and the Bees’ suggests that. Under Director Kevin Shaver’s guidance, he smartly ensures the sometimes-hilarious innuendo never ventures into the blue or adult for the sake of being blue and adult. Performers Molly Lubell, Esther Raday, Derek Barber, and Piranavan Vivekanantharajah deliver engaging performances of sometimes eccentric characters. Barber’s Earl is a hoot as a sex-craved older man whose ‘One Night with Earl’ short poem still makes me laugh as I write this. Molly Lubell and Esther Raday are believable as mother Gail and daughter Sarah. The apple certainly does not fall far from the cart in the second act when Sarah hilariously discovers her mother in a similar predicament across the hall from each other in their bedrooms. Piranavan Vivekanantharajah’s Ben is nice guy Ben who wants to fit in and do the right thing. Yet, scene changes do pose a personal quibble. There is a dead space of no music playing as pieces are moved on and off. That's a tad distracting especially since there's a terrific selection of pre show music as the audience enters. Could not some of those pre show songs be used as the change music between scenes? Performances run April 21 and 22 at Scarborough Village Theatre, 3600 Kingston Road. Tickets available at the door. Previous Next

Essays, answers, and responses on the most asked questions about theatre. Welcome to Topical Points of Interest If a live theatre production induces conversation, then a production has made a tremendous impact that is worthy of discussion. TOPICAL POINTS OF INTEREST aims to discuss what’s going on in the theatre industry. This section allows voices to be heard and shared always within a respectful manner at all times. Any discussion that is deemed inappropriate for any reason will not be posted under any circumstances. Topical Points of Interest A Resilient Conversation Click Here RUTAS Festival with the theme of PERSONAL CARTOGRAPHIES this year Click Here The Crossover from non-Union to Union actor/artist" Click Here A visit to Henry Purcell's 'Dido and Aeneas' and now I'm hooked Click Here The Birds and the Bees Click Here

Where we disscus controversial topics in an intelligent and rational way. Back RUTAS Festival with the theme of PERSONAL CARTOGRAPHIES this year Concluded its run September 29 at Factory Theatre. Courtesy of Aluna Theatre. Pictured is Writer, Performer and Director of WILMA Itzhel Razo Joe Szekeres I had heard of The RUTAS Festival before but had never had the opportunity to attend. This year’s theme was Personal Cartographies. When the invitation was extended, I took it because I want to learn more about this artistic celebration. In her Factory Theatre Programme note, Aluna Theatre Artistic Director Beatriz Pizano writes about how this festival continues to change Toronto's cultural face by connecting new generations from Latinx diasporas to their roots and inspiring audiences and artists to experience life through a new lens. This sixth edition of RUTAS is in partnership with Toronto’s Factory Theatre and Theatre Passe Muraille. This part of the above sentence caught my eye: “Inspiring audiences to experience life through a new lens.” The theatre does that and whose life would I experience through a new lens.? I settled in the chair for the final presentation of ‘Wilma,’ written, directed, and performed by Itzhel Razo. A compact set designed by Aurelio Palomino with props and pieces appropriate for space and use. A scrim was used to project individuals' faces, and a child’s chair was underneath a hanging light bulb with strands of what appeared to be coloured rope hanging down. There was what I thought looked like a giant water tank containing coral rocks and coral lilies. Writer, Director, and Performer Itzhel Razo appears from stage left and sits in the child’s chair. She’s sporting long, bright red hair and a colourful dress. She says nothing for a few minutes but eyes the audience. She then places her face in front of a fan, and her beautiful hair is caught up in the wind and blown in various shapes that encircle her perfectly coiffed face. When she begins speaking, it is in Spanish, and English surtitles are projected on the back wall. According to the press media kit, ‘Wilma’ is autobiographical and fictional. The story uses the analogy of two Wilmas: Razo’s grandmother, who imposed a classist education on her young granddaughter and wanted her to avoid a culture that appeared inferior to her ‘white’ grandmother, and Hurricane Wilma from 2005, which went through the Mayan area of Mexico. The message the audience can glean from ‘Wilma’ is that seeds of racism and classism are planted in childhood through an education we receive at home from our first teachers – our parents and grandparents. Comment: Today is National Day for Truth and Reconciliation in Canada, so the final Toronto performance of ‘Wilma’ is most appropriate in our country. Some press materials mention Itzhel Razo as an emerging artist. I’d agree with that. She’s daring, brave, and bold in telling her story with tremendous personal dignity. (Spoiler alert) Even when she appears nude in the last few minutes of the one-hour production, one ignores that reality. Razo continues telling and sharing her story with an everlasting hope that all audiences will continue to think, ponder and reflect on atrocities committed against others who, as Grandma Wilma believed, want to avoid another culture deemed inferior. Heady message to consider on a beautiful Sunday afternoon outside, but an important one. I was moved by this final Toronto performance but left without remaining to hear the Artist's talkback. There’s still so much we must learn, revisit, evaluate, and consider before moving forward. At times, this reality seems insurmountable. Where do we start, how do we start, and who will be there to ensure we are heading in the right direction? So many questions and possibilities. Just today, an Indigenous artist responded to me on this National Truth and Reconciliation Day: “Continuing to ask the gentle and thoughtful questions that you ask is a good way forward.” Pizano is correct in her Programme Note: We need theatre like ‘Wilma’ to inspire us to experience life through a new lens. I’m all for that, as I want to learn more. But how do we know we are heading where we should be? More live theatre? Yes, please. I’m all for that, too. The RUTAS Festival continues until October 6 at various venues around Toronto, including Theatre Passe Muraille and Factory. To learn more and to see what’s playing, visit alunatheatre.ca. Previous Next

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

Where we disscus controversial topics in an intelligent and rational way. Back A Resilient Conversation Artist Alana Bridgewater and Necessary Angel's Artistic Director, Alan Dilworth Dahlia Katz Joe Szekeres A resilience project, you say. Both artist Alana Bridgewater and Necessary Angel Theatre’s Artistic Director Alan Dilworth believe the time is perfect for one right now. For long time meditation practitioner Dilworth, ‘The Resilience Project’ seed came from a growing and mounting perception of cultural anxiety that pre-dated the Covid crisis and the pandemic. Once the pandemic hit, so much change was happening and the experience of loss hitting home for many people, at the very moment where we could no longer gather. Alan recognized that many of the lives of his artist friends and colleagues had tremendously changed and shifted. He kept asking, “Where can I help?” as there is so much uncertainty and anxiety in our lives right now. Alan wanted to create some space and connection in the uncertainty and anxiety. “The opposite of anxiety is space and connection.”, he said. “When I look at the people around me, the artists, many of whom I love and admire, I’m trying to make some space for these individuals, and to create opportunities for them to make connection possible in their work despite the many obstacles at this time.” Alana calls the Resilience Project “amazing”. When Alan reached out to her to see how she was doing and offered her this project, Alana reiterated, '“It is resilience. It is about standing through all of this, facing it, dealing with it, experiencing it and living it.” As a female black artist in this volatile time, she was dealing with Covid personally and the many emotions and fears of isolation in not allowing her to be able to hug her immediate family members nor to see people. Like all of us, what appears to be a claustrophobic time in our homes was heightened even further as we couldn’t turn away from the news cycle that we were all watching. For Alana, it became overwhelming when, on the news cycle, many people were finally seeing what others have been experiencing for so long in their lives - and a feeling of perpetually wondering if there was ever a way out. I had to let this latter part of Ms. Bridgewater’s statement sit with me. These last four months have been stressful for all of us, but for the most vulnerable it has been extraordinarily painful. Part One of The Resilience Project is called “The Stillness Room” created by Alan in 2016 as a pilot at Soulpepper before the company went to New York during a really stressful time. Alan knew how he could help theatre workers recognize what stillness and silence can do for the human being in a room collectively together while under intense pressure in the lead up to the Big Apple. This process successfully ran for two years at Soulpepper. When Alan then went to Ontario’s Stratford Festival to direct the second of Kate Hennig’s trilogy (The Virgin Trial), actors were experiencing the mid season anxiety crunch. Would they be hired again at the Festival next year? Alan piloted The Stillness Room at Stratford where it got a real draw once again, and the coaching staff utilized The Stillness Room with The Conservatory Training. Thus, the creation of a virtual Stillness Room. To re-iterate from a release I had received, “The Stillness Room is a coming together to experience the calming and quietly transformative qualities of stillness, silence, and connection. It is fifteen minutes of stillness together.” You don’t necessarily have to be of or from the theatre to participate. There is no teaching involved as people just come together to sit in stillness. Part Two of this project is the “Resilience Project Shorts”. It was in a Zoom meeting with Michael Wheeler of ‘Spider Web’ show where Alan experienced that proverbial ‘aha’ moment. As artists, we respond artistically and creatively to the world whether it is digital or non-digital. Alan’s body of work lies in and is all about ‘the live moment’ and the artist encountering the tools to create this live moment: the audience, the moment, the space, other artists. The question then became “How do we, as artists, respond to this moment since we love the theatre so much? Over the past few months, Necessary Angel has commissioned a series of digital shorts to capture how artists are experiencing and interpreting their reality and meaning in the moment of commission. The series, which will be ongoing, will premiere with work from Marie Farsi, Sina Gilani and Azad Imanirad, Tehseen and Aasim Jaafri, Erin Brandenburg, Alana Bridgewater, and Meegwun Fairbrother. There is a third plan (or Part Three) that Alan affectionately called ‘Who Knows’. According to him, Necessary Angel is waiting, listening and will respond as more changes unfold. To access the Resilience Project link, click https://www.necessaryangel.com/the-resilience-project. Previous Next

Where we disscus controversial topics in an intelligent and rational way. Back A visit to Henry Purcell's 'Dido and Aeneas' and now I'm hooked Thank you to Toronto's Opera Atelier for the invitation Bruce Zinger Joe Szekeres After seeing Henry Purcell’s ‘Dido and Aeneas’ staged by Toronto’s Opera Atelier on October 23, I’m keen to learn more about this gorgeous art form. And while Founding Co-Artistic Directors Marshall Pynkoski and Jeannette Lajeunesse Zingg continue to reach out to new audiences to come to the Opera, I feel strongly convinced the two will succeed in their goal. They have a new audience member in me. I was always hesitant about attending Opera as I didn’t think I would understand what was occurring. With Opera Atelier’s forward thinking, I’m not anymore. What a terrific introduction to Baroque opera for those like myself who want to learn more. So many decisions made with this performance were the right ones. For example, I attended the pre-show introduction which helped to clarify and contextualize what I was about to see. I’m still looking at the beautiful programme each audience member receives as so much useful information was found there that sharpened further what I had learned in the pre-show introduction. Before the performance began, Pynkoski welcomed the audience with tremendous class. Just judging from the exuberant tone of his voice, he was elated to be back in the theatre and extremely appreciative we were in attendance today. Pynkoski then focused his attention on those in the audience who are considered ‘first timers’ to Baroque opera or who might have a basic understanding. He assured us that Purcell’s ‘Dido and Aeneas’ was the correct opera to attend if one wants to learn more. How correct he was on this account. Dido, Queen of Carthage (Meghan Lindsay) is in distress, but we do not know why. It is her sister, Belinda (Mireille Asselin) who guesses her secret. Dido is in love with Aeneas (Colin Ainsworth), the Trojan Prince who has found refuge at her court following the destruction of Troy. When he appears to press whether the Queen will respond to his love, she declares that fate has forbidden their union but she ultimately succumbs to his charms and his love with the courtiers singing, dancing and celebrating with a hunting party. Meanwhile, the Sorceress (Measha Brueggergosman-Lee) plots the Queen’s downfall and the destruction of Carthage whereby Aeneas will have no choice but to leave and forsake his love, Dido. The witches present conjure a storm to separate the loving couple within the hunting party. Ultimately, Aeneas is convinced that he must leave as the gods have commanded him to do so. Dido is outraged and sends him away despite Aeneas’s offer to remain. Once alone, Dido is overwhelmed and takes her life. Aeneas will soon fulfill his destiny and become the founder of Rome – the new Troy. Yes, tragedy ensues within the opera. But with this production, there was so much to see, hear, listen to, absorb, and admire. Pynkoski’s direction remained firmly solid throughout the one-hour performance. He establishes dramatic focus where necessary to tell the story clearly. Kimberly Purtell’s stunning lighting design magically encapsulates this tragic love story. Gerard Gauci’s exquisitely gorgeous set designs are extraordinary to behold as was the wardrobe work of Michael Legouffe, Michael Gianfrancesco and Carrie Cooley Barbour. Jeannette Lajeunesse-Zingg’s graceful, spirited and lithesome choreography transported me to another world. Christopher Bagan was the Assistant Conductor at the matinee performance I attended. Oh, the sensationally stunning vocal work from the artists. Colin Ainsworth was a dashingly debonair Aeneas. Meghan Lindsay’s tragic Dido passionately resonated from the Elgin stage right to my very being. Mireille Asselin’s trustworthy Belinda becomes that hopeful safe space of hope for Dido even though the tragedy is inevitable. Measha Brueggergosman-Lee’s Sorceress was marvelous. She owned that stage. She moved with such flurry and purpose that I had to put my pen down from making notes and just admire a veritable vocal artist who just enjoys sharing her talent with all of us. I look forward to attending Handel’s ‘The Resurrection’ in April 6, 8 and 9, 2023. To learn more about Opera Atelier, visit www.operaatelier.com . Previous Next

Modern and traditional theatre comedies will be highlighted. Home Acknowledgements Endorsements News Profiles This Month's Reviews Review Archives Search More 'A Midsummer Night's Dream' by William Shakespeare DREAM IN HIGH PARK Click Here 'Baskerville' by Ken Ludwig Click Here 'Christmastown' by Briana Brown WORLD PREMIERE Click Here 'Cottagers and Indians' by Drew Hayden Taylor Click Here 'How To Survive In The Wild' by Jean-Philippe Baril Guérard. Translated by Rebecca Gibian Click Here 'La Bête’ by David Hirson Click Here 'As You Like It' by William Shakespeare Click Here 'Bed & Breakfast' by Mark Crawford Click Here 'Cock' by Mike Bartlett Click Here 'Fairview' by Jackie Sibblies Drury Click Here 'Interior Design' by Rosa Laborde (World Premiere) Click Here 'Liars at a Funeral' by Sophia Fabiilli Click Here Comedies

What makes a comedy work - plot, characters, setting and theme. Back Lend Me A Tenor Now on stage until March 22 at The Imperial Theatre, 12 King Square South, Saint John, New Brunswick Now on stage until March 22 at The Imperial Theatre, 12 King Square South, Saint John, New Brunswick Aaron Kropf Ken Ludwig’s Lend Me A Tenor, the latest offering from Saint John Theatre Company, firmly establishes itself as a well-tested farce. There are many doors, and characters continually go in and out. It’s a comedy that relies on situations, mistaken identities, and high energy. It’s not a style that is easy to master because it relies on impeccable timing. Was Saint John Theatre Company able to pull this off? Ludwig weaves a tale of a world-famous tenor coming to Cleveland to perform the title character of Pagliacci in the local production before taking on the road to other venues across America. Add in his womanizing and women falling head over heels for the famous Italian lothario, an assistant with dreams of taking some of the famous tenor roles in the Opera catalogue, a mistaken death, and many mistaken identities. All required boxes ticked off for a superb farce. Brian Goodwin’s set design certainly checks all the boxes required to call this a farce. There are five doors upstage facing the audience leading to a bathroom, a closet, a kitchen area and two rooms that exit the hotel suite into the hall. A sixth door runs perpendicular to the audience separating the bedroom from the rest of the suite. A large bed takes up much of one half of the stage, while the other has a series of tables, a couch, a much-used phone, and a window. Brenda McLeese’s costume designs were splendid—particular kudos for the two Pagliacci costumes. Although it might have been a little spot on, Julia’s gown, which looked like the Chrysler Building, was terrific. Three particular actors deliver sharp performances. As Bellhop, James Lamey could really be a throwaway and not garnering much attention. What Lamey brought is simply divine. He took on this role and really made it his. His use of Italian (to someone who doesn’t speak the language) was incredible, and the moments when he sang and his comedic timing were head and shoulders above the rest. Sandra Bell, as Julia, the grand dame of the Cleveland Opera Guild, commanded the stage anytime she entered; with precision and grace, she demonstrated that sometimes less really is more. Thirdly, this production wouldn’t be what it is without the work of As Max, the often berated and slightly henpecked workhorse of the Guild, Greg Robinson highlights his performance in those moments where he sang. Each note was pitch-perfect, and though not much singing was done, he brought so much emotion to the moments he sang. Robinson brought so much to the character, from his lows when being spoken down to by his boss to the joy he exuded when he was able to take on the role of Pagliacci. Additionally to be noted, anytime Chelsea Cusack is in a production, you will get a master class in how to take on a character part in any show. A slight quibble nevertheless. However, several times throughout the production, timing and pace were off, making it difficult to watch. When they hit the laughs, they were solid laughs. The bit that really brought this production down slightly was that the energy started high and stayed at a height difficult to maintain for an audience member, which missed the natural rhythm of a farce. Was this opening night jitters? Or perhaps it required a little more work in the rehearsal room? This all aside, Lend Me A Tenor is a fun night out at the theatre. Running time: approximately 2 and half hours with intermission. The production runs until March 22 at the Imperial Theatre, 12 King Square S., Saint John. For tickets: imperialonline.ca A Saint John Theatre Company production Lend Me A Tenor by Ken Ludwig Directed by Bob Doherty Set Designer: Brian Goodwin Head of Properties: Hannah Martin Wardrobe Lead: Brenda McLeese Lighting Designer: Matthew Blackwood Technical Director: Meaghan Smith Stage Manager Anthony Allen Performers: Sandra Bell, Chelsea Cusack, CC Humphries, Jamie Johannessen, Dewayne Keating, James Lamey, Kendra Murray, and Greg Robinson Photo Credit: Drew Murdock Pictured: Greg Robinson and C.C. Humphries Previous Next

A creative look at presenting theatre. Unique Pieces '12 DINNERS' by Steve Ross WORLD PREMIERE Click Here 'A Public Reading Of An Unproduced Screenplay About the Death of Walt Disney' by Lucas Hnath Click Here 'De Profundis: Oscar Wilde in Jail' The World Premiere Click Here 'First Métis Man of Odesa' by Matthew MacKenzie and Mariya Khomutova Click Here 'In Seven Days' by Jordi Mand. World Premiere of a comedy about death Click Here 'Jack: A Beanstalk Panto' (The Naughty Version) Written and Directed by Rebecca Northan Click Here 'A Case for the Existence of God' by Samuel D. Hunter Click Here 'Constellations' by Nick Payne Click Here 'Fierce' written and directed by George F. Walker Click Here 'Goblin: Macbeth' Created by Rebecca Northan and Bruce Horak Click Here 'Infinite Life' by Annie Baker Click Here 'Life of Pi' based on the novel by Yann Martel. Adapted by Lolita Chakrabarti Click Here

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

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

When music and song are used to tell a story. Musicals Inside American Pie Click Here Just For One Day: The Live Aid Musical Click Here The Kit Kat Klub at Alumnae Theatre presents Cabaret Click Here Charlie and the Chocolate Factory Click Here 'The Flin Flon Cowboy' by Ken Harrower, Erin Brandenburg, Johnny Myrm Spence and the Flin Flon Cowboy Collective Click Here Jesus Christ Superstar Click Here The 25th Annual Putnam County Spelling Bee Click Here TITANIQUE Click Here 'Moulin Rouge' The North American Tour Click Here The Lion King Click Here 'Uncovered - U2 and The Rolling Stones' Click Here Come from Away Click Here

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

Where music, song and dance all contribute to an enjoyable plot on stage Back The 25th Annual Putnam County Spelling Bee Now on stage in the Aki Studio at Daniels Spectrum, 585 Dundas Street East, Toronto Credit: Taylor Long Pictured: Berkley Silverman and Jameson Mosher Joe Szekeres Revised March 15 “Quirkiness abounds in Shifting Collective’s neurodivergent ‘Spelling Bee’ at the top of the show. The innocence of the musical veers way off course, and the production isn't as polished as it could have been. The production can gain it back." I laugh or smile every time I see this looonnnnggg title, whether auditions are held or performances occur. “The 25th Annual Putnam County Spelling Bee” is a quirky show. The six participants are odd, and the adults who should be sane are just as peculiar as the kids. ‘Spelling Bee’ revolves around an odd ensemble of young adolescents. There is homeschooled Leaf Coneybear (Ben Ridd) and loner Olive Ostrovsky (Berkley Silverman), who hasn’t paid the $25 fee to participate. Allergy-ridden and with one working nostril, William Barfee (Jameson Mosher) spells words using his feet. Logainne Schwartzandgrubenierre (Lauren Taylor Scott) is politically astute, raised by two gay fathers. Chip Tolentino (Misha Sharivke) was the champion of last year’s spelling competition, but he’s showing signs of puberty. Marcy Park (Zoe Virola) is an overachiever who speaks six languages and sleeps only three hours a night. The adult figures are just as peculiar. Vice Principal Douglas Panch (Nam Nguyen), the contest judge, has recently returned from a five-year leave of absence. We remain unaware of the circumstances surrounding his absence. Mitch Mahoney (Diana Del Rosario) is the contest's comfort counsellor who fulfills community service hours and distributes juice boxes to those who do not advance in the competition. The event host, Rona Lisa Peretti (Olivia Daniels), is the returning moderator and a former spelling champion from years past. She is now a realtor. Douglas Panch is attracted to Rona Lisa, but she does not respond to his subtle advances. The show is also audience-participatory. There are instructions upon arrival if you wish to participate in the spelling contest during the show. The Daniels’ Spectrum Aki Studio has been appropriately decorated to convey to the audience that we are in a school setting. Childlike pictures and posters are abundant throughout, focusing on the 3Rs (Reduce, Recycle, Reuse). The stage is fully utilized. Stage right features bleachers where the adolescent actors will sit, centre stage hosts the band, and far stage right is the table where the adult authority figures will sit. The matinee performance was packed. I suspect many attendees were friends of the performers. Several people in front of me laughed loudly and excessively at some jokes and applauded enthusiastically at the end of various musical numbers. I cringed. Something was going to happen that shouldn’t have, and I saw it coming. Some actors make the mistake of feeding off the audience's energy during shows. That can be a good thing when the situation warrants itself (say in a jukebox musical). This is exactly what happened at this performance. Yes, it's okay for the actors to feed off the audience's energy. However, the production wasn't as polished as it could have been because the actors started one upping each other in several of the musical numbers./ There’s no sense of childhood innocence at this Sunday matinee performance. It was there at the beginning at the top of the show when the characters were introduced. Let’s not forget, however, that along with this childlike innocence and loss of it, there’s sadness in discovering the backstories of these six adolescents. These backstories are introduced through some of the song lyrics, and it’s important to listen and hear them. This matinee audience didn’t get that. The alarming and sad backstories behind ‘Spelling Bee’ took a back seat instead. The final moment, when the audience learns how each of the participants grew into adults, falls flat. The adult figures fare a tad stronger. Diana Del Rosario’s Mitch Mahoney is a riot. Her glare says it all and she doesn’t have to say a word. Perfect timing. Olivia Daniels appears grounded as the spelling bee moderator for most of the show. However, near the end, her voice began to crack just a tad. That could be because the cast just got off their tech week. Nam Nguyen’s costume as Vice Principal Panch effectively positions him as the contest judge. As a retired teacher, I didn’t believe Nam’s Panch had just returned from a five-year leave of absence. Did the students at the school cause Panch’s nervous breakdown? If so, did Panch develop some nervous tic? This is something for Nguyen to consider, but it’s important as well that the nervous tic does not upstage any plot action. Michael Ippolito is to be credited for the strongly rehearsed music direction. Al Starkey is also to be credited for ensuring the band does not overpower the singers. There are moments when the sound is muffled even though the lyrics are clear. I genuinely believe there is a childlike heart and energy to ‘Spelling Bee,’ and Director Jennifer Walls deserves commendation for it. Two moments come to mind: the blossoming relationship between Mosher’s Barfee and Silverman’s Olive, and Zoe Virola’s Marcy, who demonstrates how exhausted she is from only getting three hours of sleep each night. Can the production regain momentum to ensure that ‘Spelling Bee’s childlike innocence also highlights the serious themes of bullying, self-esteem, adolescent burnout, and family pressures? Sure, it can. To the actors: Please stay focused and grounded. Yes, let the audience laugh when appropriate. However, don’t get caught up in that energy trip. Instead, as the show progresses this week, let the dialogue speak for itself and allow the song lyrics to fulfill their purpose. To tell a good story. You’ve been well rehearsed because there is a good story here. You can do it. Running time: approximately two hours with no interval/intermission. ‘The 25th Annual Putnam County Spelling Bee’ runs until March 15 in the Aki Studio of the Daniels Spectrum, 585 Dundas Street East. For tickets, email boxoffice@nativeearth.ca or call (416) 531-1402. SHIFTING GROUND COLLECTIVE presents THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE Music and Lyrics by William Finn Book by Rachel Sheinkin Conceived by Rebecca Feldman Directed by Jennifer Walls Music Director: Michael Ippolito Choreographer: Nicholas Rocque Sound Designer: Al Starkey Lighting Designer: Niall Durcan Stage Manager: Liam Cox Performers: Ben Ridd, Berkley Silverman, Diana Del Rosario, Jameson Mosher, Lauren Taylor Scott, Misha Sharivke, Nam Nyguen, Olivia Daniels, Zoe Virola. Previous Next

Now on stage at the Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. Back There is Violence and There is Righteous Violence and There is Death or, The Born-Again Crow Now on stage at the Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. Credit: Jeremy Mimnagh. Pictured: Tara Sky Joe Szekeres “A well-crafted, literary script by Caleigh Crow. Directed with a magical flair by Jessica Carmichael. The terrific ensemble takes the audience on a metaphorical and allegorical journey that is sometimes funny and sometimes dark. The conclusion is breathtaking.” There are moments when I’m reminded of my late brother Bill and the sayings he used to have. One of them was, “What da hell was dat?” That was my initial thought with ‘The Born-Again Crow.’ But holy moly, there’s so much more happening with the subtextual layers of meaning that make Caleigh Crow’s intriguing script even more enlightening. I hope there are talkbacks for future audiences. That's when the digging for meaning can spark discussion and conversation. Beth (Tara Sky), an Indigenous grocery store clerk at Real Canadian Superstore, has had a challenging week. The events at the store slowly unfold with a clever touch under director Jessica Carmichael’s deft, visionary hand. Some of Beth’s co-workers have tried to quash her soul and crush her spirit. The toll it takes on Beth’s mental health intensifies. She had had enough and began pushing back at those who were trying to destroy her spirit. The events at the store are bizarre, to say the least. Beth stabbed a steak on her boss’s desk. She also lights a magazine rack on fire. Although Beth is not keen on returning to living with her mother, Francine (Cheri Maracle), she does so to regain composure in her health struggles. While living with her mother, Beth spends time outside Francine’s home, reflecting on recent events and contemplating her potential culpability. The arrival of Tanner Braeden (Dan Mousseau), the next-door neighbour whom Beth has known for quite some time, also weighs on her spirit. Additionally, when Francine gifts Beth a bird feeder, this gesture sparks a connection with a talking crow (Madison Walsh), who begins to help Beth rediscover her true power as an Indigenous person. Shannon Lea Doyle soundly creates a working-class setting. The visual look and character development do not hint at an upper-class structure. Asa Benally selects costumes that visually delineate who the characters are. The striking dark costume selected for Walsh’s talking crow immediately catches the eye. Nice work by Chris Ross-Ewart to ensure the sound is clear. Hailey Verbonac skillfully creates tense moments through her subtle shadowy lighting design. The first moment occurs as the audience enters the auditorium. Madison Walsh, as the Crow, stands stage left, casting a mysterious gaze at the audience while eating something from a can. This is unsettling, almost non-human, yet captures my attention. The conversations between Beth and the Crow are also enveloped in shadowy lights, emphasizing the growing excitement with a hint of dread about what might unfold. Playwright Caleigh Crow’s script is expertly crafted. Filled with numerous allegorical and metaphorical references, the play is marketed as turning ‘post-capitalism on its head with righteous fury’ as Beth approaches her boss with a fair request that is unjustly denied. From that moment, the stage action is utterly breathtaking. The image remains boldly embedded in my mind as I write this article. I had the opportunity to speak with Red Sky Performance founder Sandra Laronde via email. She stated that Indigenous stories are very much connected to the power of land, magic, pain and promise. These four qualities relate to ‘The Born-Again Crow.’ Although I still have much to learn about Indigenous peoples and theatre, I am slowly beginning to grasp how essential Indigenous culture is to our shared stories. The magic of Caleigh Crow’s talking crow character (and Madison Walsh’s remarkable, haunting performance) strikingly (and brutally) highlights the pain of marginalized individuals who have been gaslit. That pain becomes apparent when Beth confronts her obstinate boss regarding her request, leading to complete chaos. Jessica Carmichael directs ‘The Born-Again Crow’ with a magical flair that I ultimately bought. Some moments remind me of the film The Matrix. Keep an eye out for them; they made me smile. Dan Mousseau plays multiple characters, bringing distinct differences to each and highlighting his talent as an actor. His Tanner Braeden appears to be brimming with promise in his budding relationship with Beth, which reaches a frightening climax. His Jane is a fantastic parody of the stereotypical female reporter who shows little interest in the bird story but must cover it for her job and to enhance her image. As Beth’s boss, Mousseau is unkindly cruel and uncalled-for nasty. Yet for a split second, there is a momentary pause to consider if the boss deserves what happened. As mother and daughter, Beth and Francine, Tara Sky and Cheri Maracle complement each other’s performance work. There is genuine believability grounded in honest reactions to what is said, heard, and implied by both. Sky effectively portrays a petulant Beth, prompting me to question why her mother didn’t kick her out again. As the truth about the events at the Superstore unfolds, Sky adeptly steers Beth away from her moodiness, and the character development reflects a high level of performance. Beth does not deserve the way her boss speaks to her. It’s painful to witness one person treating another in such a manner. Cheri Maracle’s Francine is a mother who only wants the best for her adult daughter. Francine’s patience has been tested in the past. Maracle convincingly conveys an authentic emotional response following her daughter’s outburst, which prompts a reaction any mother would rightfully express to a daughter in the wrong because of her behaviour. In her Director’s Note in the programme, Jessica Carmichael has written one dizzying run-on sentence of 19 lines. ‘There is’ is repeated throughout the sentence. Along with phrases such as ‘colonialism broke us’ and ‘there are no guarantees’, Carmichael quotes biblical Beatitudes – ‘Blessed are the merciful’; ‘’Blessed are the meek’ are just two. Although I may not fully understand the central idea behind the paragraph, I can connect to certain statements. To name only two examples, ‘There is Questioning’ and ‘There is What is Not Fair.’ I’ve re-iterated how it’s taking me time to keep learning about Indigenous culture. My understanding begins to grow in small chunks. That’s what I did as a teacher with some students – make chunks for learning. Jessica, is this what you intended me to take away from your Programme note? If so, thank you for letting me know it’s okay to continue learning about Indigenous culture bit by bit. Running time: approximately 90 minutes with no intermission. The production runs until March 29 at the Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. For tickets: https://www.showpass.com/o/buddies-in-bad-times-theatre/ NATIVE EARTH PERFORMING ARTS and BUDDIES IN BAD TIMES THEATRE present “There is Violence, and There is Righteous Violence, and There Is Death, or The Born-Again Crow” by Caleigh Crow Directed by Jessica Carmichael Set Design, Animal Prop Design and mask design by Shannon Lea Doyle Lighting Design: Hailey Verbonac Sound Design: Chris Ross-Ewart Fight Director: Jenn Dzialoszynski Stage Manager: Ferne Hudson Performers: Tara Sky, Cheri Maracle, Dan Mousseau, Madison Walsh Previous Next

Where theatre is not only presented on the stage. Back There is Violence and There is Righteous Violence and There is Death, or The Born-Again Crow Now on stage at the Buddies in Bad Times Theatre, 12 Alexander Street, Toronto Credit: Jeremy Mimnagh. Pictured: Tara Sky Joe Szekeres “A well-crafted, literary script by Caleigh Crow. Directed with a magical flair by Jessica Carmichael. The terrific ensemble takes the audience on a metaphorical and allegorical journey that is sometimes funny and sometimes dark. The conclusion is breathtaking.” There are moments when I’m reminded of my late brother Bill and the sayings he used to have. One of them was, “What da hell was dat?” That was my initial thought with ‘The Born-Again Crow.’ But holy moly, there’s so much more happening with the subtextual layers of meaning that make Caleigh Crow’s intriguing script even more enlightening. I hope there are talkbacks for future audiences. That's when the digging for meaning can start with discussion. Beth (Tara Sky), an Indigenous grocery store clerk at Real Canadian Superstore, has had a challenging week. The events at the store slowly unfold with a clever touch under director Jessica Carmichael’s deft, visionary hand. Some of Beth’s co-workers have tried to quash her soul and crush her spirit. The toll it takes on Beth’s mental health intensifies. She had had enough and began pushing back at those who were trying to destroy her spirit. The events at the store are bizarre, to say the least. Beth stabbed a steak on her boss’s desk. She also lights a magazine rack on fire. Although Beth is not keen on returning to living with her mother, Francine (Cheri Maracle), she does so to regain composure in her health struggles. While living with her mother, Beth spends time outside Francine’s home, reflecting on recent events and contemplating her potential culpability. The arrival of Tanner Braeden (Dan Mousseau), the next-door neighbour whom Beth has known for quite some time, also weighs on her spirit. Additionally, when Francine gifts Beth a bird feeder, this gesture sparks a connection with a talking crow (Madison Walsh), who begins to help Beth rediscover her true power as an Indigenous person. Shannon Lea Doyle soundly creates a working-class setting. The visual look and character development do not hint at an upper-class structure. Asa Benally selects costumes that visually delineate who the characters are. The striking dark costume selected for Walsh’s talking crow immediately catches the eye. Nice work by Chris Ross-Ewart to ensure the sound is clear. Hailey Verbonac skillfully creates tense moments through her subtle shadowy lighting design. The first moment occurs as the audience enters the auditorium. Madison Walsh, as the Crow, stands stage left, casting a mysterious gaze at the audience while eating something from a can. This is unsettling, almost non-human, yet captures my attention. The conversations between Beth and the Crow are also enveloped in shadowy lights, emphasizing the growing excitement with a hint of dread about what might unfold. Playwright Caleigh Crow’s script is expertly crafted. Filled with numerous allegorical and metaphorical references, the play is marketed as turning ‘post-capitalism on its head with righteous fury’ as Beth approaches her boss with a fair request that is unjustly denied. From that moment, the stage action is utterly breathtaking. The image remains boldly embedded in my mind as I write this article. I had the opportunity to speak with Red Sky Performance founder Sandra Laronde via email. She stated that Indigenous stories are very much connected to the power of land, magic, pain and promise. These four qualities relate to ‘The Born-Again Crow.’ Although I still have much to learn about Indigenous peoples and theatre, I am slowly beginning to grasp how essential Indigenous culture is to our shared stories. The magic of Caleigh Crow’s talking crow character (and Madison Walsh’s remarkable, haunting performance) strikingly (and brutally) highlights the pain of marginalized individuals who have been gaslit. That pain becomes apparent when Beth confronts her obstinate boss regarding her request, leading to complete chaos. Jessica Carmichael directs ‘The Born-Again Crow’ with a magical flair that I ultimately bought. Some moments remind me of the film The Matrix. Keep an eye out for them; they made me smile. Dan Mousseau plays multiple characters, bringing distinct differences to each and highlighting his talent as an actor. His Tanner Braeden appears to be brimming with promise in his budding relationship with Beth, which reaches a frightening climax. His Jane is a fantastic parody of the stereotypical female reporter who shows little interest in the bird story but must cover it for her job and to enhance her image. As Beth’s boss, Mousseau is unkindly cruel and uncalled-for nasty. Yet for a split second, there is a momentary pause to consider if the boss deserves what happened. As mother and daughter, Beth and Francine, Tara Sky and Cheri Maracle complement each other’s performance work. There is genuine believability grounded in honest reactions to what is said, heard, and implied by both. Sky effectively portrays a petulant Beth, prompting me to question why her mother didn’t kick her out again. As the truth about the events at the Superstore unfolds, Sky adeptly steers Beth away from her moodiness, and the character development reflects a high level of performance. Beth does not deserve the way her boss speaks to her. It’s painful to witness one person treating another in such a manner. Cheri Maracle’s Francine is a mother who only wants the best for her adult daughter. Francine’s patience has been tested in the past. Maracle convincingly conveys an authentic emotional response following her daughter’s outburst, which prompts a reaction any mother would rightfully express to a daughter in the wrong because of her behaviour. In her Director’s Note in the programme, Jessica Carmichael has written one dizzying run-on sentence of 19 lines. ‘There is’ is repeated throughout the sentence. Along with phrases such as ‘colonialism broke us’ and ‘there are no guarantees’, Carmichael quotes biblical Beatitudes – ‘Blessed are the merciful’; ‘’Blessed are the meek’ are just two. Although I may not fully understand the central idea behind the paragraph, I can connect to certain statements. To name only two examples, ‘There is Questioning’ and ‘There is What is Not Fair.’ I’ve re-iterated how it’s taking me time to keep learning about Indigenous culture. My understanding begins to grow in small chunks. That’s what I did as a teacher with some students – make chunks for learning. Jessica, is this what you intended me to take away from your Programme note? If so, thank you for letting me know it’s okay to continue learning about Indigenous culture bit by bit. Running time: approximately 90 minutes with no intermission. The production runs until March 29 at the Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. For tickets: https://www.showpass.com/o/buddies-in-bad-times-theatre/ NATIVE EARTH PERFORMING ARTS and BUDDIES IN BAD TIMES THEATRE present “There is Violence, and There is Righteous Violence, and There Is Death, or The Born-Again Crow” by Caleigh Crow Directed by Jessica Carmichael Set Design, Animal Prop Design and mask design by Shannon Lea Doyle Lighting Design: Hailey Verbonac Sound Design: Chris Ross-Ewart Fight Director: Jenn Dzialoszynski Stage Manager: Ferne Hudson Performers: Tara Sky, Cheri Maracle, Dan Mousseau, Madison Walsh Previous Next

A talk with a professional artist about their career. Back Sandra Laronde “As Indigenous people, I truly believe we are the DNA of Canada; we are the heartbeat." Credit: V. Tony Hauser Joe Szekeres Red Sky Performance founder Sandra Laronde celebrates another significant achievement in her artistic career. You can read about her many successes at www.redskyperformance.com . She has received the Lifetime Artistic Achievement in Dance by the Governor General’s Performing Arts Award. A prestigious acknowledgment indeed. An online email conversation allowed me to chat with her for a few minutes about how she feels about this honour. While she is deeply honoured and grateful to receive such meaningful recognition for her work in Canada and the world, the acknowledgment came as a wonderful surprise for her: "I am truly moved by this powerful vote of confidence in what I do as an artist. I am both thrilled and humbled by this incredible support." Laronde’s growth as an artist has been shaped by a constellation of people rather than a single mentor. She calls it" "like a wonderful web than anything. It’s been a network of individuals who have informed my artistic path." She then mentioned Tomson Highway and Rene Highway. She knows Tomson in real life but has never met Rene, as he only appeared in her dreams. Yet both have strongly influenced her—Tomson in theatre and Rene in dance. Sandra says, "it was more through osmosis than any kind of formal mentorship—just being around Tomson in the early days, socializing with him, listening, learning, and absorbing." Laronde continues to develop and tell Indigenous stories of resilience, hope, and inspiration on the Canadian and world stages. I questioned her further about why it is important to continue spreading these messages: “Stories of resilience and hope are powerful reminders of our capacity to adapt, grow, and create meaningful change. We artists have an extraordinary ability to ignite the human spirit. More than ever, we need stories of resilience, hope, and inspiration. The world is at a crossroads, facing growing fears about social, economic, political, and environmental challenges. Yet, this is also a time of transformation. Instead of riding waves of decline, I hope we can find creative and pragmatic solutions that consider the well-being of the next seven generations. We must never give up and continue finding ways to feel inspired — and the arts have a profound way of doing just that.” I’m always eager to attend Indigenous theatre whenever possible. A couple of weeks ago, I had the chance to speak with another Indigenous artist. I told this individual I still have much to learn about the Indigenous community. The person responded that’s alright since the learning should never cease. Laronde echoes what this Indigenous artist told me. Indigenous stories are compelling, exciting and unique and the learning should never cease. She makes another comment I highly respect: "As Indigenous people, I truly believe we are the DNA of Canada; we are the heartbeat. This means that Canadians will never know who they truly are without knowing Indigenous stories, perspectives, and ethos. Our storytelling is born and inspired from this land. Our stories are not transplanted from elsewhere, they are from here. How could Canadians ever know who they are without stories from source, from its roots? Our stories are very much connected to the power of land, magic, pain, and promise." She has also penned a debut novel ‘She Holds Up the Stars.’ Laronde says, "I penned with a single purpose: to spark a life-long love affair with stories. I craved the very stories that I now write - ones that mirrored my cultural roots, love of land, and the journey of a sensitive young individual. My hope is that this story fills a void and resonates with those who also yearn for positive stories reflecting their experiences. I simply want young people to have the stories that I did not have and to inspire a generation of young minds." It appears the inspiration has already begun. As a visual writer, Laronde finds that ‘She Holds Up the Stars’ naturally adapts to live stage performances. She has also been invited to speak at numerous schools, in person and via Zoom about her book. Laronde loves engaging with young people about the novel as they ask the best questions. As a retired Ontario English Language and Literature teacher, what Sandra told me next warmed my heart. ‘She Holds Up the Stars’ is already being taught in some Toronto classrooms, and there has been some discussion about the novel being taught as a core text in Ontario classrooms. What another honour and privilege to have one’s work widely recognized. And still other exciting news from Sandra about her debut novel. ‘She Holds Up the Stars’ is newly commissioned by the Toronto Symphony Orchestra, in collaboration with the Vancouver Symphony Orchestra and TO Live. Laronde’s company, Red Sky Performance, will create a live stage adaptation of the novel featuring life-sized puppets, actors, puppeteers, and approximately 50 musicians on stage. The production will premiere in April 2026 at Toronto’s Roy Thomson Hall in partnership with the Toronto Symphony Orchestra, followed by performances the following year with the Vancouver Symphony. The live production of the story will captivate tens of thousands of audience members between 2026-2027. What’s next for Sandra Laronde that she hasn’t achieved? She made a laughing emoji and replied: "I'm exhausted just thinking about it. I get incredible ideas and then turn them into fully fleshed-out lives." Laronde also plans a documentary on Indigenous dance featuring Miigis, which Red Sky toured across North America. She also has a new dance show set to premiere at Canadian Stage in 2027. The incubation process for a play she’d like to write is also growing to fruition. Let’s stay tuned to see where she’s headed next. To learn more about Sandra Laronde, visit : https://sandralaronde.com . Previous Next

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

A talk with a professional artist about their career. Back Hannan Younis and Rakhee Morzaria "Our art is contingent on an audience coming out and giving us feedback. We write what's honest and true and funny for us, that’s our voices...it's very meta." Photo credit: 852tangram Joe Szekeres The Toronto Sketch Comedy Festival will celebrate its 20th anniversary from March 5 to 16, 2025. It will showcase contemporary sketch comedy, storytelling, musical comedy, and clowning. Over 70 troupes from North America will perform high-energy acts. Recently, I held an online conversation with performers Hannan Younis and Rakhee Morzaria. They will perform ‘My Best Friend’s Friend’ on March 12 at Toronto’s The Theatre Centre. More about their upcoming show shortly. Comedy is a complex art form. It’s not an easy one to perform live. What does comedy mean for a twenty-first-century audience? Is there anything that a 21st-century audience should consider when attending comedy? For Hannan and Rakhee, comedy is always rooted in truth and their experiences. They are both racialized artists, and their experience of the world is filtered through this lens. For them, the most important thing in their comedy is to write what's true for them, what makes them laugh, and what spooks them. I find it interesting that artists who work in comedy also search for truth and experiences, just as theatre actors constantly search for truth and believability in their performance work. Performers in comedy aren’t just born. It must start somewhere and be nurtured. Where did this nurturing begin for the two of them? When looking at college brochures in high school, Hannan started a descent into comedy. Enrollment in 2004 in the Humber Comedy college programme followed. Rakhee started Second City in 2013 and completed their Conservatory, Bob Curry Fellowship (meeting Hannan followed) and worked on their mainstage in their Education Company, Family Company. Rakhee also made a comedic digital series in 2018, which was an incredible learning experience. The series was nominated for a Canadian Screen Award. Some comedy performers typically had mentors throughout their career journeys. Who were some of Hannan and Rakhee's mentors in comedy? Their response was interesting: “The audience…that sounds like a really weird answer, but our art is contingent on an audience coming out and giving us feedback. We write what's honest and true and funny for us, that’s our voices - and no one can teach us about that except for ourselves (and our core group of comedy friends who encourage and empower us). In terms of honing skills and getting stronger in our craft, it’s about audience response and trying things out over and over to understand the mechanics of why something is working or not…it’s about being true to our message and figuring out the strongest way to communicate it.” Their show, ‘My Best Friend’s Friend,’ opens March 12. It concerns two comedians trying to forge a friendship through the creation of their new, never-before-seen experimental comedy show. But the two of them whetted the appetite just a bit more. Hannan said the show came to be because they share the same best friends. They didn't want to do a show with us, so we made the show to spite them. Rakhee playfully added that since the two of them have hung out since 2015, they haven’t created something together since then. They got to know each other through the show. Rakhee calls it very meta. Are there any messages the two would like audiences to take away after seeing “My Best Friend’s Friend?” Both agree: “To be yourself and have fun.” What’s next for them when the Comedy Sketch Fest concludes at The Theatre Centre? They’re planning a tour of “My Best Friend’s Friend.” But there’s something else they’re keeping in mind regarding the tour: “Given the way things are going globally, it feels like the right time to dig our feet in and build an arts community that we’ve always wanted. We’re also writing a television show, but it’s under wraps so we can’t get into details at this time. You’ll have to stay tuned.” To learn more about the Toronto Sketch Comedy Festival at The Theatre Centre, go here: https://theatrecentre.org/event/toronto-sketchfest-2025/ Previous Next

A deconstruction of an individual's story. Back Hypothetical Baby A Nightwood Theatre production in association with The Howland Company. Performed at Toronto's Factory Theatre Credit: Dahlia Katz. Pictured: Rachel Cairns Geoffrey Coulter, actor, director, adjudicator, arts educator Actor/writer Rachel Cairns faces head on the gritty and controversial subject of abortion and a woman’s right to choose in this intimate, sensitive and very personal autobiographical one-woman show. The result is an irreverent, honest and hilarious unpacking of life, loss, parenting and choice. No matter where you sit on reproductive rights, this show entertains as much as it elucidates. Rachel Cairns is one to watch in Toronto’s theatre scene. It takes a brave and immensely talented individual to write about a troubling time in one’s life and then be prepared to jump on stage and share those personal stories and attitudes with a room full of strangers for 93 solid minutes. This show is all Cairns. As a playwright, she’s been developing and tweaking the content of her monolithic monologue for five years. As a performer, she’s engaging, natural and thoroughly captivating. She takes no time endearing herself to an audience as a friend and making us her confidantes. It’s no surprise that Cairns has teamed with Nightwood Theatre, Canada’s preeminent feminist theatre, to riff on the choices that determine people’s reproductive decisions. Clad in blue jeans, white sneakers and T-shirt, Cairns leaps onto the stage to tell us about her unintended pregnancy 5 years earlier, her awkward doctor’s appointments, and a hastily arranged Christmas Eve abortion. But it’s not as simple as all that. We learn from Cairns that parenting – or even deciding to become a parent – is complex. There are personal and societal factors that shape our reproductive lives including a troubled economy, inflation, rent affordability, daycare, education, governmental upheaval and global warming. Cairns’ high-strung neuroses have her asking what is life, anyway, and when does it start? She dives into analytics and research about abortions and the history of the fallibility of contraception, all aided by Julia Howman’s humorous and clever projections. Cairn’s narrative takes us back and forth through time as she recounts shining shoes for money in Toronto’s Bay Street area as a theatre school graduate, to meeting her boyfriend, moving in with him, breaking up with him, getting the abortion and getting back together again. Cairns keeps the pace going at breakneck speed. Her timing is equally good – mostly. Several funny lines were lost, spoken over audience laughter. But clearly, she has the comedic chops but also poise and charisma. While extolling the virtues and vices of white feminism, she occasionally drifts into neurotic self-deprecation, always regains a level head before continuing. She effortlessly transforms into her judgemental but supportive mother, a pro-life guest speaker at Google, and a plethora of friends and medical professionals that help her navigate the timely topic of “pro-life” and “pro-choice.” She leaves us with the age-old question – Is there ever a good time to have a baby? Director Courtney Ch’ng Lancaster and Production Designer Julia Howman masterfully stage the performance on a square riser with attached white wall for projections. Cairns walks the platform’s perimeter for her narrative while jumping onto it to enact her scenes. A single chair on a shag carpet and an occasional blanket are the only props needed to help us visualize time and place. Howman does triple duty by also providing the wonderful lighting design. Her coloured side lighting, spots, and breakup patterns accentuate the storytelling with aplomb, while subtle drone effects and musical backing are provided by Cosette “Ettie” Pin. This is a personal and timely story told by a gifted and insightful writer and actor. It’s no easy feat to capture an audience’s attention and collectively captivate their imaginations, but Cairns hits the target with vulnerability, powerful prose, and frank honesty. Rachel Cairns had an abortion, and you’ll want to hear about it. Running time: Approximately 90 minutes with no intermission “Hypothetical Baby” Written and performed by Rachel Cairns Directed by Courtney Ch’ng Lancaster Production, Lighting & Projection Design by Julia Howman Sound Design & Composition by Cosette “Ettie” Pin Produced by Nightwood Theatre in association with The Howland Company (Credit: Dahlia Katz. Pictured: Rachel Cairns) Previous Next BACK TO TOP

A one person show with an individual presenter. Solos "As I Must Live It' written and performed by Luke Reece Click Here 'Age is a Feeling' written and performed by Haley McGee Click Here 'Guilt: A Love Story' written and performed by Diane Flacks Click Here 'Hypothetical Baby' written and performed by Rachel Cairns Click Here 'Monster' by Daniel MacIvor Click Here 'No One's Special At the Hot Dog Cart' by Charlie Petch Click Here 'A Christmas Carol' by Charles Dickens Click Here 'Dana H' by Lucas Hnath Click Here 'Here Lies Henry' by Daniel MacIvor Click Here 'Living with Shakespeare' by Jeremy Smith and Steven Gallagher. Presented by Driftwood Theatre Click Here 'My Name is Lucy Barton' adapted by Rona Munro based on the novel by Elizabeth Strout Click Here 'One Step At A Time' by Andrew Prashad Click Here

Now on stage in the Guloien Theatre at Crow's Theatre, 345 Carlaw Avenue, Toronto. Back Trident Moon Now on stage in the Guloien Theatre at Crow's Theatre, 345 Carlaw Avenue, Toronto. Credit: Dahlia Katz. Pictured l-r: Mirza Sarhan (back to camera), Zorana Sadiq, Imali Perera, Afroza Banu, Muhaddisah and Anusree Roy. Joe Szekeres “Difficult to watch at times for its violently suggested implications in word and thought. Stunning in its visual staging and presentation. The compelling ensemble work these women deliver drives the plot forward with visceral believability.” ‘Trident Moon’ is set in the back of a transport truck speeding through the newly developed country of India. The time is 1947, set during the Partition of India. It was a traumatic division of British India into two independent dominions: India and Pakistan. The violence was drawn along religious lines by British colonial authorities, and it led to one of the largest mass migrations in history- Hindus and Sikhs moved to India, and Muslims to Pakistan. Three Muslim women have been abducted by three Hindu women. Are they all going somewhere to be killed? Are they going to freedom? The horror behind these questions hovers in the air. The opening night production is stunning in its visual staging. Jawon Kang creates an eye-catching raked set design that resembles an oil-on-canvas framed by delicate, gossamer-like fabric. Michelle Ramsay’s selection of soft lighting during the pre-show beautifully highlights this fabric. She is also quite clever, as our eyes follow what appears to be smouldering embers amidst ashes on the floor, shifting our admiration from the admiration of the oil on canvas painting to an entirely different frame of reference. Ming Wong’s costumes aptly reflect the era of war and violence once again. Romeo Candido’s sound design is vividly clear, and at one point, a particular sound effect startled me, which is a good thing considering I wasn’t expecting it. Anusree Roy’s gut-wrenching script is sometimes difficult to watch. There are violent implications in words and thoughts, from guns being waved around to terribly nasty comments about one of the characters who is developmentally challenged. One of the characters, a pregnant woman, goes into labour. While this occurs, she takes a blunt knife to remove a bullet from a stomach wound while the truck continues bouncing along rocky roads. Where this woman finds the strength to do all this might seem incomprehensible. There is a sadistic sexual moment involving the horrible soldier Lovely (Mirza Sarhan). It’s sickening even to begin thinking about something like this occurring. Nevertheless, this discomfort is precisely why we go to the theatre. It jolts us from the complacency that can develop regarding our reasons for attending. However brutal that moment involving the soldier and one of the women remains, it is deftly handled with trust in director Nina Lee Aquino and Intimacy Director Cara Rebecca. Aquino’s staging in the confines of the transport truck emanates a permeating sense of suffocation, adding to the growing tension between the two groups of Muslim and Hindu women. The powerful ensemble work drives Trident Moon’s plot forward with visceral believability. Thankfully, there are moments of levity to balance the intense dramatic moments, but they’re quick, and we’re right back into the thick of the moment. I can’t help but think about how timely it is to include ‘Trident Women’ in Crow’s season this year. For one, it is International Women’s Day, which honours women's strength, bravery, and resiliency worldwide. Playwright Roy’s script does that. These women live through atrocities that none of us can even begin to think about. Are these scripted events improbable or unbelievable? As someone who has never suffered the atrocities of war, I can’t say, nor should I. ‘Trident Moon’ is an opportunity to acknowledge the bonds of humanity that link women together. Although the play is set in 1947, the women in Roy’s story would likely be classified as migrants today. Do the hardships faced by the women in Roy’s tale differ from those endured by individuals who have been deported back to the countries they fled in search of survival today? I don’t believe so. Word to future audiences: Please, please make sure your cell phones and mobiles are turned off. We were about four-fifths of the way through the plot. I recall leaning forward in my seat because I was engrossed in the compelling ensemble work before me. And a cell phone alarm goes off. My guest grabbed my arm quickly because she, too, was brought out of the moment as I was (and I’m sure others around me were). This tremendous cast did not allow that blunder to affect them at all. Please see ‘Trident Moon.’ Pay close attention to its complex plot. The characters give essential information about themselves and their relationships to each other, and it’s easy to get lost if you’re not focused. Just make sure your mobile devices are turned off. Running time: approximately 90 minutes with no intermission/interval. The production runs until March 30 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. A Crow’s Theatre and National Arts Centre English Theatre Co-production TRIDENT MOON by Anusree Roy Directed by Nina Lee Aquino Set and Props Designer: Jawon Kang Costume Designer: Ming Wong Lighting Designer: Michelle Ramsay Sound Designer and Composer: Romeo Candido Singer: Hrishov Sarker Stage Manager: Tamara Protic Performers: Sahiba Arora, Afroza Banu, Sehar Bhojani, Michelle Mohammed, Muhaddisah, Prerna Nehta, Imali Perera, Anusree Roy, Zorana Sadiq, Mirza Sarhan Previous Next

A talk with a professional artist about their career. Back Jonathan Wilson and Mark McGrinder “I am certainly more aware of what it means to share with an audience, and vulnerability is one of the true gifts of performance and the arts in general.”- Jonathan Wilson Credit: Sam Moffatt. Pictured: Jonathan Wilson. Joe Szekeres Whenever I see Dora Award winner Jonathan Wilson’s name mentioned or if there's an upcoming show of his, I play ‘Six Degrees of Kevin Bacon.’ (It is based on six degrees of separation—connection to others in six people or less.) Jonathan’s late sister, Christine, is the wife of a friend and pal whom I’ve known for over fifty years. It's interesting how time connects us all back together. It’s nice to reconnect with Jonathan again, alongside his director (and Studio 180 Artistic Director), Mark McGrinder. The two are busy rehearsing for Jonathan’s new solo show, the world premiere of ‘A Public Display of Affection.’ Wilson and McGrinder have known each other for over thirty years. They’ve shared the stage as actors, and Jonathan trusts Mark implicitly. Mark was the first to propose that Studio 180 assist in developing ‘Public Display.’ For McGrinder, it’s an honour that Jonathan trusts him as he aims to respect the ownership and protection of the play. “A Public Display of Affection” refers to differing ideas of what is considered public and private. The show's context is mainly about Jonathan being able to hold hands in public with his husband and how provocative that can be for some people. The jumping-off point for Wilson is being asked to speak as an elder in the queer community and then diving into some Toronto history both public and private. Mark agrees that the title speaks to society’s acceptance of public displays of affection, and it’s about the intimacy of revealing oneself to the public. He also added a thought that I hadn’t considered about this solo show: “In many ways, it feels like the word “plot” doesn’t apply entirely to the play. It’s a journey, to be sure, and our challenge has always been to ensure that there’s a transformative present for Jonathan instead of him serving as an outside narrator of happenings in a distant past. ‘Affection’ is part memoir, part history and all storytelling.” Solo show rehearsals and performances may seem effortless to produce, but they are anything but. Both men have a history of improvisational work, so a collective sense of ‘Let’s Play’ serves the process well. McGrinder emphasizes that an eight-hour rehearsal day can be feasible for a large cast. It is demanding on the solo performer's mind, body, and stamina. Jonathan acknowledges this reality, noting how rehearsal profoundly tests one’s focus. It necessitates time to engage the actor’s brain for rehearsal and performance effectively. It’s a challenge he eagerly anticipates, despite the changes in his mind, body, and stamina since performing his first solo show, ‘My Own Private Oshawa,’ over three decades ago. There’s an emotional element at work in ‘Public Display’, and Wilson believes: “The emotional work is something actors are able to discuss much more in today’s arts workplace (thankfully), whereas in the past it really wasn’t taken into account. Within the theatre, there’s an ongoing discussion about trigger warnings for audience members during performances. Mark notes that trigger warnings have been a contentious issue for quite some time. Whenever individuals engage with a work of art, they take a risk. From the perspective of Studio 180’s Artistic Director, McGrinder believes the company has worked diligently to build trust with audiences, who have come to understand that the work presented will always be challenging. He further comments on trigger warnings, which I find interesting: “…it’s worth noting that the word “trigger” isn’t particularly useful in this scenario. No one can anticipate an individual’s triggers. A trigger could be a sound, a scent, or a word. It’s something linked to legitimate trauma, and I think we use the term without really understanding what it means. That’s why, when we engage in the conversation, we choose to refer to “content warnings.” Mark believes the human individual is complex, and Studio 180 is continually interested in exploring the complexities of personhood. What messages do both hope audiences will take away after seeing “A Public Display of Affection”? Studio 180 is focused on work that sparks conversation. For Mark, any artwork inevitably elicits a myriad of responses based on the audience. As the play's director, McGrinder is fascinated by how “Public Display” differs depending on the viewer's lived experiences. Readings of the play include high school students, and for them, it’s primarily revelatory. The common reaction is, “I had no idea.” However, for many, the play serves as a source of nostalgia and memory, sometimes evoking unpleasant feelings. Nonetheless, there exists a shared sense of community within the theatrical experience. Once ‘Public Display’ concludes its run, what’s next for Jonathan and Mark? Wilson is working on a multi-character play and plans to have a reading sometime in the fall of 2025. And for Mark: “Grants. And then some grants and also applying for grants. With any luck, we’ll be able to sneak in a little bit of art here and there.” Mark thought he sounded glib, but I don’t think he is at all. I’ve spoken with several artistic directors, and they are all currently completing grants. Although he cannot publicly announce anything at this time, some exciting new partnerships are in the works. Plus, the development of a handful of new scripts. That’s why theatre lovers like attending. To see some of the new stuff out there. The world premiere of Jonathan Wilson’s new solo show, A Public Display of Affection from Studio 180 Theatre, runs from March 25 to April 20 in the Crow’s Theatre’s Studio Theatre at Streetcar Crowsnest (345 Carlaw Ave., Toronto). Tickets are available at CrowsTheatre.com. Previous Next

Upcoming and future events happening in the world of theatre. Welcome to News Here in the News section of ‘OUR THEATRE VOICE’, we will let our readers know of what’s going on in other professional companies – seasons, upcoming seasons, announcements etc. News TWEED AND COMPANY THEATRE IN TWEED AND BANCROFT, ONTARIO Click Here Opera Atelier's 2025/2026 Season Click Here PORT HOPE CAPITOL THEATRE’S INCREDIBLE 2025 LINEUP Click Here London Ontario's GRAND THEATRE announces its 2025-2026 season Click Here GANANOQUE'S THOUSAND ISLANDS PLAYHOUSE ANNOUNCES ITS 2025 SUMMER SEASON Click Here

The who, what, where, when ,why and how live theatre occurs. Back PORT HOPE CAPITOL THEATRE’S INCREDIBLE 2025 LINEUP Theatre lovers and music/concert lovers, do not miss this line-up for 2025. Credit: Sam Moffatt. Pictured: Rob Kempson Joe Szekeres Port Hope's Capitol Theatre Artistic Director Rob Kempson recently shared the 2025 season line-up and has announced casting for the upcoming shows. Get yourselves to Port Hope this summer as there are some wonderful artists coming into town. Before we delve into that, Rob shared one of his visions as Artistic Director. In these uncertain times, the Capitol believes that finding stories to connect us is a responsibility of both artists and arts organizations. By supporting diverse identities, encouraging and amplifying the voices of traditionally marginalized communities, and creating substantial new strategies toward accessibility, we can ensure that the Capitol’s legacy is that of a true invitation for everyone. I like that. Rob then reported on the 2025 statistics for the Capitol and believes they are exciting. There are six Canadian plays, three LGBTQ+ writers, two world premieres, two BIPOC directors, two BIPOC writers, two Canadian musicals, and the first production of a play developed in the Capitol’s Creators’ Unit. Kempson says: “It’s a very exciting and ambitious season, and one that we’re proud of.” Under the 2025 theme A PLACE TO CALL HOME, Rob introduced the following 2025 slate: MAINSTAGE Bad Hats Theatre Production of ‘Alice in Wonderland’ Adapted by Fiona Sauder with music by Landon Doak and Victor Pokinko and directed by Sue Miner. The cast includes: Colleen Furlan in the title role, with Dave Ball, Rosie Callaghan, Eden Chiam, Christopher Fulton, Ben Kopp, Matt Pilipiak, Chelsea Preston, Fiona Sauder, Emry Tupper, and Anika Venkatesh. Performance dates for 'Alice in Wonderland' are May 16 – June 1, 2025 (I have already seen this production elsewhere and am looking forward to it seeing it at the Capitol) ‘Waitress’ based on the motion picture by Adrienne Shelly and directed by Rob Kempson. The cast includes: featuring real-life couple Kaylee Harwood and Sayer Roberts in the leading roles of Jenna and Dr. Pomatter. The ensemble features Malinda Carroll, Michael Cox, Oliver Dennis, Beau Dixon, Taylor Lovelace, Lia Luz, Clea McCaffrey, Caulin Moore, and Margaret Thompson. The live band includes Music Director Jonathan Corkal-Astorga, with Matt Ray, David Schotzko and Tami Sorovaiski. Performance dates for 'Waitress' are June 13-29, 2025 ‘Steel Magnolias’ by Robert Harling Directed by Courtney Ch’ng Lancaster. The cast includes: Raquel Duffy making her Capitol Theatre debut as Truvy, with Belinda Corpuz as Anelle, Carolyn Fe as Clairee, and Brenda Robins as Ouiser, with real-life mother-daughter pair Deborah Drakeford as M’Lynn and Charlotte Dennis as Shelby. Performance dates for 'Steel Magnolias' are July 18-August 3, 2025 ‘Rez Gaz’ by Cale Crowe and Genevieve Adam. Music Supervision by Jeff Newberry and directed by Herbie Barnes. A homegrown musical created by extraordinary musical talent Cale Crowe of Alderville First Nation and Genevieve Adam of Cobourg, the world premiere of Rez Gas will be directed by Young People’s Theatre Artistic Director Herbie Barnes, featuring John Wamsley, Vinnie Alberto and Dillan Meighan Chiblow as a trio of old friends at the centre of the action. The ensemble also features Cheri Maracle, Michelle Bardach, Jonathan Fisher and Emma Rudy. The band will be led by Music Supervisor Jeff Newberry, and features Haneul Yi and Emry Tupper. Performance dates for 'Rez Gaz' are August 22 - September 7, 2025. THE ANNUAL HOLIDAY PANTO (what we’ve all come to enjoy during the Christmas season) ‘Hansel & Gretel: The Sticky and Sweet Panto’ by Rob Kempson Musical Arrangements by Jeff Newberry and directed by Rob Kempson November 21-December 28, 2025 SECOND STAGE SERIES ‘Handsome But Charmless’ Created and Performed by Kyle Golemba with music direction by Adam White June 3-8, 2025. (I’ve seen Kyle’s work recently in BED & BREAKFAST and am looking forward to his show billed as a ‘bad review becoming a brilliant one-man show.) ‘The Newfoundland Project’ created and performed by Shipyard Kitchen Party July 3-13, 2025. Green Light Arts ‘Let Me Explain’ created and performed by Izad Etemadi Directed by Matt White August 12-17, 2025 CONCERTS Billboard in Concert ‘The Power of Women & 1986’ Conceived by Jeff Newberry and Rob Kempson March 8-9 & September 27-28, 2025 ‘How We Got to Jersey: A Tale of Two Frankies’ Created and performed by Jeff Madden and Adrian Marchuk Musical Direction and Arrangements by Mark Camilleri October 24-26, 2025 (Finally, I get the chance to attend this concert. I had the opportunity to interview Jeff and Adrian earlier this year but could not attend the show. I'm not going to miss this one at all.) The season announcement culminated with many people renewing their subscriptions in the lobby immediately following. I also overheard many wanted to make a financial donation to the theatre. What struck me the most about this evening? Residents from Port Hope to Durham Region and quite a way east support the Capitol for its professional, quality productions. If you would like to learn more about Port Hope’s Capitol Theatre, please visit www.capitoltheatre.com . You can find out more about donating to the theatre, purchasing a 2025 subscription and PLAYING A PART in the years to come. To follow the theatre on its social media: Twitter: @capitolporthope Instagram: @capitoltheatreporthope Facebook: Capitol Theatre Port Hope #Capitol2025 Previous Next

The who, what, where, when ,why and how live theatre occurs. Back TWEED AND COMPANY THEATRE IN TWEED AND BANCROFT, ONTARIO Tweed & Company Theatre Makes the Top 100 List of Festivals and Events in Ontario for the Fourth Time! Credit: Courtesy of Tweed and Company Theatre. Pictured: Tim Porter and Emily Mewett Press Release In Hastings County, Tweed & Company Theatre is celebrating a major achievement - They’ve been recognized as one of Ontario’s Top 100 Festivals and Events by FEO for the third consecutive year in a row and for a fourth time overall. They were first awarded the recognition in 2018, then again in 2023 and 2024. This honour was announced at the Festivals & Events Ontario Awards Gala held on February 26th in Kitchener, marking the final evening of the association's annual conference. This prestigious distinction was accepted by Co-Executive and Artistic Director Tim Porter and Co-Executive and Managing Director Emily Mewett, who attended the event on behalf of the company. “We’re incredibly proud to be named a top 100 provincial event once again,” says Tim Porter. “It’s a testament to the hard work and dedication of our team, and it motivates us to continue providing top-notch live performances for our audiences in Eastern Ontario. And to be recognized alongside other major events is a huge honour!” The theatre is about to embark on its 17th season, which is their biggest one yet. “We have some large-scale musicals lined up, plus a full year of youth performance programs and camps, and tons of one-night-only concerts, comedy shows, magic shows, films…there’s always something playing in our spaces!” Porter explains. The 2025 season’s major productions are Bad Hats Theatre’s Alice in Wonderland in July, Jersey Boys in August, The Rocky Horror Show in October/November, and Hook: A New Family Musical in December. All shows will be performed at their two venues, the Village Playhouse in Bancroft and the Marble Arts Centre in Tweed. The latter has recently undergone a massive renovation over the last year, which has just been completed. “We’re so excited to welcome audiences back to the Marble Arts Centre, they are truly going to be blown away.” Porter adds. The renovations include a massive atrium addition that’ll serve as a meeting space, lobby, and art gallery. Plus the stage and backstage area have also received huge upgrades, making the centre an impressive cultural and performance hub. The theatre is run by a hard-working administrative team and a dedicated Board of Directors. They also have over 100 volunteers and hire 50+ seasonal artists and staff. Since 2023, they also operate a third venue, the Tweed Outdoor Stage where audiences can catch delightful concerts in Tweed Memorial Park next to Stoco Lake. Across all venues, they welcome more than 20,000 patrons annually. “We always strive to put Hastings County on the map and encourage people to visit the region,” says Porter. “The theatre continues to drive tourism and economic development in the area. A community thrives when they have access to arts and culture and we look forward to even more growth in the years ahead.” Offering some of the most accessible ticket prices in the country, Tweed & Company wants everyone to come to the theatre! Be sure to reserve your tickets or season passes before they sell out. Call the box office at 613-478-6060 or visit www.tweedandcompany.com to secure your tickets today! Previous Next

The who, what, where, when ,why and how live theatre occurs. Back London Ontario's GRAND THEATRE announces its 2025-2026 season A THRILLINGLY GRAND 2025/2026 SEASON Courtesy of the GRAND THEATRE. Press Release What a doozy of a theatre showcase for the upcoming year. London, Ontario’s Grand Theatre has just announced its 2025/2026 slate of productions and directors. It’s cause for celebration to bring people to the Grand and to see these shows. The Grand calls itself: World Curious, London Proud. I believe this season will live up to that label. The 2025-2026 season: THE PLAY THAT GOES WRONG directed by Dennis Garnhum running October 14, 2025 – November 1, 2025 with opening scheduled October 17, 2025. THE GRAND THEATRE PRODUCTION OF DISNEY’S FROZEN in co-production with THE CITADEL LTHEATRE directed by Rachel Peake running November 18, 2025 – December 28, 2025 with opening night November 2. 2025. PRIMARY TRUST a co-production with CROW’S THEATRE directed by Cherissa Richards running January 14, 2026 – February 1, 2026 with opening January 17, 2026 PIAF/DIETRICH, directed by Rachel Peake and running February 17, 2026 – March 7, 2026 with opening February 20, 2026 THE IMPORTANCE OF BEING EARNEST, directed by Alastair Newton and running March 25, 2026 – April 12, 2026 with opening March 28, 2026 COME FROM AWAY, directed by Julie Tomaino and running April 28, 2026 – May 24, 2026 with opening May 1, 2026. In the heart of downtown London, Ontario lies one of Canada’s oldest regional theatres and a leading cultural hub of today: the Grand Theatre. Under the leadership of Artistic Director Rachel Peake, and Executive Director Lyndee Hansen, the Grand proudly brings diverse, relevant, and original stories from around the globe – and around the corner – to London and the Southwestern Ontario region. The not-for-profit, charitable arts organization is committed to developing, producing, and premiering original stories through its COMPASS New Play Development program. The Grand is also a centre for arts education, as demonstrated through our flagship program, the annual High School Project, through apprenticeships and placements, and by bringing students to subsidized student matinees. For more information, visit: grandtheatre.com. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Sexual Misconduct of the Middle Classes' by Hannah Moscovitch Now onstage at Gananoque's Firehall Theatre, Gananoque Credit: Randy deKleine-Stimpson. L-R: Romi Shraiter and Jonas Chernick Joe Szekeres A boldly calculated risk in tackling this edge-of-the-seat drama. It’s a sexy production at the Firehall. Yet, there’s nothing sexy about the implications of the characters' actions. Gananoque’s Thousand Islands Playhouse presents Hannah Moscovitch’s daring two-hander ‘Sexual Misconduct of the Middle Classes.’ Written in 2020 and winner of the 2021 Governor General’s Award for English language drama, the bold script is told from the third-person narrative viewpoint of Jon (Jonas Chernick), a lauded and well-respected college professor. He’s slowly completing a novel about turn-of-the-century lumberjacks while teaching and grading assignments. Jon is twice divorced and separated from his third wife. He’s filled with self-hatred. He continually refers to himself in the third person while sharing his emotional myriad of rambling thoughts running turbulently through his head. Throughout all this personal upheaval, Jon continues to teach and try to go about his business. The arrival of first-year student Annie (Romi Shraiter) in Jon’s class alters his life. She wears a blood-red coat. He develops an obsessive interest in this young woman who lives down the street from his house and passes by it daily on her way to and from the college. One day, Annie is locked out of her apartment. She hurts herself trying to crawl through the window and is severely cut. She shows up at Jon’s house, and he assists in helping her clean the wound. This encounter dangerously notches up the sexual tension. The two begin a tempestuous and consensual affair in a matter of days. Even though Jon knows how highly unprofessional his behaviour has become, he embarks willingly, which could have dire consequences for his personal life and career. I saw the premiere of this production in Toronto and had written that Moscovitch viscerally overturned the #metoo movement on its head with a sizable goose egg bump. This ‘Sexual Misconduct’ still does that. It remains an uncomfortable story of power dynamics dealing with the abuse of trust between a teacher/instructor and a student. I finally see more behind Moscovitch’s script regarding narrative points of view. The uniqueness of Jon referring to himself in the third person appears rather timely and odd (especially in our woke world of preferred pronoun usage). To refer to oneself in the third person means to distance oneself. To refer to oneself in the first person implies there is a proximity. If something is distant, there is no need to recognize its closeness. Implications of actions can be avoided in the third-person narrative. These implications are not nearly as immediate as if the first-person narrative is used. Because Jon refers to himself in the third person, he does not have to accept full responsibility for his actions. Director Krista Jackson reflects this recognition in her vision of the play, but she’s inspired by going one step further. She skillfully maneuvers Annie’s quiet presence everywhere on the stage. If she’s not seen physically, Annie’s voice is amplified from the standing microphones on the stage. She's gracefully swanlike when she must exit the stage, and my eyes watch as she leaves. Annie will always be that grimly felt reminder of Jon’s inexcusably unprofessional actions that cannot be ignored this time around. Jackson’s creative team of artists behind the scenes helped achieve this intense vision. Michelle Bohn’s set design effectively resembles a strategy game board. Jon’s college office is on risers and appears to be the apex. Stage right of Jon’s desk (which also doubles as a hotel bed in another scene), there are books galore piled high, nearly right to the ceiling. The floor design is intriguing. There appears to be an ‘X’ with patches of artificial grass in the spaces between. However, where the two lines meet in the letter ‘x’ centre stage becomes a crossroads for Annie and Jon. That crossroads becomes an empty pit of torrid and dynamic sexual passion with a sense these events will not end well. And what do you know? They don’t. The periodic use of shadowy lighting design by Louise Guinand continues to notch up the heated intensity. There are two costume items Bohn incorporates which catch the eye. Annie’s blood-red coat indeed represents a fiery passion within the woman. Additionally, her skirt and blouse are shades of red at one point. A nice touch. The other item is Jon’s belt. At first, it caught my eye as it wasn’t placed in Chernick’s waist pant loop and kept flopping. And then it dawned on me why this works for Jon’s character – the man has probably lost so much weight and is not eating because he is stressed. Now, it makes sense. Anita Nittoly’s work as Intimacy Director must be courageously acknowledged. Those moments of implied sexual chemistry and acts between Jon and Annie strikingly capture what’s going on; however, as I had written earlier, there is nothing sexy about this ‘Sexual Misconduct.’ It’s misconduct on both characters, as Moscovitch’s title clarifies. Jonas Chernick and Romi Shraiter are the reasons to experience this Thousand Islands production. They deliver brave and daring performances and remain fully committed to the believable reality of the moment under Jackson’s subtle direction. There are many moments where Chernick’s Jon remains clearly in control. He senses and knows when Annie is coming on to him. Chernick’s Jon is the first to act on his animalistic response, while Shraiter’s Annie follows in kind. There are even moments of Jon gaslighting Annie. There is one extraordinary moment when Shraiter’s Annie grandly pulls the power of the moment from Chernick, and she remains in control. At one point, she silently and determinedly exits from Jon, not saying a word, with her head held high and a look on her face which beamed, ‘This is not over.’ Chilling to hear the silence at this point, but it is a highlight because Annie could destroy everything about Jon. Final Comments: ‘Sexual Misconduct’ is another piece that should be discussed. I know the Playhouse has held post-discussions with actors following performances. I hope there is one for this production. A reminder that the play is not for impressionable youth. This production is, at times, unsettling. It does ask questions. But that’s a sign of the impact of a good play when questions are raised. It’s worth a visit to the Firehall Theatre. Running time: approximately 90 minutes with no intermission. The production runs until October 1 at the Firehall Theatre, 185 South Street, Gananoque. Call the Box Office at (613) 382-7020 or visit www.1000islandsplayhouse.com for tickets. THE THOUSAND ISLANDS PLAYHOUSE presents ‘Sexual Misconduct of the Middle Classes’ by Hannah Moscovitch. Director - Krista Jackson Set & Costume Designer - Michelle Bohn Lighting Designer - Louise Guinand Sound Designer & Composer - Sara Jarvie-Clark Stage Manager - Loralie Pollard Intimacy & Fight Director - Anita Nittoly Performers: Jonas Chernick and Romi Shraiter Previous Next

A talk with a professional artist about their career. Back Antoine Yared Theatre Conversation in a Covid World Tim Leyes Joe Szekeres I’ve seen Antoine’s work in some extraordinary productions in Toronto and Montreal over the last couple of years. He has appeared in Soulpepper’s production of a wonderful adaptation of ‘A Christmas Carol’ as the young Ebenezer. Other terrific productions where I’ve seen Antoine’s work was Groundling’s ‘King Lear’, Montreal Centaur’s ‘The Last Wife’, and The Stratford Festival’s ‘The Merchant of Venice’. Antoine first studied theatre at Montreal’s Dawson College Professional Theatre Program and then obtained his Bachelor of Fine Arts in Theatre Performance at Montreal’s Concordia University. He then attended the Stratford Birmingham Conservatory for Classical Theatre. Some very fine credentials here. We conducted our interview via email as Antoine was one busy guy with a number of auditions this past week. Thank you so much for the conversation, Antoine, and for allowing us to hear your voice: 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? To be honest, 2020 was a rollercoaster of a year. A ride from which you couldn’t get off, a defective one, where the whole thing grinds to a screeching halt while you’re in the middle of one of those loops, and you’re left hanging upside down, with all your pocket change (jobs and savings) falling away from you, never to be seen again… a dramatic way to say I had some ups and downs. There was a period of three weeks, early through the first wave where I suddenly developed anxiety attacks, thought I might die of a heart attack at any moment…I didn’t, I got over that, somehow i.e. I stopped smoking and drinking four litres of coffee every day. I started running, daily, and then the second wave hit, and I stopped running, I gained another ten pounds and I started smoking again. So here we are twenty pounds later and still smoking like a fiend. I cried, I laughed, I yelled at the tv a lot. I thought about going back to school. I considered going into real estate (for 45 seconds), but I also got my first tv gig (yay!) and I watched one of my best friends win an Emmy. It’s been a lot. Of everything. Even a bit of theatre, for six blessed weeks. My immediate family thankfully is doing great, everyone is safe and still relatively sane, which really is all that matters at the end of the day. How have you been spending your time since the theatre industry has been locked up tight as a drum? I went through many phases. I spent a lot of time early on, during the first wave, feeling guilty for not using this forced “time-off” in a creative way that would channel this experience into meaningful art. I felt uninspired and numb. And useless. The lockdown brought out old fears I had, about the meaning of my life, and the purpose of my calling if my calling was not called for anymore. I had a project planned for the months of August and September in Montreal. A bilingual co-pro between the Centaur Theatre and Theatre D’Aujourd’hui. It obviously got postponed but, in a surprising turn of events, the two theatres decided to still have us rehearse the play, get it as show ready as possible, so when the time came to mount it in 2021, we wouldn’t need to start from scratch. They figured there wouldn’t be much turn around time if and when the government gave the green light for theatres to reopen so they wanted us to use that time while it was still allowed (mid late summer of 2020 when daily cases were relatively low). We didn’t get off book, but we blocked the entire play, went through many rewrites, and got much of the audiovisual elements (of which there are a lot) incorporated during those six weeks. We basically got through tech week. It was a strange experience, being back in a rehearsal space in Montreal, masks and all, working on a piece, hoping but not knowing if it would ever see the light of day. I certainly was grateful for it, regardless of the outcome. I needed that creative release after months of feeling idle and unproductive. Also, having theatre in the ICU meant that I was able to finally give film and tv a chance. I managed to book a few things. That was nice finally to break the ice. 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 would describe it as nightmare from which there is no escape because there’s no waking up from this. We’re in this metaphorical mess of a maze and try, as you might, the exits have yet to be located. And I’m not sure we’re ready or deserving of an exit, yet. I’m not sure. The escape, if there was any to be found, was introspective and inward. The rest was distractions. But really, with the magnitude and multitude of historic events that took place this year, not only south of the border, but everywhere really, there was an abundance of opportunities for reflection. A sort of “mise au point”, a chance to re-examine and then reposition yourself in relation not only to yourself, but to the past, the present, the future and to the things you took for granted, on the macro and the micro. 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 have no idea. I certainly hope we won’t have to wait till 2022. As I said earlier, I’m supposed to be doing a show August 2021, but right now your guess is as good, or moot, as mine. It seems to me it’ll all depend on the vaccine rollout, the number of cases going down, and whether or not the government and people feel safe indoors. I remain cautiously optimistic. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? I think it might be a little too soon for me to tell you how Covid has transformed me, as I have a feeling I’m still in the process of said transformation. As for what it’s done to my understanding of theatre and where it’s headed, it has reinforced my belief that we need it now more than ever. We are starving for the communal, for a space where healing can happen, where reconciliation is something that can be observed, considered, and felt before experienced, a space that can nourish, replenish and reinvigorate our imagination and our humanity. A gym for empathy. We’ve been glued to our phones, tablets, tvs, screens, books, and honestly, I’m not entirely ungrateful for that, if only because I have a feeling, once things are deemed safe enough, that people will truly want and appreciate the access to shared experiences again in live performance. Whether this takes the form of escapist entertainment or cathartic art is up for grabs. The latter does not necessarily exclude the former, and I think there will be a need for both. The late Zoe Caldwell spoke about how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre? I agree with Zoe Caldwell. I certainly have felt a lot of danger and a lot of anger during this time. I have no doubt it will influence my work when I return. I’m hungry for work, itching to be back in a theatre, creating, collaborating, unpacking this experience we’ve all been through, and using it as fuel for art. I think a lot of the anxiety I’ve been struggling with these past few months is a symptom of all this bottled-up creative energy I haven’t been able to release. I want to be of service, and I want to do it on stage. 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? It sure has. I think it’s made a lot of us more sensitive, a lot more recognisant, of the privileges we used to take for granted. The theatre community in North America at large has had a real wake up call in terms of the disparities facing visible minority arts practitioners and, while I do fall into that category, I am also able to recognise that I have had my share of privileges too. My parents left Lebanon in 1990, when I was five, at the tail end of a civil war, to give my siblings and me a chance at a better life, and there is no doubt in my mind that the life I have lived so far, while not without hardships, struggles, and unfairness (whose isn’t) has still been one full of possibilities. Everything is relative. There is still much work to be done in terms of giving space to people who don’t take up a lot of it. We were all due for a prise de conscience, individually and collectively. If there’s one good thing to come out of this pandemic, I hope it’s a willingness and an active effort to make room for others, to sit at the same table, at the same time. Connect with Antoine on Instagram: Ant1.Ya Previous Next

What makes a comedy work - plot, characters, setting and theme. Back Is God Is by Aleshea Harris, Canadian Premiere Marilyn & Charles Baillie Theatre (formerly Berkeley Street Theatre) Marilyn & Charles Baillie Theatre (formerly Berkeley Street Theatre) Joe Szekeres At times Tarantinoesque while at other times spaghetti westernish, Aleshea Harris’s ‘Is God Is’ fiercely tackles the quest for retributive justice One of the elements of live theatre that I have so dearly missed is how its immediate visual impact can deliver such intense emotions that have left me breathless. These visual impacts can say so much in so little and can say so much in a lot. The visual impacts of Aleshea Harris’s opening night ‘Is God Is’ became a hell of a jarring ride that I so desperately wanted to finish watching because I became invested in the lives of each of these characters, their warts and all, and I wanted to see what happened to them. And just like in any Quentin Tarantino film or the Sergio Leone 60s spaghetti westerns, things don’t always end up the way they should. And that’s the appeal of these two aforementioned film genres which made people go to the movies. And that’s why you should get yourselves to ‘Is God Is’, a blistering mythic tale of a quest to right wrongs that were committed. Director Mumbi Tindyebwa Otu’s programme note explains some important elements of which we are not to lose sight: “‘Is God Is’ takes the experiences of Black women and Black people and mythologizes them and creating a story that is …fuelled with a propulsive action that most certainly brings this story to life.” Otu’s creatively innovative and imaginative vision thrusts this quixotic tale to become a powerhouse and provocative thriller with first class performers who seize their scenes with great aplomb. But underneath this layer lies a societal issue of importance to remember. A reminder though this opening night performance was difficult both to watch and to hear as there are some implied nasty moments and some true to life actions where violence occurs. Yet when I shut my eyes momentarily because I didn’t want to envision what was happening, merely hearing and listening to the action just heightened the scene exponentially in my mind even further. There are disconcerting times throughout the 90-minutes where I found myself either laughing or smiling and then recoiling wondering why that was amusing. For me, that’s the sign of good drama when we can be made to feel uncomfortable in what we are watching. And we keep watching for that very reason. Twins Racine and Anaia (superlative performances by Oyin Oladejo and Vanessa Sears) receive a letter to visit their mother identified as She (tour de force work by Alison Sealy-Smith) who never leaves her hospital bed as she suffers from burned singed flesh caused by her ex- husband (unnerving work by Tyrone Benskin) identified as Man who has now re-married. The matriarchal order comes from She: “Make your Daddy dead. Dead. Dead. Dead” since he is responsible for both her physical burned scars and theirs when the twins were babies. Racine and Anaia literally take their mother at her words and the carnage quest for revenge begins from the Dirty South to the Hollywood Hills. Letting no one stand in their way, Racine and Anaia uncover the secrets of the mysterious fire that tore their family apart decades earlier. ‘Is God Is’ though is not just merely a story simply of revenge. It has festered for years caused through familial and societal neglect and abandonment whereby the experiences of the play’s characters become “unapologetic and free” as Director Otu stated in her Programme Notes. Remarkably impressive supporting work both on stage and behind the scenes make ‘Is God Is’ an unforgettable production. As sleazy, drunken lawyer Chuck Hall, Matthew G. Brown creepily made my skin crawl. Sabryn Rock as Man’s second wife, Angie, inherently just knows something is not right but continues living the life she knows. My Co-operative Education student and invited guest laughed out loud at Angie hollering at her two sons, Scotch (Savion Roach) and Riley (Micah Woods), to help bring the groceries up from the car as she said that is true to life what it’s like in trying to get young boys to help with the groceries. Again, my Co-Operative Education reiterated how she has real personal experience with her younger brothers. In speaking further about Scotch and Riley, I smiled in recognizing the ironic and humorous connection playwright Harris makes between Racine and Anaia and Man’s twin sons with Angie. A few moments of needed comic relief for me in this scene where Roach as Scotch swimmingly eats up his moment in proving he’s going to be the next rad rap writer, but realistically isn’t. Micah Woods’s amusing fascination with making and eating arugula salad continues to offer once again that much needed few minutes to laugh before the story continues its narrative a la Greek mythology. Raha Javanfar’s lighting design beautifully and stark neon and white fluorescent glows both heighten while subtly underscoring dramatic moments, when necessary, especially when there is the suggestion of blood, oh so much blood. Ken MacKenzie’s functional set design of the two gates worked well in framing the story like a book. As the audience is introduced to the various chapter titles of this myth, the gates both open and close like a child’s storybook as the sisters travel in meeting people. Laura Warren’s Projection Designs of the various locales effectively introduced the locale setting and the title of the chapter. Ming Wong’s costumes suitably delineated the various characters and their idiosyncrasies. Final Comments: Sometimes aggressively assertive in its storytelling with moments of essential humour, the strength of this ‘Is God Is’ lies in its denoting the voices of marginalized individuals who so desperately crave to be heard in a world that doesn’t appear to listen and hear society’s inherent problems and issues. Running time: approximately 90 minutes with no intermission. Covid protocols in effect at the theatre Production runs to May 22 at the Marilyn and Charles Baillie Theatre, 26 Berkeley Street Toronto. For tickets, visit www.canadianstage.com or call 416-368-3110 IS GOD IS by Aleshea Harris Canadian Premiere An Obsidian Theatre Company, Necessary Angel Theatre Company and Canadian Stage Co-production Directed By Mumbi Tindyebwa Otu Assistant Director: daniel jelani ellis With Tyrone Benskin, Matthew G Brown, Oyin Oladejo, Savion Roach, Sabryn Rock, Alison Sealy-Smith, Vanessa Sears, Micah Woods Stage Manager: Emilie Aubin Assistant Stage Manager: Ada Aguilar Lighting Designer: Raha Javanfar Set Designer: Ken Mackenzie Sound Designer: Thomas Ryder Payne Costume Designer: Ming Wong Video Designer: Laura Warren Movement Director: Jaz 'Fairy J' Simone Casting Consultant: Hannah Antaki Previous Next

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

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

A talk with a professional artist about their career. Back Kaylee Harwood Theatre Conversation in a Covid World Kristine Cofsky Joe Szekeres A big thank you to artist Kaylee Harwood who follows me on Twitter. I saw the National Tour performance of ‘Beautiful: The Carole King Musical’ in which she appeared. Kaylee performed for two years with the National Tour. Other appearances include ‘The Sound of Music’ (Western Canada Theatre), ‘Radio City Christmas Spectacular starring the Rockettes’, ‘The Jazz Singer’ (Harold Green JTC), ‘Jesus Christ Superstar’ (Broadway/La Jolla Playhouse/Stratford), ‘Camelot’ (Stratford) and two seasons at Shaw Festival. We conducted our conversation through Zoom. Thanks again, Kaylee: 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? You know, it’s taken awhile to get to the point of surrender and the waiting and learning to look forward to things not surrounding the theatre, the openings, start of rehearsals, closings, tech days, all those things that have anchored my life for the last decade and have given it structure. I’m doing okay, to answer your answer. Everyone is well in health with my partner and I and our immediate families. I’m really grateful for that. My partner and I have been a bubble of two throughout this whole time. His family and my family are out in BC. I have family in Ottawa. None of us have seen our family in over a year. That’s not entirely unusual as we have chosen to live on this side of the country, and we don’t get back to BC that much. Months can go by where it adds up to over a year before we get back out there. Knowing that we’re not being able to see our families has been hard. How have you been spending your time since the theatre industry has been locked up tight as a drum? As I was saying before about the structure of the eight hour days for the rehearsal period into the twelve hour tech days into the run of a show has been the run of the cycle for me for over twelve years now. I’ve grown really accustomed to this especially when I was on tour on a weekly cycle of moving every Monday. So, this time has been a real 180 for me. At first when things shut down before we knew how extended this would all be, I certainly was in phase of tackling all those projects phase that I said I would always do. Early on, we bought paint and I painted all the things I said I wanted to paint everything in sight. It was becoming a bit of sanitorium in our apartment in Toronto because everything was white. Once I ran out of paint, I moved on to crafting. My partner and I, we were supposed to have a spread out year from each other so we were using the time to enjoy being together, to watching our favourite shows. With the crafting, I was really into making embroidery which I had done as a kid. I used to craft a lot with my hands. I then started making plant hangers, macrame plant hangers. My parents were around the first time the hangers were in vogue. I never got to see them the first time around. We had so many house plants in our Toronto apartment. We were really messy. It was like, ‘We don’t have surface anymore.” So we started elevating the plants. I made so many plant hangers that I had to start giving them away. Then I started trading them in Toronto for many things. I trade them for household items that I needed. It started to pick up steam and then people were giving my name to other people. And then all of a sudden, I was selling my hangers and a couple of months ago I started a business of Retro Décor. (website at the end of the profile) It has been a really fun adventure. I never had an actual product to sell before. I’ve always lived an artistic life, but I’ve never had something that people can purchase from me that I can give them. I’ve been mailing them all over the place. My business is called High Strung Retro Décor. Early on, my partner and I were journaling daily because this is hopefully once in a lifetime experience. We took it seriously. In early March, I’ll never forget the feelings and sights of Toronto at that time and what it looked like to see these bare, empty streets. We lived right in downtown. It’s neat to look back on the journal now. We stopped doing it religiously a few months ago, but we took a page and looked at it and it’s neat. 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 say it’s been an escape. I think it’s been a tension in so many ways, a tension of holding on versus surrendering and expecting and disappointment. You know, I also don’t agree that theatre’s an escape with all due respect to Hal Prince. The time of Covid has been a digging deeper rather than an escape. When I think of an escape, I think of a distraction and forgetting what you have at home and leaving it at the door. I don’t think that’s been Covid. There have certainly been moments with the news of tragedy and disappointment has been so much that I’ve felt the need to escape. Whether that’s through the books I’ve read this year or the walks I’ve gone on and just leave the phone at home to experience life. I’ve had a bit of work during this time on Zoom and the practice of theatre, even in this strange medium when I’m in a Zoom room for eight hours a day, feels like an escape from Covid. My practice of theatre is reminding me about community and about engagement in a way that it is not a constant reminder of the tragedy of the world that I feel Covid has just exacerbated. 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 won’t believe I’m back working in theatre until I’m taking my curtain call and bow closing night. That’ll be a sign. I think I held on for a long time early on with the cancellation notices that were rolling out. With each thing that got cancelled, each heartbreak I had to go, “Okay, the curtain’s down on closing night I’m not going to believe I was in a show.” (and Kaylee and I both break out in laughter) Early on, it was by July (this was last year), by July certainly we’ll be back. And then it was early April cancellation notices were being given. And now we look back and think why would we have thought July or September would have been dates for us to return. When I see any sign that theatre is coming back, I’ll be dancing for joy but as for me, even if a contract is signed, I’ll still be waiting to see. I want everyone to be able to return safely and for audiences to feel welcomed but also taken care of. I don’t want to rush anything. Even though I’ve had to confront the injustice of how certain things can be open while others have to remain shut, I understand the motivations and financial interests, it just feels like artists get the rough go of it again. 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? As for my understanding of theatre and transforming, my understanding of theatre hasn’t changed too much throughout this time. I still believe in the vitality of the stories that we tell and the reasons we tell them. I feel there’s a refinement in my choices as a result of Covid. Nothing feels arbitrary anymore. I fear that I have been changed in a way regarding relationships in that I want to embrace the old way of things. Just the day before shutdown I was in a workshop in Toronto. It was hugs, long goodbyes, talking closely and singing in each other’s faces and for so many obvious reasons we can’t do these things right now. At the news of all this, we still went out to a restaurant for drinks and food. By that point it just hadn’t hit. I miss so many of these things. I miss even taking transit right now. I miss my gross dirty gym with loud people grunting, but I’m not going to be the first person to go back in and run on a treadmill surrounded by others. I want to believe that I will trust again and be able to be in close proximity to people again. But right now, I haven’t touched another person except my partner for all these months. We’re all going to need a moment when we are able to enter a rehearsal hall again, to hug and touch another person. The late Zoe Caldwell spoke about how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre? I agree. I do think that danger is an interesting word to use. I don’t think anyone should ever feel physically in danger. Coming up in this industry, I’ve seen some of my favorite performers and shows teetering on the edge of unpredictability even though watching or working with them, I feel safe in what we’re doing for the environment that has been created already. Danger is a tricky word, and I know what Zoe Caldwell is going for as I’ve felt it as an actor and theatre lover when there is danger in the work. I have absolutely felt danger during this time of Covid. I was supposed to get on a plane a couple of days after the shutdown to go work in Pittsburgh. I was supposed to go, and it didn’t get cancelled until far too late. I didn’t end up going. I had the bag packed already but I was thinking it through, I thought it’ll be fine. And then the NBA shuts down. I still thought it’ll be fine. And then Broadway shut down. Well, I’m still going to go even through Broadway shut down. I can’t even believe I went through these series of thoughts. I remember thinking that if I had to fly the day Broadway shut down, I probably would have got on that plane and gone. Not to say I would have become sick, but just the thought of how timely and lucky I had that cancellation before I got too far away from home. I have so many stories of people who were on the road or sublet their houses and are trying to figure out how to get home. I’ve absolutely felt danger but also grateful that it hasn’t been far more serious than it could have been. I feel like in my work everything I’ve experienced informs what I do so yes Covid has influenced my work and who I am and how I’ll move forward. I don’t know how exactly that will manifest. I don’t think there is a literal way that it will. Certainly, the online work I’ve done this year, the noise of the BLM protests in downtown Toronto (I lived right on Bay Street) and the noise of the protestors moving up was incredible. To be in the midst of working on something with the noise outside, my heart was exploding from everything that was happening in the world. It as so present. It wasn’t as if I could turn off the television or the news and it goes away. It’s everywhere. And it’s the people in the Zoom boxes as well because they’re all dealing with this in their own way too whether it’s someone they know who is ill, or someone fighting for their own rights or wanting to be marching. The pull of all this stuff going on, and while we’re on Zoom we’re making stories and we’re trying things out. We’re making each other laugh, and we’re crying and we’re empathizing and exorcising all these things that are coming up for us. I think it’s inevitable Covid will influence us and our work no matter where we are in the world. 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? Hmmm…. I want to continue being sensitive of everyone’s boundaries. That’s been a real learning process for me this year of setting my own boundaries and my own comfort levels. It feels so life or death in every moment, right, that I’ve had to feel and establish my own boundaries and respect others. At the same time, I have to forge and refine my own feelings and thoughts and ways I want to live in the world. There’s been a real refinement for me in the things I care about, the causes I care about, and the things I will tolerate. I think in our business everyone’s voice matters, which it absolutely does, but the toleration of intolerance? I can’t stand intolerance. I do feel like everyone’s voice ought to be heard, yet there are voices that are intolerant that I don’t want to continue listening to and give platforms. Why tiptoe around these things? I don’t claim to know anything about anything but just my own life. And yet, there ‘s been a honing in on the things I really care about in the last year unlike any other time before. I want to bring that into my work, into my practice, my daily life and continue that journey. 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? Well, here’s where I agree with Hal Prince. I saw the In Memoriam Lincoln Centre tribute to Hal Prince. It was an extraordinary exhibit at the Lincoln Centre. I do think my curiosity about human nature has really been piqued during this time. I’m always, as a performer and actor, curious about motivations and curious about other people’s lives and their journeys or stories. During this time, the curiosity for me has been about why does that seem like it’s okay to you, or why does that seem harmful to you? We the people are making decisions and moving about the world and I don’t think there’s a ‘one size fits all’ solution for debates about issues that have surrounded Covid. This is just a mind exercise and practice, but I try to take both sides in every debate to try it on for size. My curiosity has definitely been piqued to different people’s handlings of issues as a result of Covid. When I return to the theatre, I don’t want to make any grand declarations as I believe I’ll carry this personal curiosity to my work as an artist. Not all of us are going to comfortable with certain boundaries, but that’s our responsibility to understand as we move forward. As artists we will have to ask in our curiosity what another artist is comfortable with, and re-establish those things for ourselves and in our workplaces. So often on stage, in a traditional proscenium setting, we can think of the audience as one entity, as one unit. We also have to remember the unit is made up of so many parts, that every part brings their own experience. They’ve lost people whom they have loved during Covid; they’ve experienced their own sickness or frailty during this time. I want to keep that in mind as an artist as there are so many viewpoints. To connect with Kaylee: @kaylee.harwoodTwitter @kayleeharwood. Her personal website is www.kayleeharwood.com . To learn more about Kaylee’s business ‘High Strung Retro Décor’, visit Instagram: @highstrungretrodecor OR visit SideBiz Studio at https://www.sidebizstudio.ca/store/high-strung-retro-decor/ Previous Next

What makes a comedy work - plot, characters, setting and theme. Back Three Women of Swatow by Chloé Hung Tarragon Theatre Extraspace Tarragon Theatre Extraspace Joe Szekeres These ‘Three Women’ offer surprise, suspense, and blood…oh, so much blood! I don’t believe I’m giving away any plot spoilers here for the world premiere of Chloé Hung’s ‘Three Women of Swatow’. Tarragon Theatre’s press releases speak about the oodles of blood so at least these trigger warnings have been made explicitly for future audiences. Tarragon describes ‘Women’ as a ferocious comedy, and yes there are moments where I found myself laughing and smiling at some heinous events when I know in reality this is nothing to laugh about when we realize what’s going on in the plot. It dawned on me halfway through this 80-minute riveting production where I bring some personal context as well, and it’s here where there may be a spoiler: I live in the Durham Region where the Adam Strong case shocked the city in which I live. If you are going to attend ‘Three Women of Swatow’ and don’t know about this local case, I would strongly recommend not to read about it until you have seen the play. A ferocious comedy is a good way at least to begin the conversation about ‘Women’. I’m going to go one step further and say the play’s moments of comic savagery and darkness may be troubling to some, but as Artistic Director Mike Payette and Managing Director Andrea Vagianos state in the programme: “How we have all been craving humour in the dark moments of the last two years.” Yes, indeed, we need to laugh sometimes even in the most bizarre of circumstances. It is for this reason ‘Three Women of Swatow’ becomes highly watchable, and I would recommend audiences to see it. This three-member tight ensemble cast offers viciously delicious performances. As the Grandmother and butcher, Carolyn Fe becomes enigmatically confrontational as the story progresses where we learn more about what her life was like as a young girl in Swatow, China compared to the unique circumstances in which she now finds herself with Daughter and Granddaughter. Many lines from Fe are beautifully used either as a nasty zinger or a double-edged commentary on the role of Swatow women. One occurred where Fe orders the other two to clean something up. Chantria Trim is the vegetarian Daughter whose troubled marriage became shocking for me to see at her first appearance and noticing the dark bruises around her neck. Trim’s periodic humming of the song ‘A Whole New World’ became only the first indication where she bravely tackles the Daughter’s fears in cornering her marital issues without resorting to any sort of over the top or hysterical spousal reactions, or so we are made to believe. Although we never meet the Daughter’s husband, I don’t believe Hung’s script suffers from this absence as Director Courtney Ch’ng Lancaster’s vision finely and subtly made me want to watch how these Swatow women genuinely interact with each other and watch them remain fierce. Periodically throughout the performance, the women become involved in showcasing their movement using tai chi. I find tai chi fascinating to watch, but I don’t know a great deal about potential health benefits so I had to do a quick bit of online research about this activity. Briefly (and according to the Mayo Clinic): “tai chi is a gentle way to fight stress…to reduce anxiety…and to increase flexibility and balance.” Well, I’m glad I have this brief definition because playwright Hung smartly and uniquely juxtaposes (for both comic and horrific effect) the benefits of what tai chi is supposed to do with the body versus what is actually going on in the story involving the women’s bodies. And it is this careful placing of reality and fear side by side which both heightens and becomes a clever underlying thread as the play continues, especially in watching how the Grandmother and Mother deal with the present situation in which they find themselves. Diana Luong’s notably grounded performance of character development as the Daughter/Granddaughter really made me pay close attention to her. Loved every moment Luong appeared on stage and I completely bought her arc of genuine character emotions throughout. All I’m going to say about the conclusion of the play with Luong leading the striking tableau and Trim and Fe following still remained frighteningly real within my mind even as I write this article now. That final tableau – Wow!!!!!! It must be seen to be experienced within what has just transpired. Jareth Li’s claustrophobic set and confining lighting design splendidly amped up that stifling feeling of the restrictive confines of the house and the environment in which the women live. At one point, College Street and Italian restaurants are mentioned so I am assuming the play takes place in the downtown Toronto areas. Downstage is the set of the Grandmother’s house. There are large trellises constructed of various shapes stages left and right. There is a table centre stage with what appears to be a plastic tablecloth from where I sat. A cordless telephone is found on the table with an open Bible from which the Grandmother reads at the top of the show about the place of women in marriage. Upstage right is a refrigerator with a magnetic calendar attached plus other ‘frig paraphernalia attached. Stages right and left are are kitschy looking cupboards. Behind this downstage set I can see remnants of a bathroom sink upstage right, and what looks like to be the top of a toilet. Upstage left I can see another kitchen sink with some kitchen drawers. This supposed set is dimly lit. This upstage set lit in darkness becomes Mother’s house later. Shannon Lea Doyle’s costume designs are effectively earth tone for the Grandmother and Mother. The Daughter’s clothes are bright to reflect her youthful contrast to her two elders, but minute additions add further to her character arc. Deanna H. Choi’s sound design kept my auditory experience keenly aware at all times. FINAL COMMENTS: A sometimes disturbing, but comical look at events from women’s perspectives and how they might like to deal with what needs to be done versus what we think how it normally should be done. This ‘Three Women of Swatow’ is sharp, scrappy, inhumane, feisty and wild. It also made for some good theatre to see but be warned there are triggers. Running time: approximately 80 minutes with no intermission. Performance runs to May 15, 2022 at Tarragon Theatre, Extraspace. For tickets and other information, go to www.tarragontheatre.com or call 416-531-1827. The theatre is located at 30 Bridgman Avenue, Toronto. Digital Tarragon run of Three Women of Swatow will be May 15 – 25. THREE WOMEN OF SWATOW by Chloé Hung Directed by Courtney Ch’ng Lancaster Set and lighting designed by Jareth Li Costumes designed by Shannon Lea Doyle Composition and sound designed by Deanna H. Choi Cast: Carolyn Fe, Diana Luong, Chantria Tram Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'My Fair Lady' Now on stage at the Queen's Parade Theatre, Niagara on the Lake. Courtesy of The Shaw Festival web page Geoffrey Coulter, actor, director, adjudicator, arts educator “Pull out the stopper, Shaw has a whopper. Another dusty old classic in this season’s Festival offerings is given a grand and loverly treatment.” After a series of hit-or-miss ho-hum musicals over the past several seasons, Shaw Festival undoubtedly had high hopes for this season’s big show. I can attest that this “Lady” easily eclipses them all with this nuanced musical retelling of George Bernard Shaw’s Pygmalion, a thoroughly entertaining romp through class-conscious Edwardian England, complete with the sexist and abusive themes central to its plot. About those dated mores? Who cares? That was 1912. This is 2024. Forget about the hot-button social issues; you can enjoy this battle of the sexes by sitting back and being charmed by catchy and appealing songs like "With a Little Bit of Luck," "Wouldn't It Be Loverly" and "Get Me to the Church on Time." Mix in stellar performances and some high-energy and elegant dance numbers, and you’ve got a not-to-be-missed summer hit. I'll remind you if you don’t know the plot (made into a movie in 1938 and later became 1964’s Academy Award-winning film). Pompous phonetics professor Henry Higgins (a brilliant Tom Rooney) is so sure of his abilities that he takes it upon himself to bet his friend, Colonel Pickering, (amiably played by André Morin), that he will transform a Cockney working-class girl and “shall make a duchess of this draggle-tailed guttersnipe” in “six months.” He dithers in his attitudes towards everyone, spewing vitriol about the women in his life and calling himself “an ordinary man” with “the milk of human kindness by the quart in every vein.” He's a contradiction in terms. The subject of this bet turns out to be the feisty but captivating Eliza Doolittle (a wondrous Kristi Frank). She is unaware of the bet and takes Higgins up on the offer to better her job prospects; she dreams of owning a flower shop. Higgins and Eliza clash but then form an unlikely bond, one threatened by an unlikely suitor, Freddy (a fine Taurian Teelucksingh). The challenge of resurrecting any age-old production is figuring out how to make it relevant and/or engaging to a modern audience. Yes, there are many challenges to this production, namely Higgins’ treatment of Eliza. His contemptuous, demeaning remarks and haughty, overbearing comportment garnered more than a few audience giggles at the performance my companion and I attended. There isn't an awful lot to like or appreciate about Henry initially, as he urges his housekeeper to thrash Eliza if she doesn't conform. Henry's insistence on ridicule and humiliation as a form of improving a student seems more insulting and grating than enlightening. But that’s just it, they were giggles at all of this, squeals of delight, not gasps or whispers. Higgins’ rudeness only seems to empower Eliza. But despite the splendid songs, there’s a certain amount of sadness in watching Eliza, initially so defiant, start to conform to Henry, first by finally breaking through her accent and adopting the more sophisticated one that Henry prefers, then beginning to fall in love with the man who spent so much time denigrating her. Similarly, Higgins realizes he’s affected by her, not quite knowing how to process his newfound emotions. This is where co-directors Tim Carroll and Kimberley Rampersad (who also provides the spirited choreography) cleverly give us a relatable battle of wits “girl power” story involving two characters who are ultimately more alike than they know – fiery, blunt, opinionated, tenacious. In the program notes, Carroll admits to being a first-time director of a musical. His work with Rampersad is to be applauded. Scene transitions were magically immaculate, and blocking was natural, with clever use of every inch of stage space. Carroll and Rampersad wisely don’t forget that characters need dimension. They’ve taken the time to work scenes, build song rendering and intent, and understand what drives and motivates key players. They can be very proud of their partnership. Musical direction by Paul Sportelli is spot-on, his baton leading a dynamite pit band. Voices are strong and blend well. Lorenzo Savoini’s simple yet elegant set effortlessly shows us class mobility, from the grimy dregs of the London slums to Higgins’ opulent, two-story library. From the spartan Ascot races to an old wooden pub, we see life from both sides of privilege. Joyce Padua’s turn-of-the-twentieth-century costume design is stunning and captures both the extravagant and the drab. The highly stylized women’s hats at the Ascot races are a feast for the eyes, while the attire of the working class in Covent Garden is dirty, ripped and coated in coal dust. Kimberley Rampersad’s choreography was basic and in unison, serving the narrative well, but overall, some excitement was missing. There’s a very fine trio of male dancers in the opening street scene who kick and leap beautifully, but their sequences are all too short. They dance again throughout the show but for mere seconds only. I wanted more! Her couple’s waltz was elegant and refined, but her “I’m Getting Married in the Morning”, while lively, lacked full-out exuberance. Not sure about the motivation of the sudden appearance of those four can-can dancers. Mikael Kanga’s lighting does a fine job of establishing location and mood. His warm, amber side lighting in the Covent Garden scenes evokes fire and gas-lit streets while Higgin’s library is bright and airy. Lighting designers need to show me where to look in a scene. Kanga delivers with well-placed spots on key players while subtly dimming the rest of the scene when needed. Fine work. Using the rear wall for projections or simply silhouette performers wonderfully enhances the visuals. John Lott’s sound design is apt, although the Ascot horse races were strangely quiet, while the band sometimes overpowered vocals in the more significant numbers. One of the many marks of sound direction and performance is seeing the journey the main characters take throughout the show. They are affected by the events of the piece and should, resultantly, be transformed by the show’s end. Tom Rooney brilliantly embodies Higgins’ character arch, first seeing Eliza as a project to be discarded, then softening his disdain for her while uneasily processing his growing affection for her. He has lovely moments of subtlety and nuance, especially in the ball scene, where he shares some truly touching moments with Eliza. As one of the main characters, he sets a beautiful pace in all his scenes with clear, snappy dialogue and marvellous vocals. Unhappily, that pace was interrupted mere moments before intermission as a fire alarm forced a mass exodus. False alarm. All was back on track for the second act. Kristi Frank is a fine Eliza with a good handle on the motives and situations that drive her character. Her heavenly soprano in songs like “I Could Have Danced All Night” attests that her voice is meant for this score. But it’s her journey from an uneducated, rough-around-the-edges “guttersnipe” flower seller to rising, independent “duchess…in six months” which is a treat to watch. Her physical countenance transforms in sync with her “proper” (and authentic) British accent - straight, poised and endearing. She, too, has beautiful levels as her relationship with Higgins burgeons. She comes into her own and knows who she is by show’s end. André Morin plays a compassionate Colonel Pickering, taking pity on Eliza rather than dismissing her. At the same time, as housekeeper Mrs. Pearce, Patty Jamieson is a charming and compassionate mother figure to Eliza and tolerates Higgins’ idiosyncrasies. She also does double duty, playing the Queen of Transylvania, and has a royal air in both roles. As Mrs. Higgins, Sharry Flett is hilarious and delightful, sarcastically knocking her son down a few notches over his overbearing pomposity. David Adams is deliciously bombastic as Eliza’s insouciant drunkard of a father, Alfred P. Doolittle. Although Doolittle is egocentric with feigned fatherly affection only to line his pockets, Adams nonetheless brings an endearing, heartwarming and fun performance to his big numbers. We should hate this guy, but we don’t. As starstruck Loverboy, Freddy, Taurian Teelucksingh is a powerful crooner, all doe-eyed and giddy in his school-boy infatuation with Eliza, although seeing him notice her more at the beginning of the show may have given them a nice moment. The ending is left ambiguous—a wise choice by Carroll and Rampersad. This is one slick show, just the hit Shaw needs right now. As I perused the directors’ notes, Kimberley Rampersad sums it up nicely: "Sometimes even singing isn’t enough, and you need to dance.” You’ll want to dance all night after leaving this show. Running time: approx. 3 hours with two 15-minute intermissions. The production runs until December 22 at the Festival Theatre, 10 Queen’s Parade Theatre, Niagara-on-the-Lake, ON L0S 1J0 For tickets, call the Box Office at 1-800-511-7429 or visit shawfest.com The Shaw Festival Presents Lerner and Loewe’s “My Fair Lady” Co-directed by Tim Carroll and Kimberley Rampersad Choreographed by Kimberley Rampersad Music Direction by Paul Sportelli Set designed by Lorenzo Savoini Costumes designed by Joyce Padua Lighting designed by Mikael Kangas Sound designed by John Lott Starring: Tom Rooney, Kristi Frank, André Morin, David Adams plus many other Canadian artists in the ensemble. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Doubt' by John Patrick Shanley Presented by Thousand Islands Playhouse and now on stage at the Firehall Theatre Credit: Randy de-Kleine Stimpson. Pictured: Karl Ang as Father Flynn Joe Szekeres “Solid performance work in this ‘Doubt’ counterbalances some puzzling artistic choices.” Set in 1964 in the Bronx, New York City. St. Nicholas Catholic Elementary School principal Sister Aloysius Beauvier (Jacklyn Francis) suspects an improper relationship between an unseen and new 12-year-old black student, Donald Muller, and the charismatic parish/school priest, Father Flynn (Karl Ang). Sister Aloysius believes she can only achieve justice by involving the young lad’s teacher, Sister James (Cassandra Pires), and his mother (Gloria Mampuya). The backdrop of 'Doubt' is the Second Vatican Council from 1962-1965, which Pope John XXIII called to update the Catholic Church and better connect with people in an increasingly secular world. The Council aimed to improve some of the Church's practices and present them in a way that congregation members could understand. The Council divided Catholics—some were for it and others against it. Father Flynn believes in the welcoming face of the Church, while Aloysius firmly adheres to the tenets of the Faith pre-Vatican 2. Some unclear directorial decisions by Lisa Karen Cox puzzle me and prevent this ‘Doubt’s’ impact from reaching its full potential. Let’s begin with some of her sound choices, though. To my ear, I did not hear the actors try speaking with a Bronx intonation. Rather than try something that might not be consistently maintained, the performers allow Shanley’s dialogue to speak for itself. That choice works. As the audience enters the Firehall auditorium, they are greeted by a small table of votive candles. This thoughtful detail serves as a reminder that they are entering a sacred space, not only for the actors but also to understand the influence of the Church. Designer Jawon Kang's sparse set is angled downstage. The floor resembles a board game, where Cox blocks the characters in their chess-like movement, signifying who has the power at a given moment. Because of this, she creates compelling visuals throughout. Additionally, Kang’s vast cut-away crucifix design sometimes serves as Father Flynn’s entrances and exits. The same occurs when Sister Aloysius pushes part of the back wall out to move the bushes being pruned for the winter. Quite clever indeed. Upon entering the Firehall auditorium, I was immediately drawn to Samay Arcentales Cajas's projection designs. The projection of a barren tree branch suggests that fall is in the air. Jacob Lin uses his sound design to enhance the suspense at a specific moment, most notably when Aloysius and James spoke outside in the garden while Flynn was in the rectory, teaching the boys about manhood. Christian Horoszczak's lighting design adds to the intensity as Flynn and James converse in the garden about Aloysius's crusade to expose the priest. By combining the work of these visual designers, Cox successfully creates a focused intensity that keeps me on the edge of my seat, fully engaged in the conversation between these two characters. Karl Ang stands out for his confident and compelling portrayal of Father Flynn, most notably during his confrontation with Aloysius in her office. Ang subtly and alarmingly suggests something improper may have occurred. Gloria Mampuya delivers a powerful performance as Donald’s mother. Mampuya shows natural, consistent, and believable reactions. Her portrayal is controlled and restrained, conveying Mrs. Muller's emotional turmoil through stillness and attentive listening, even when she shares shocking news about her son and his father. Shanley has written articles stating that in 'Doubt,' the story is seen from Sister James's point of view. Cassandra Pires’ work reflects this significance. She portrays Sister James as sweetly demure yet assuredly tested each time she interacts with Aloysius. James's final appearance with Aloysius at the end of the show suggests that a once hopeful, energetic, and youthful teacher becomes disillusioned with the profession and feels unfulfilled in helping young people. Jacklyn Francis takes several minutes to convince me of her portrayal of Sister Aloysius's prickly personality. In her first scene with Sister James, Francis doesn’t convey the image of a strict disciplinarian and dedicated school leader whose vital duty is to protect her students. However, that changes where Flynn is invited to tea in Aloysius’s office. In this scene, Cox has Francis stealthily moving around Ang after he takes her seat at the desk. It’s intriguing to watch Francis ponder and think before speaking and then move with purpose and intent, like a cat about to pounce on a mouse. Unfortunately, several of Cox’s choices pulled me out of the plot’s action, and it became a bit challenging to maintain focus. At the top of the show, Flynn and the Sisters enter from the back of the auditorium. Flynn dons the traditional vestments that priests wear to celebrate Mass. He raises his arms to the congregation as if to begin the first homily about doubt. It’s a breathtaking opening. I wait with anticipation, expecting to see a charismatic priest speak to us. That doesn’t occur. Flynn exits. Instead, the audience watches the opening homily about doubt and the one about gossip and intolerance projected on a screen. Why? I felt let down I couldn’t see and listen to Ang deliver these two sermons live. This isn’t COVID 2020-2023 when the mass was celebrated on television and online. It's 1964. Had that been forgotten? Parishioners would have gone to Church as a family. St. Nicholas’s Parish would have been at or near capacity because Flynn is youthful, vibrant and a role model for the kids. Filming the homilies creates distance, and ‘Doubt’ is a play about making connections. About halfway through, Sister James sits alone in the garden for a few moments, praying silently. Flynn immediately enters to begin the conversation. That scene does not ring true at all. It feels rushed. If someone is praying, let the audience see the individual doing so even briefly. Flynn follows James into the garden and watches her. His actions raise the intensity, as he knows she always prays there. It’s another moment of a cat-and-mouse approach. Let the audience feel the tension rising and watch in silence. Francis and Pires's head coverings do not match the 1964 Order of the Sisters of Charity to which James and Aloysius belong. They should have worn black bonnets instead of the black veil coverings, which have been worn in most of the professional live productions I’ve seen, including the original Broadway replacement cast. A slight quibble involving the telephone on Sister Aloysius’ desk. I had to do some quick online research and discovered that there would have been push-button phones in 1964. However, this one looked like it was taken from the Bell Canada store. Even though St. Nicholas School would have been classified as one of the better schools in the Bronx, I don’t believe there would be evidence of push-button phones at that time, as Aloysius would probably say that was a luxury. Final Thoughts: In her Programme Note, Cox writes what lessons need to be learned from ‘Doubt.’ She hopes audiences will challenge themselves by listening, questioning, and identifying the root of motives and desire. Doing so is not for the faint of heart, as uncertainty is always exhausting. For the most part, Cox succeeds in setting out what she wants to do with Shanley’s twenty-year-old play about moral uncertainty. As a practicing Catholic, I still find ‘Doubt’’s story compelling. Cox wants the audience to take the time to be together regarding this moral uncertainty, albeit uncomfortably, and think for themselves. The play's and this production's endings are still gutting. Jacklyn Francis holds me in her hands as the lights dim. Her closing performance speaks volumes. I just wanted to experience and invest more in that emotional connection. Running time: The programme states the run time is approximately 90 minutes with no interval/intermission. When I checked the time on my phone, it was 75 minutes. Please try not to rush that one scene in the garden I mentioned earlier. ‘Doubt: A Parable’ runs until September 29 at the Firehall Theatre of Thousand Islands Playhouse, 185 South Street, Gananoque. For tickets, visit www.1000islandsplayhouse.com or call the Box Office at (613) 382-7020. THOUSAND ISLANDS PLAYHOUSE presents ‘Doubt: A Parable’ by John Patrick Shanley Directed by Lisa Karen Cox Set & Costume Design: Jawon Kang Lighting Design: Christian Horoszczak Sound Design: Jacob Lin Projection Design: Samay Arcentales Cajas Stage Manager: Dustyn Wales Performers: Karl Ang, Jacklyn Francis, Gloria Mampuya, Cassandra Pires Previous Next

A talk with a professional artist about their career. Back Megan Follows “I’m never quite sure what tomorrow brings.” Joe Szekeres A Canadian performing artist icon returns to the Toronto stage. I am pleased for two reasons. First, I’ll get a chance to see her perform live for the second time. The first time was at Stratford years ago, where she played tragic heroine Juliet to her Romeo, the Now Stratford Festival Artistic Director, Antoni Cimolino. Second, I appreciate that I had the opportunity to speak with her via Zoom for a few moments last week when she was smack dab in rehearsals. Megan Follows opens tonight in Studio 180’s North American premiere of ‘Four Minutes Twelve Seconds’ by James Fritz, a taut, darkly comic, and profoundly provocative Olivier Award-nominated drama. The play delves into the complex issues of consent, privilege, and the insidious opportunities new technology presents, offering a unique and thought-provoking experience. She’s joined on stage this time by Sergio Di Zio (Tarragon, Coal Mine, various films, ‘Flashpoint’), Tavaree Daniel-Simms and Jadyn Nasato. Studio 180 bills ‘Four Minutes’: Di (Follows) and David (Di Zio) have devoted their lives to giving their son, Jack, every opportunity they never had. But a startling incident outside the school grounds threatens to ruin everything they strive for. As events accelerate, Di and David question whether they can trust Jack, his closest friends, or themselves. That’s all I want to know about the plot. Megan told me that if I haven’t read the play, it’s good to come on this journey with fresh eyes. To quote Follows, rehearsals have been a hell of a journey, but she felt confident that they were right where they needed to be at that point. Pieces of an intricate puzzle were slowly being put together at that time. ‘Four Minutes’ had been in preview for the last few days. I’m certain tonight’s opening will be sold out, and an excited crowd will be ready to see one of Canada’s own back on a Toronto stage. There are surprises in the script Megan does not want to spoil about the show. I don’t want to question her further about them as I want to be carried away by the story. Fritz’s writing and the story drew Follows to consider performing the play. She was keen to work with Studio 180 and director Mark McGrinder.: “Obviously, I appreciate Studio 180's willingness to take on this piece of theatre. It’s a challenge, so I guess I’m drawn to challenges.” Follows calls McGrinder passionate and funny. Mark has a wonderful, dry sense of humour. He’s deeply interested in investigating something. He’s not afraid to get in there and help the actors to excavate as he sees it. Mark’s also a parent, so he gets the story from that angle and wants everyone to roll up their sleeves and explore the ongoing dynamics. I’ve interviewed Sergio Di Zio twice and remember how keen he was to work with Follows on this production. She feels extremely fortunate and grateful to work with Tavaree Daniel-Simms and Jadyn Nasato. She calls it wonderful to be around young, emerging artists, not only because of their energy but also because, regarding Four Minutes, it’s vital to recognize there is a generational aspect to the play regarding the navigational change: “There’s a good vibe. We’re a team. We gotta be there for each other. Tavaree and Jadyn are incredibly beautiful in spirit and also extremely talented young actors.” What are some messages Megan hopes audiences will take away with them about ‘Four Minutes Twelve Seconds’? She believes the play will raise more questions than there are answers, with a willingness for people to have a dialogue. A couple of talkbacks have been scheduled for the production. If audiences want to attend one of those nights, check the schedule through the Studio 180 website. Follows finds audience talkbacks post-performance beneficial. With a devil-may-care laugh, she honestly states she never knows how those who remain behind will respond when she participates in them. She senses that the talkback for ‘Four Minutes’ will probably delve into some good points. As we began to wind down the conversation, I asked her what was some specific advice about the business that either her parents, Ted Follows and Dawn Greenhalgh, passed on to her or someone else did: “It’s a marathon; it’s not a sprint…keep going…as a journey, there are many peaks and valleys.” She has learned from her parents that they were in the industry for the long haul. You have to roll up your sleeves and get right into it. Her parents were in it for the love of it and truly for the love of theatre and storytelling: “It feels like a privilege to be able to navigate complicated stories, issues and words and have a tangible, physical platform still to do that which is the theatre. There is a closeness of human interaction.” Follows says the theatre and the industry may feel like a luxury, but she believes it is a necessity of exploration that is important. One has to be able to see himself/herself/themself(ves) in many things. There is no quick answer to something. The theatre, at its best, is that process of discovery: “The theatre is a messy process in the best sense, meaning you have to have permission to be wrong and be brave. Being brave isn’t about posturing. It’s about going into the dark corners of things and examining them, recognizing a human ability that we all have.” Megan says we live in a black-and-white, right-or-wrong world right now, a very polarized world. For her, the truth is never in the polar opposites. Often, it’s in the greys and intersections of things that are sometimes uncomfortable or the willingness not to be right. The topic then returned to the study of Shakespeare and whether young people should still be introduced to it. There’s always the question of whether Shakespeare should be removed from use in schools. Follows believes the Bard’s works must absolutely be taught. For her, why is it an either / or? Why isn’t it an ‘and, and’? She added further: “The muscle of using language in my limited understanding of Shakespeare (it truly is) is not a lot of subtext. An actor is always thinking about the words. Shakespeare has given language expression, and it is incredibly dynamic. What is there to be lost from an exploration of that? It doesn’t have to be the be-all and the end-all. There’s power in the more we have.” What is upsetting for her is the limiting and cutting of the arts in high schools and schools. That is a lack of true understanding and recognition. Storytelling in all of its iterations is critical to making us complex and rich human beings. Why on earth we would deny our young people access to the arts, music, dance, to anything, for her, is the bigger conundrum. Follows believes studying the arts can be life-saving for some people. It can show a world of hope and beauty, a road map, a common ground, and the feeling of being seen in someone else’s story. That is critical to the power of storytelling. Megan concluded our conversation by saying her performance in ‘Four Minutes Twelve Seconds’ is the first time she has been on the stage in a long time. It’s nerve-wracking. She has been behind the camera, producing and directing and also acting. She’s never quite sure what tomorrow brings. She has been working on an entertaining Crave digital web series called ‘My Dead Mom,’ a comedy written by Wendy Litner. Megan has been acting with Lauren Collins. The web series explores the grief of a young woman haunted by her dead mother. Follows plays the mother. Megan is also developing a project with writer and actress Susan Coyne. It’s a limited series. Follows can’t say more than that because they’re in the process of something. What she says: “I’m in the process of spreading my wings. My production company (Caspian Film Productions) co-produced an independent feature called ‘Stealing the Sky' with Penny Noble and Marie Dame.’ I’ve been out there wanting to develop more and be proactive in the stories I want to see and tell.” ‘Four Minutes Twelve Seconds’ runs until May 12, 2024, at Tarragon Theatre in the Extraspace, 30 Bridgman Avenue. For tickets, visit: https://tarragontheatre.com/plays/2023-2024/four-minutes-twelve-seconds/ or call the Box Office at (416) 531-1827. Previous Next

A talk with a professional artist about their career. 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

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Let's Dance! The Musical' Original Concept and Story: Walter Schroeder with Book: Victoria Wells-Smith Presented by Terra Bruce Productions and now onstage at Toronto's Winter Garden Theatre Credit: Ritche Perez Group (and Terra Bruce website) Pictured: members of the cast Joe Szekeres A brand-new jukebox musical, ‘Let’s Dance! The Musical’ is an auditory and visual homage to some unique musical sounds and dances from the 60s. However, something’s missing from this production. It’s 1963, and Marco Del Monte (Luciano Decicco), an actor from Southern California, has returned home to New York City. He wants to begin a new career as a vocal teacher at his former conservative and old-fashioned performing arts high school, Northumberland High. Marco had a slew of auditions that did not go how he thought they would. He decided to return home, begin a new career, have a steady job (instead of one in the theatre), meet someone, and settle down. Marco’s sister, Debra (Ali Powell), is still a student at the school. Her area of specialty is dance. Marco also meets Sophia (Mikayla Stradiotto), a free-spirited and quirky dance teacher. The two of them decide to stage a show with their students that the school has never seen before while trying to hide their intentions from Principal Sherman (Michelle Shuster), a Northumberland High alumnus. Sherman prowls around the school, sneaks up on unsuspecting students, and pops in unannounced, sometimes to watch Marco and Sophia’s class in action. The opening night show: Set Designer Joshua Quinlan’s walls on casters roll quietly into place. An energetic cast seamlessly weaves them together to create several settings, whether in the classroom, Sherman’s office, or the school hallway of lockers. Frank Donato’s lighting design sharply focuses on where the intended focus should be. I liked the sharp single light on the 60s portable record player at the pre-show setting because it duly reminds me that we are entering another era. I remember having one of those portable record players. A huge nod of appreciation to Sound Designer Brian Kenny. I could hear every song lyric and spoken scripted word, so thank you for that. Graham McMonagle has finely replicated the 60s costumes from poodle skirts to slick hair, white-shirted, and tight jeans rolled at the ankles. ‘Let’s Dance!’ is a finely choreographed feast for the eyes and an auditory delight for the ears in the musical numbers. Aaron Eyre (arrangements) and Paul Moody (Musical Direction and additional arrangements) have arranged some of these 60s classics that are delightful to hear again. The vocals and harmonies are stunning, most noticeably in ‘The House of the Rising Sun’ and ‘It Never Rains in Southern California’! Victoria Wells-Smith’s choreography becomes one of the show's highlights. In his Director’s Program Note, Keith Pike writes about dreaming, especially in doing so when it comes to the theatre. His dream to think big, sing, and dance is noble, especially since we’ve all endured challenges and divisions over these last three years. The cheesy, hokey, and wafer-thin plotline is tolerably fun at first, thanks to Pike’s vision of wanting to have fun. And I did have fun at first. But it changed. Luciano Decicco is a suave, good-looking, youthful Rat Pack-looking Marco. Mikayla Stradiotto’s fashionista long-legged Sophia is a knock-out. Michele Shuster is an adorable busybody of a school principal whose heart is in the right place regarding the future of Northumberland High and its performing arts program. The ensemble members are terrific. They move, glide, shimmy and shake with confidence and ease. They look to be enjoying the dances of the 60s from Elvis Presley’s ‘Hound Dog’, ‘The Peppermint Twist’ and ‘Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini’. Some fine choreographed ballet moments in Frank Mills’ ‘Music Box Dancer’ are also executed with grace and class. Looking at the bios of the artists in the program, many are Sheridan College’s Musical Theatre Program graduates. A few have been educated outside the province. The original workshop production of ‘Let’s Dance!’ was held at St. Lawrence College. These are young people whom I hope to see on stage in the region very soon. They are the future of the theatre, and their ensemble synergy is thrilling to experience. But something needs to be added. It nagged at me for the longest time on the way home. And it finally dawned on me. In the quirkiness of other jukebox musicals like ‘Mamma Mia’, ‘We Will Rock You’ and ‘Rock of Ages’, a connection usually comes through a song, a humourous bit, or a conflict with another character. That doesn’t occur in Walter Schroeder’s original concept and story and Victoria Wells-Smith’s Book. Yes, these are stock characters from the actor who becomes a teacher because he can't handle the rejection any more to the kids who want to be Broadway stars, that's all there. Instead, there’s a sense that my place is in the audience for this show. That’s it. There’s a sense of feeling objectively removed and relegated as an onlooker. We should be changed somehow after seeing theatre, even musical theatre. That doesn’t happen here. And I wish it does. ‘Let’s Dance! The Musical’ becomes like a jukebox. We put a quarter in; we wait patiently for the music to start; we listen to the song and either appreciate it (or don’t care for it), and then leave. Life goes on whether we like or dislike the music. Hopefully, the show can be looked at again. At this opening night audience, my guest and I immediately noticed the hoopla catcalls during the show and the standing ovation at the end. Friends and family members of the cast and crew? Possibly, and there’s nothing wrong with that. Don’t forget those audience members who aren't friends or family members of the cast and crew, who want more and want to leave the theatre hopefully changed somehow. Running time: approximately two hours with one intermission. ‘Let’s Dance! The Musical’ runs until August 20 at Toronto’s Winter Garden Theatre, 189 Yonge Street. For tickets call the Box Office: 416-366-7723 | 1-800-708-6754 or visit https://terrabruce.com/lets-dance/ Terra Bruce Presents: ‘Let’s Dance! The Musical’ Original Concept and Story: Walter Schroeder Book: Victoria Wells-Smith Arrangements: Aaron Eyre Direction: Keith Pike Additional Arrangements and Musical Direction: Paul Moody Choreography: Victoria Wells-Smith Set Design: Joshua Quinlan Costume Designer: Graham McMonagle Lighting Design: Frank Donato Sound Design: Brian Kenny The Band: Paul Moody, Shane O’Regan, Alex Panneton, Soren D’Alimonte, Jasmine Jones Performers: Luciano Decicco, Mikayla Stradiotto, Michele Shuster, Dylan Corscadden, Rebecca Sellers, Ali Powell, Levi Stepp, Océane Kitura, Bohémier-Tootoo, Kenzie Drover, Timothy Harder, Alexander Batycki, Diego Terán, Jacques St-Pierre, Celeste Brillon, Eric Dahlinger, Jaden Kim Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'The Lehman Trilogy' by Stefano Massini and adapted by Ben Power Now onstage at Toronto's Bluma Appel Theatre Credit: Dahlia Katz Joe Szekeres ‘An epic drama of an informative and entertaining theatre experience.” An epic three-act, three-hour, two-intermission play, ‘The Lehman Brothers’ follows the lives of three immigrant brothers when they arrived in America in 1840. As the years progressed, the brothers and their descendants founded a banking/investment firm right through to the company's collapse in the major recession in 2008. Three actors play the three brothers and all the roles, from their children to their grandchildren. Canadian Stage’s production is visually extravagant, thanks to Dana Osborne’s expertly framed period costumes, Steve Lucas’s intently focused lighting design and Camellia Koo’s vast set design of epic proportions. The production features three of our country’s finest artists: Ben Carlson (Henry), Graeme Somerville (Emmanuel), and Jordan Pettle (Mayer). Henry is referred to as The Head. Emmanuel is known as The Arm, while Mayer is known as the Potato. Directed with a clear purpose and vision in seeing the grand machinations of the world of finance by Philip Akin who knows a thing or two about creating a theatrical experience, ‘Lehman’ resonates not just with Americans or Canadians but with anyone who dreams big and is willing to put everything on the line to achieve that goal. Henry, Mayer, and Emmanuel are Bavarian Jewish immigrants with big plans. In the first act, they succeed in the cotton industry in Alabama. However, the arrival of the American Civil placed a kibosh on their cotton industry with the rightful eradication of slavery. The second and third acts involve forming and expanding the brothers' investment/banking firm. Granted, I don’t understand everything about the world of finance that I probably should at this stage in my life. Some of the information shared in the dialogue proverbially went in one ear and out the other as my brain went into plot overload. Nevertheless, the precarious highs and lows of the banking industry and all the interconnectedness therein are admirably captured on stage. This CanStage production makes for an informative and entertaining theatre treat. Carlson, Somerville and Pettle are extraordinary. They command the stage in their primary and, subsequently, their secondary roles with grit and determination. Each presents a character of sharp and vigorous detail, and as Akin writes in his Director’s Programme Note: “[the brothers came to] a place where dreams can be achieved if you work hard/where opportunity is all around you if you can only see it.” One memorable segment is Pettle’s recreation of the voices of several people. A necessary comic moment to help balance the heavy drama, but it accurately shows how Pettle, Somerville and Carlson always remain in grounded control of their performances. The first line of the play – “He had been dreaming of America”, for some reason, made me think of Arthur Miller’s tragic Willy Loman, the failed salesman who dreams of corporate America and how he wanted to walk out wealthy from it, but sadly doesn’t. This connection remained as I listened to Stefano Massani’s wordy play (with Ben Powers’ adaptation) unfold before me. I couldn’t shake the connection to Willy Loman from my mind as it became further emphasized in studying Koo’s extensive set design. There was so much to study, but I couldn’t because I didn’t want to distract my attention from the story’s action. Nevertheless, the connection to Willy is heightened by seeing the feet of what appeared to be individuals from long ago running along the apron of the stage. Do these feet belong to all Willy Lomans from long ago upon whom the story of the Lehman Brothers is built? At first, it’s shocking to see these appendages, especially watching Pettle, Carlson, and Somerville ascend and descend the set’s varied reconstructions. Further careful consideration makes a lot of sense that it just might be what Koo intends. I also wondered if she was making a critical connective comment to the First Nations Peoples and their first footprints upon which the lives and businesses of North America are set today. Final Comments: A visual solid historical commentary of the wonders and blunders of corporate America punctuated by strong performances. Go and see it. A talkback or pre-show chat might also be advantageous. Running time: approximately 3 hours with two intermissions. ‘The Lehman Trilogy’ runs until December 2 at The Bluma Appel Theatre, 27 Front Street East. For tickets, visit canadianstage.com or call 416-368-3110. CANADIAN STAGE presents the Canadian premiere of THE LEHMAN TRILOGY, written by Stefano Massini and adapted by Ben Power Director: Philip Akin Assistant Director: Jordan Laffrenier Set Designer: Camilla Koo Costume Designer: Dana Osborne Lighting Designer: Steve Lucas Sound Designer: Miquelon Rodriguez Movement Designer: Alexis Milligan Dialect Coach: Jane Gooderham Cultural Consultant: Diane Flacks and Miriam Borden Stage Manager: Matthew MacInnis The Cast: Ben Carlson, Jordan Pettle, Graeme Somerville Previous Next

A talk with a professional artist about their career. Back Peter Pasyk The Self Isolated Artist David Cooper Joe Szekeres I’ve met Peter twice in Toronto theatre lobbies since I’ve begun reviewing for On Stage Blog. Both times he was a true, modest, and unpretentious gentleman. The first time was at Factory Theatre. I had waited to speak to one of the actors after the production. Keep in mind I hadn’t met Peter at that time, but I had reviewed one of his shows at Soulpepper several weeks earlier in the summer. There was this dignified looking man who spoke to an actor. This classy guy was Peter. I waited while Peter finished what he was saying to the actor. When he sensed I was waiting to speak to the actor, Peter graciously stepped back and made me laugh by saying, “There are others here besides me.” While I was asking my question, I could sense Peter was paying careful attention to what I was saying and then what the actor said. I remember we had left the auditorium together. Peter asked me my name and what publication I wrote for. I was so surprised when he said, “Joe, yes, I read your review for the production I had directed at Soulpepper. I’m Peter Pasyk.” And I was equally touched he said he has been reading my articles and browsing through the On Stage site. Wow! This highly sought-after young director who has worked at Stratford, Shaw, Tarragon, Royal Manitoba Theatre Centre and Canadian Stage read my review and was perusing On Stage. I was honoured and flattered to say the least. The second time we had met again was several weeks later at Factory in the lobby before the performance began. Once again, this dignified gentleman came up to me and started chatting with me as if he had met me before. When I introduced myself, he said, “Yes, I’m Peter. We met here last time.” Well, I turned mortification red in eight shades of embarrassment and wanted to hide. Peter laughed and said not to worry as we are constantly meeting people all the time at the theatre. I promise you, Peter, when ‘Hamlet’ premieres at that gorgeous new Tom Patterson Theatre in Stratford I will not forget!!!!! We conducted our interview via email: 1. How have you and your family been keeping during this two-month isolation? We’ve been keeping as well as we can, thanks for asking. It’s actually an exciting moment in time for us because my partner and I are expecting a baby in July. So that has kept us busy and focused. But of course, its been hard and strange too. Being pregnant, we wish we could be getting together with family and friends more often but that’s not really possible for now. But we have each other and that’s most important. 2. What has been most challenging and difficult for you during this time personally and professionally? What have you been doing to keep yourself busy? For a while there, both personally and professionally, there was a kind of mourning. I think that’s what it boils down to really. I have been mourning the loss of the daily routines and interactions I took for granted, and I have been mourning the best laid plans I had set out for myself and my future. But there is a kind of sweetness and clarity in grief too. I am forced to reckon with my values and appreciate the not-knowing as well as the simple pleasures. As far as keeping busy, I cook a lot. I read. I write. I subscribed to the Criterion Channel to watch great art house cinema and learn from the master directors. And I’m always cooking up future theatre projects in my head. You know, I’ve heard some folks talk about being bored. I have never really experienced boredom. It just doesn’t afflict me. I’m always curious about something or working something out in my head. As a director, every experience and every observation and every interaction is fodder for my craft. And there is so much to learn at this moment about each other. I have found in myself a greater capacity for empathy - and empathy is probably the single most critical skill of a director because we have to see the world from multiple perspectives. 3. I interviewed Antoni Cimolino several weeks ago, and he spoke very highly of you and your work in preparation of bringing ‘Hamlet’ to the Festival this season which has now been postponed. Antoni is still declaring this slate of plays will go, but it just depends on the situation with Covid. How are you doing regarding all the work you had been preparing for ‘Hamlet’ only to have everything come to a grinding halt? We were in advanced stages of rehearsal with Hamlet, and about to go into tech. I was in such awe of the company. I could hardly contain my excitement for sharing their work with audiences because there was some really fresh and unexpected things happening. And though it’s frustrating I know that none of that work will be wasted. The creative process is resilient. And at any time I trust we can pick our momentum back up again. I know this from touring productions: a show can easily start to feel far away but as soon as you start up again there is this sense memory that kicks in. Of course, ‘Hamlet’ is so much a play about reflecting the present moment that in some ways the production will naturally evolve with the times. But that’s the exciting part. But also ‘Hamlet’ is only one part of what is an exciting landmark season for the Stratford Festival. I am looking forward to the day that all these shows can be shared with the public, and that everyone will be able to experience the new jaw-dropping Tom Patterson Theatre. 4. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts scene? Well, it’s easy to speculate in any direction but speaking of the longer term I tend toward optimism. Ultimately, I trust that this prolonged pause in our being able to congregate and commune in large groups will make theatre and performing arts more vital and sought out by the public eventually. By the time theatres open again I don’t think anyone will make the argument “why would I go out when I can watch TV at home?”. That said, it’ll likely take some time (and a vaccine) before we can congregate again and in the interim it will be a difficult time for many artists who are unable to make a living. 5. Do you have any words of wisdom to build hope and faith in those performing artists and employees of The Festival 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 don’t think anything I can say will alleviate those hardest hit. But I do believe that storytelling is almost as old and as necessary for survival as fire. So, storytelling will not go away. The way we do it may need to adapt. But of all those affected I feel most for young adults and new graduates because it is such a fertile time. So many firsts to be experienced, now interrupted. But to be honest, I’m counting on this new generation of artists to lead the way of innovation and to find new ways of presenting theatre that can adapt to the times. There is nothing more valuable than the gumption of youth. 6. I’ve spoken with some individuals who believe that online streaming and You Tube presentations destroy the theatrical impact of those who have gathered with anticipation to watch a performance. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? Yes, I’ve heard a lot of conversation about this, but I think the premise of the argument is confused. Online content and live theatre are each unique medium. They are both storytelling mediums and both share an audience but neither can ever replace the other. I applaud those artists that are pivoting their creative efforts to online formats. Everyone has their own way of dealing with a pandemic and anyone who manages to be creative and productive at this time is winning in my books. And to go back to something I was saying earlier, I think that when we are given the go-ahead to return to theatres there will be a considerable uptick in the popularity of live performance. 7. What is it about the performing arts that still energizes you even through this tumultuous and confusing time? The sound of an entire audience giving an involuntary collective gasp. 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? Love 2. What is your least favourite word? Impossible 3. What turns you on? Laughter 4. What turns you off? Bullying 5. What sound or noise do you love? Wind through trees 6. What sound or noise bothers you? Mosquitoes 7. What is your favourite curse word? Kurwa (Polish is my first language and it’s great for cursing) 8. Other than your current profession now, what other profession would you have liked to attempt? Chef 9. What profession could you not see yourself doing? Insurance 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Are you ready for an adventure?” Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Jagged Little Pill' Lyrics by Alanis Morisette Music by Alanis Morisette and Glen Ballard Book by Diablo Cody Now onstage at Toronto's Princess of Wales Theatre, 300 King Street West Credit: Evan Zimmerman for MurphyMade, 2023. North American Touring Company. L-R: Dillon Klena, Teralin Jones, Julie Reiber, Benjamin Eakeley Joe Szekeres “A tenacious, raw, and gritty production where it is hoped ‘You Learn’ as Alanis Morisette sings. We do learn in this ‘Jagged Little Pill’. At least I did.” Inspired by Canadian Alanis Morisette’s album of the same title, this jukebox musical introduces the Healys, who are hiding secrets from each other. Sadly, it appears no one truly listens to each other in this family. At the top of the show, Mary Jane/MJ (Julie Reiber) composes one of those ‘drippy Christmas letters’ (thank you, A. R. Gurney and ‘Love Letters’) describing how much the family has accomplished this year. That statement is far from the truth. MJ was involved in a car crash months ago. She now supposedly uses ‘natural remedies’ to help deal with the pain. Her husband, Steve (Benjamin Eakeley), has been promoted but is rarely at home for the hours he clocks in at his law office. He has an addiction to internet pornography. Their golden boy son, Nick (Dillon Klena), has just received admission to Harvard University but is uncertain whether he wants to attend. Nick wonders if his parents are living their dreams through him. MJ and Steve’s adopted black daughter, Frankie (Teralin Jones), is an activist teenager who makes out with non-binary best friend Jo (Jade McLeod) and finds those moments to rebel against her parents’ wishes. A terrifying event at a party involving Bella (Allison Sheppard), one of Frankie and Jo’s classmates, will alter the course of events in the lives of the Healys. There are significant social messages tackled in this current touring production, with transracial adoption, racism, and misogyny being only three. There’s also lots of flash and dazzle strobe effect lighting, which magnifies the hyper-emotive reactions of both audience and actors. The show’s pacing remains electrically charged throughout to the point where, at times, it got tiring just watching how quickly the actors moved in and out of the individual scenes, setting pieces in place. Nevertheless, this visually and emotionally hyped-up and thrown-at-you North American touring production brought many young people to the theatre on this opening night. And that’s a good thing. They are familiar with Canadian artist Alanis Morisette’s often-blaring music and gritty lyrics that speak volumes. Matt Doebler’s Musical Direction and Tom Kitt’s orchestration and arrangements nobly capture the angst of modern youth in the face of an ever-changing and sometimes ‘woke’ world. Justin Townsend’s sharply focused lighting reinforces much of the strength of youth in several ensemble numbers. Riccardo Hernández’s scenic designs work nicely for various locales when combined with Lucy Mackinnon’s visually stimulating videos. Emily Rebholz’s costumes succinctly capture the various individual personas of the characters. It’s loud in several whole ensemble musical numbers, and there are moments where Jonathan Deans’s sound design doesn’t allow the lyrics to be heard as clearly as they should be. That didn’t matter to this opening night crowd as, once again, it appears they already know the lyrics. Sidi Larbi Cherkaoui’s thrilling choreography is bona fide A+ quality, with a splendid combination of rap and hip-hop movements. I’m not a fan of either, but it works here, especially in ‘Thank U’ and ‘No,’ involving Bella and the ensemble. Director Diane Paulus assuredly understands the apprehensive misgivings of young people as they confront either their uncertain futures in looking ahead or in the present moment. Frankie and Jo’s relationship is tested when new kid Phoenix (Rishi Golani) arrives at school. Frankie takes an interest in Phoenix, which makes for a jaw-dropping and stunning reactionary comment from Jo in a terrific ‘You Oughta Know.’ The song brought several audience members to their feet in a standing ovation, deservedly so, as Jade McLeod’s work is glorious. What also works beautifully is Paulus’s staging of ‘You Learn’ at the end of the show. It is poignantly heartfelt. I could hear the lyrics, and, this time, they spoke volumes not only to young people but to the older ones in the audience like me. Julie Reiber gives a true-to-life, heartbreaking performance as a mother tormented by demons from her past. She never once veers into histrionics in displaying a convincing array of emotional upheaval in dialogue and song. As MJ’s workaholic husband Steve, Benjamin Eakeley duly reflects the meaning of ‘You Learn’ and the importance of missing out on so much at home. Teralin Jones is an authentically rebellious Frankie. Dillon Klena solidly reveals his emotional turmoil as the golden family child in ‘Perfect.’ Rishi Golani is charming as the new kid Phoenix. Allison Sheppard’s Bella is solid in recognizing what needs to be done after the horrific events of the party. Some issues in the production could perhaps unnerve audience members. There are a couple of digs against the Catholic Church and its stance on the sinful act of homosexuality and not the person that might put people of faith on guard. There’s more to understanding this faith concept that the story never touches upon, and that’s unfortunate. Despite some clarity in sound issues, ‘Jagged Little Pill’ universally speaks to a young twenty-first-century audience. The theatre needs productions like this to challenge the social and cultural perspectives of all audience members. And to bring youth to the theatre in order to carry the industry forward. We learn in ‘Jagged Little Pill’. At least I did. Running time: approximately two hours and 40 minutes with one intermission. ‘Jagged Little Pill’ runs until November 26 at Toronto’s Princess of Wales Theatre, 300 King Street West. For tickets, visit mirvish.com or call 1-800-461-3333. ‘Jagged Little Pill’ Lyrics by Alanis Morisette. Music by Alanis Morisette and Glen Ballard. Book by Diablo Cody Scenic Design: Riccardo Hernández Costume Design: Emily Rebholz Lighting Design: Justin Townsend Sound Design: Jonathan Deans Video Design: Lucy Mackinnon Music Director/Conductor: Matt Doebler Movement Director and Choreographer: Sidi Larbi Cherkaoui Director: Diane Paulus Performers: Benjamin Eakeley, Teralin Jones, Dillon Klena, Jade McLeod, Julie Reiber, Allison Sheppard, Naima Alakham, Lee H. Alexander, Delaney Brown, Justin Scott Brown, Claire Crause, Chelle Denton, Shelby Finnie, Rishi Golani, Liesie Kelly, Cydney Kutcipal, Sophie Lee Morris, Sergio Pasquariello, Jordan Quisno, Carmella Taitt, Alexander Tan, Daniel Thimm, George Vickers V, Elaine Watson Previous Next