Back 'Rockabye' by Joanna Murray-Smith. The Canadian premiere Produced by ARC now onstage at Toronto's Factory Theatre, 125 Bathurst Street Produced by ARC now onstage at Toronto's Factory Theatre, 125 Bathurst Street Joe Szekeres “Electrifying and riveting performances! The shocking turn of events in this ‘Rockabye’ still makes me think about our continued obsession with all things celebrity. Perceptive and keen direction by Rob Kempson.” ARC’s Canadian premiere of Australian playwright Joanna Murray-Smith’s ‘Rockabye’ takes a shockingly dramatic turn in the second act I didn’t see coming. And when it finally becomes clear what’s going on… Mother of God… A dark comedy, ‘Rockabye’ initially deals with the public’s obsession with celebrity and status, which deviates into a social justice issue in the second act. When this happened, I was initially confused about the connection between the two. And then, when it was apparent what was happening, my interest in said issue deepened even further when the pieces came together. Bottom line…is ‘Rockabye’ worth a visit? It certainly is, especially for some electrifying and riveting performances and perceptively keen direction by Rob Kempson. The production is set in 2009 in London, England. I loved that Murray-Smith’s script is chock full of pop culture references (Madonna and Deborah Harry are only two) because that’s when some excellent period music soared. The dialogue zips and clips at a sometimes-furious pace, with zingers upon zingers thrown in for appropriate hilarious measure in the first act. There are some wonderful comic moments in the back-and-forth bantering between the characters. It is in Act 2 that events turn sombre and dramatic. And that’s where we begin to see unfeigned and genuine stage work. Ageing rock star Sidney (Deborah Drakeford) is insecure and irritable in her high maintenance. Her success on the music circuit stalled after her number-one album. Although she’s a hit in Russia, Sidney’s career appears to be fading now. She’s over forty. Is she going to have to re-invent herself? Moreover, Sidney wants a baby as her biological clock is ticking, and she turns to adoption officer Layla (Shauna Thompson). Those fawners surrounding Sidney believe a comeback album will put her back on the music charts. But a baby in the picture? The supposedly trusted yes-men hovering around Sidney are comic parodies. Her trashy, coked-out manager, Alfie (Sergio Di Zio), might not be that reliable. Personal assistant Julia (Julie Lumsden) appears no-nonsense and on top of Sidney’s scheduled appearances, but she harbours her own secrets and will not let them destroy her work ethic. Sidney’s ex-rocker boyfriend, Jolyon (Nabil Traboulsi), isn’t much help either. What will help to kick start Sidney’s career is an appearance on rock journalist Tobias Beresford’s (Christopher Allen) television show. However, like any journalist out to bring dirt for viewers, Tobias relies on rather unscrupulous tactics to profile Sidney on his television show about her upcoming album and where her life and career are headed. His flirting with Layla may just lead to potential disaster for everyone involved. Jackie Chau’s uncluttered set design and Jareth Li’s sharply lit spotlight during the pre-show focused attention on the stage. The Andy Warhol-ish painting of rocker Sidney hangs over the couch and coffee table, upon which sits a picture of a baby buggy. I assume this to be Sidney’s dressing/sitting room in her London apartment. At breakneck speed, the set pieces are moved in and out quietly by the cast. Chau’s costume designs are glorious creations, from Drakeford’s skin-tight black leather pants right down to the gold chains and open half-way down buttoned shirts worn by Di Zio and Allen. Adrian Shepherd Gawinski’s musical composition and sound design are apt reminders of the rock scene combined again with Li’s concert blazing and bright lights just before Sidney gives a show. Deborah Drakeford is vocally and convincingly passionate as the narcissistic yet terrific-looking and gravelly-sounding Sidney. I could detect that roughness in her voice akin to rock singers. The mousse in Drakeford’s hair made me immediately think of Deborah Harry. Sergio Di Zio is an impressively sleazy, porn-stashed manager, Alfie. At first, I didn’t recognize a bearded Nabil Traboulsi as the dopey boyfriend, but like Di Zio, something in both performances makes the skin crawl uneasily. Julie Lumsden aptly becomes that caricature of the personal assistant to a demanding rockstar. She’s matter-of-fact and business-like but will not put up with any crap from anyone, including her boss. Sidney’s cook Esme (Kyra Harper) offers insight into why women may or may not want to have a baby as part of who they are. Shauna Thompson and Christopher Allen are on top of their gain and become two of the play’s highlights in their performances. Their synchronistic chemistry and the peeling back of layers as their characters ‘get to know’ each other are masterfully crafted and handled. Final Comments: I hope there is an opportunity for a talkback after some performances. Part of ARC’s mandate is to take socially justice active material and allow audiences to engage with relevant global conversations through community engagement. ‘Rockabye’ deserves that opportunity for informed discussion. In the meantime, grab some friends to see and discuss this Canadian premiere. Running time: approximately two hours and 45 minutes, including one interval/intermission. ‘Rockabye’ runs until February 11 at the Factory Theatre in the Mainspace Auditorium, 125 Bathurst Street, Toronto. For tickets, call the Box Office at (416) 504-9971 or online at www.arcstage.com for more information. ‘ROCKABYE’ by Joanna Murray-Smith, The Canadian Premiere Presented by ARC Produced by Julia Dickson Directed by Rob Kempson Set and Costume Design: Jackie Chau Lighting Design: Jareth Li Composer & Sound Designer: Adrian Shepherd-Gawinski Stage Manager: Tamara Vuckovic Performers: Deborah Drakeford, Nabil Traboulsi, Christopher Allen, Sergio Di Zio, Kyra Harper, Julie Lumsden, Shauna Thompson. Photo Credit: Sam Moffatt. Centre: Deborah Drakeford and Christopher Allen. Previous Next

Back 'Sweeter' by Alicia Richardson Now onstage to December 17 at the Aki Studio, 585 Dundas Street East Credit: Foreshots Photography. Pictured: Daren Herbert as Ralph and Alicia Plummer as Sweet Pea Zoe Marin, Contributor “With the ongoing discourse about whether or not kids should learn about race in schools, ‘Sweeter’ proves that it’s not only necessary, but also doesn’t have to be difficult.” ‘Sweeter’ takes place in American South in 1887, only two decades after the abolition of slavery. Ralph (Daren Herbert) widowed and newly emancipated, seeks a better life for him and his daughter, Sweet Pea (Alicia Plummer). This brings him to Mr. Zucker’s (Sébastien Heins) small farm in Eatonville, Florida, where he is currently unable to afford the small patch of land Zucker offers him. Eager to have something of his own, Ralph agrees to “lease” the land and work for Zucker until he’s able to buy it. Here. Ralph begins to tend to a withered mango tree that he promises will prosper with the right care. As it turns out, “Mango Tree” (Emerjade Simms) can talk, leading to a close bond with Sweet Pea and making an enemy out of Zucker. ‘Sweeter’ approaches the topics of slavery and anti-black racism with a directness that makes it easy for children to understand, as well as a humour that eases them into the more intense discussions of these issues later in the play. Director Tanisha Taitt further elevates that joy through her usage of music and dance that is sure to keep children and adult audiences equally engaged. I also thoroughly enjoyed how she kept the energy going through her transitions that often involved unique portrayals of the tree growing (through ladders with leaves attached), or flipping the flowers “planted” on the set (designed by Sim Suzer) to show a change in season. With the mix of human characters, along with with a talking sun Dee (Uche Ama) Mango Tree, the show never loses its playfulness, even as it delves into serious issues The Mango Tree metaphor works incredibly well as a clear way to portray the anti-black rhetoric of the time, while also not suscepting the audience into two hours of ‘trauma porn’. When Zucker, a light-skinned black man, first sees the Mango Tree, he calls her ‘ashy’, ‘dark’ and ‘scary’. When he first hears her talk, he says she’s demonic and spews Bible quotes at her. Then when he finds out how much money he can make off her fruti, he starts exploiting her. The metaphor is clear. The treatment is still vile, but the mango tree allegory cushions the hateful rhetoric without ever censoring it. Although ‘Sweeter’ is intended for young audiences, there are many nuanced layers to Richardson’s script that invite different audience interpretations. In addition to portraying anti-black racism, ‘Sweeter’ also touches on how class, proximity to whiteness, and gender can lead to certain privileges or further subjugations within the black community. I don’t think a small child would explain it like that necessarily, but the play definitely opens up the floor to those discussions. In the programme’s Playwright’s Note, Alicia Richardson says her purpose for writing ‘Sweeter’ was: “to explain the adult Black experience to a Black child.” As someone who is neither black, nor a child, I can’t speak to whether that specific mission was fulfilled. However, at ‘Sweeter’’s opening performance, there were so many moments where I heard the audience become disgusted by something Zucker said, or gasp, give a big “Aww” at a moment between Sweet Pea and Ralph, or even just laugh at a joke about Florida. Sometimes it was many people, other times it was just a few. Either way, it’s clear that Richardson’s very speific writing for her target audience led to a deeply personal and nuanced story that engulf’s the entire audience for each of their own reasons. A really memorable moment for me happened when Mango Tree talks about previously not benign able to grow fruit, and she says: “Can’t nobody expect you to grow if you’re too busy surviving.” Although the use of the mango tree metaphor could have risked deluding the show’s message, witnessing the collective ‘Mmh” and nodding of heads after this moment realy solidifed the importance of this story right now. Slavery may have already ended by the time ‘Sweeter’ begins, but its lasting effects continue to prevent Sweet Pea, Ralph, and even the antagonistic Zucker from ‘growing’. By focusing on the years after the abolition of slavery, ‘Sweeter’ fights against the anti-reparations/anti-affirmative action/anti-CRT/ pro-bootstrap myth crowds of today who believe that society is far removed from slavery, or the Jim Crow era, or police brutality incidents from a coupl of years ago. The same crowd who believes that people need to just ‘move on’, and that there’s no need to teach kids about it. By showing how bad society still was decades after abolition. ‘Sweeter’ puts a magnifying glass up to how society is still not removed from this dark history, and how it needs to be educated. On the note of education, I would also like to appreciate the ‘Study Guide’ provided by Cahoots, written by director Tanisha Taitt with contributions from playwright Alicia Richardson. The Guide includes further context about the characters and setting, discussion questions, curriculum connections, and additional themes for students in Grade 3-6 and 7-12. The Guide isn’t necessary for appreciating the play, but I would encourage teachers, parents, or even less-educated adults to read it over to have a more profound understanding. Running time: approximately two hours with one intermission. ‘Sweeter’ runs to December 17 at the Aki Studio, 585 Dundas Street East, Toronto. For tickets, https://www.cahoots.ca/production/sweeter SWEETER by Alicia Richardson A Cahoots Theatre Production in association with Roseneath Theatre. Directed by Tanisha Taitt Set by Sim Suzer Costumes by A.W. Nadine Grant Lighting by Shawn Henry Sound by Miquelon Rodriguez Featuring: Daren Herbert, Alicia Plummer, Uche Ama, Sébastien Heins, Emerjade Simms. Previous Next

Back 'Sea Wall' by Simon Stephens Presented by BRIGHT YOUNG THINGS AND QUIET THINGS CREATIVE IN ASSOCIATION WITH ONE FOUR ONE COLLECTIVE, and now onstage at Toronto's Assembly Theatre, 1479 Queen Street West Cass Van Wyck. Pictured: Jamie Cavanagh as Alex Joe Szekeres Jamie Cavanagh’s naturalistic storytelling makes ‘Sea Wall’ an engrossing piece of theatre. Now onstage at the Assembly Theatre, Simon Stephens’ ‘Sea Wall’ becomes an engrossing piece of theatre that left me bereft of emotion for a few moments at the end of the show. Belinda Cornish directs the one-act monologue with confident precision to ensure a naturalism that remains intact throughout the approximately 45-minute running time. Jamie Cavanagh is Alex, a photographer. He enters from the back of the auditorium at the top of the show and walks down the aisle to the stage. He looks at some of the props placed there. Even though he says nothing for a few minutes, something magnetic about Cavanagh’s presence draws attention to him. Alex is an inquisitive man. The question of Christian religion and faith belief figures prominently in the early sections of the monologue. Alex is uncertain of the presence of a religious figurehead but enjoys thinking about the topic and discussing it with others. He likes swimming and the opportunity to be at peace in the water. Alex wonders if a religious figurehead exists; he considers perhaps he might have experienced a connection while swimming. As his monologue continues, we learn Alex is deeply in love with his wife, Helen, and the two of them are overjoyed at the birth of their daughter, Lucy. We also learn Helen’s father, a retired British general, lives in the south of France by the water. Life is good for Alex, Helen, and Lucy. When she is eight, Alex and Helen take their daughter to the French seaside for a holiday at the request of Helen’s father. Alex likes his father-in-law and enjoys learning more about him while spending quality time with Helen and Lucy. While on holiday, Alex has a most interesting conversation with his father-in-law about a seawall near his home. Alex learns that this seawall is a mighty thing. According to his father-in-law, it doesn’t just drop a few meters but hundreds of feet. There is an incredible suffocating blackness at this seawall. This seawall becomes a metaphor for how things can change so quickly in life. The auditorium’s house lights do not dim for the 45-minute running time, which is an integral part of the staging. It’s a good choice because ‘Alex’ can make direct eye contact with each audience member. I noticed he had made eye contact with me a few times. At one point, Cavanagh (as Alex) asks a question and looks directly at an audience member sitting in front. She nodded in response that she wanted to know the answer to his question. (I won’t state the question because that’s part of why you must see the show.) Jamie Cavanagh’s nuanced and realistic performance is the highlight of the production. His thick British accent makes me pay careful attention. It all feels believable as he moves around the stage with purpose, reason, and intent. It’s as if he speaks directly to me, and I forget the other audience members sitting around. Cavanagh instinctively knows when to pause for a quick laugh from the audience or when something needs to be highlighted. During these carefully timed dramatic pauses, I am inching forward in my chair because I’m on every word. I don’t want to write any notes in my book about the production because I don’t want to miss anything. ‘Sea Wall’ is a theatrical treat you owe yourselves. Please go and see it. Running time: approximately 50 minutes with no intermission. ‘Sea Wall’ runs until Sunday, October 8, at the Assembly Theatre, 1479 Queen Street West, Toronto. For tickets, visit www.assemblytheatre.com . BRIGHT YOUNG THINGS AND QUIET THINGS CREATIVE PRESENT IN ASSOCIATION WITH ONE FOUR ONE COLLECTIVE ‘Sea Wall’ by Simon Stephens Directed by Belinda Cornish Performer: Jamie Cavanagh Previous Next BACK TO TOP

Back Michael Torontow Artistic Director, Talk is Free Theatre (TIFT) Barrie, Ontario Lane Dorsey Joe Szekeres Talk is Free Theatre’s (TIFT) company name from Barrie, Ontario has always piqued my curiosity since I’ve embarked on this new journey into professional theatre commentary. When I profiled Arkady Spivak a couple of years ago, I forgot to ask him about the name’s genesis. I was so thankful he assisted in helping me obtain an interview with TIFT’s Artistic Director, Michael Torontow. After I spoke with Michael, I got in touch with Arkady again to ask about the genesis of the name: From Arkady: “There are many inspirations for the name; three more widely used are 1) free speech and an opportunity for artists to engage in projects without interference from other pressures, 2) the satire on everyone thinking they are doing something by simply talking about it performatively, 3) acronym TIFT is a Restoration verb which means to get something ready, to prepare.” And in that same email, Arkady coyly wrote: “There is an inside meaning, but to reveal it would be to lose magic” with two smiley emoticons following. Thank you for this explanation, Arkady, as I would never want to destroy TIFT’s magic for me. I like what Christopher Hoile from Stage Door wrote about TIFT: “[It] is one of the most vibrant, innovative theatre companies in Ontario. TIFT provides one of the best reasons why Torontonians who love exciting theatre need now and then to look beyond the city’s borders.” I am planning to do just that going forward. I thoroughly enjoyed and appreciated Michael taking time to speak with me and to allow my Grade 12 Co-operative Education student to sit in on the interview and to hear a highly respected and articulate man speak about the company. Torontow will also appear in TIFT’s production of ‘Sweeney Todd’ in June. More about this upcoming musical shortly. On a personal level throughout Covid’s continuation, he and his immediate family have been faring very well. Michael feels extremely grateful of course and privileged in many ways that, with many who have suffered loss over the course of the pandemic and endured so much hardship, he is very lucky. He and his partner live in a house with a yard and nature nearby in the Dundas, Ontario area. They got a dog over the course of the pandemic and have taken the advantage of being able to live their ‘little’ lives and be safe in venturing out to the grocery story when necessary. Michael feels there is so much to say about the trajectory of Canadian live theatre regarding Covid’s influence. He is going into his first season as full-fledged Artistic Director with the company. He is excited just for a sense of normalcy within the industry once again when it comes to how everyone experiences live performance. TIFT took some inspiration in learning from the pandemic last summer in venturing forward with the outdoor production of ‘Into the Woods’ and the ‘Plural of SHE Festival’, a series of shows performed by women and those identifying as women. TIFT continued to search for ways to keep the artist working, whether it was through first day readings (where they got people together on Zoom to read a play) and whether something would come from that. Some of these opportunities turned into development of full plays. For example, the recent ‘Judas Kiss’ came from one of these first day readings. I could tell Michael was keen to share TIFT’s plans for its upcoming slate which will be announced soon as certain details are still being worked out on certain projects. Additionally, the pandemic has allowed the company to complete a great deal of reflection about moving forward with development of some service projects, to examine mental health in the rehearsal space, and to address some of the issues that have come up over the last couple of years. Through implementing these changes in future TIFT productions, Michael hopes the company can become a leading example of progress within the theatre industry that other theatre companies can look to for advice, guidance, and inspiration. When I looked at the names of the company members on TIFT’s website, there are the crème de la crème of quality artists. I asked Michael if all these persons were gathered and sitting in front of him at this moment, what would he say to them? He paused, and in a hushed voice said, “Oh my gosh!” I know I put him on the spot, but he acknowledged he wouldn’t be able to keep it brief. But he did: “Thank you for being a friend. There’s an element to which TIFT is what we are today because of all of you. We have an interesting symbiotic relationship with all of you where a strength of TIFT is that and what attracts great people to the company is that we do work that people want to do, whether it be original or anything artists want to create themselves. We will continue to do things differently and uniquely from how you might see things at other places. And you, dear artists, continue to inspire TIFT with the gifts you offer.” What a beautiful tribute Michael paid to this company which proudly sees itself artist first and organization second. Nevertheless, Michael also recognizes the company’s learning during this time how artists and audiences are aware Covid is still among us and not going away immediately. There may have to be a pivoting away from plans and goals depending on how Covid progresses. He got to direct his first musical, ‘Into the Woods’ with TIFT as Arkady saw something within to venture into new territory as director as he had been thinking about that for some time. In June, Michael will play the titular role in ‘Sweeney Todd’ directed by Mitchell Cushman. The production will take place at the Glen Rhodes Campus at the Neighbourhood Food Hub. (Link provided at the end of the article) Without spoiling too much fun, Michael said audiences will be made to feel part of Sweeney’s story in an immersive and roaming production instead of just merely watching it. Nearly every inch of space in the church will be used. Guests will enter through the church, but they have no idea where they will be taken. There are certain scenes of the show where audiences will literally be among the action, perhaps even twelve inches away from the actors and artists. You may not know where to look, but that’s okay as that’s all part of the point as so much stuff will be going on all over the place. Rest assured though Covid protocols and masks will be used since there are no understudies and TIFT does not want anyone in the cast, crew, or audience to get sick. Some staging of the scenes will be intention as the wearing of masks will also become intentional as part of the audience involvement and performance. One of the things Torontow hopes to accomplish in playing Sweeney is seeing the human side of Benjamin Barker first before he became the murderous, demon barber of Fleet Street. The whole reason for Sweeney going through emotions and actions when he returns to London from Australia is the fact he is trying to get a sense of what he might have lost as Benjamin Barker. He wants his daughter back and he wants to find his wife. Why do audiences need to see ‘Sweeney Todd’ now? For Michael, one of the prevailing themes comes from one of the lines in the show: “Those above will serve those down below.” The play is all about a class issue and how Sweeney was easily whisked away to that penal colony in Australia by a Judge who, just because of his position in society, was able to take something from Sweeney and then shove him off wherever he wanted. To a certain degree in our society for Torontow (even though he doesn’t consider himself an economist) the rich and the poor are diverging more and more, and the middle class is disappearing more and more. To be able to illustrate the difference between the above and below is a little bit of a nice reminder to people. A month of rehearsals was already completed. The production was at the end of a two-month hiatus, and the company returns into a refresher and into technical rehearsals starting Tuesday May 31. And once ‘Sweeney Todd’ has completed its run? What’s next for Michael Torontow? Well, right away he is going to be part of the Porch Side Festival at Theatre Collingwood. Michael had performed the play ‘Every Brilliant Thing’ with TIFT a couple of years ago and will perform it once again in Collingwood. After Collingwood, Michael will then be developing new and exciting things coming up for late summer and early fall for TIFT. He is one busy guy but the energy he exuded during our conversation was infectious. Thank you so much for your time. To learn more about Talk is Free Theatre, visit www.tift.ca . To learn more about TIFT’s upcoming production of Sweeney Todd: https://tickets.tift.ca/TheatreManager/1/tmEvent/tmEvent328.html Previous Next

Back 'Wendy and Peter Pan' adapted by Ella Hickson from the book by J. M. Barrie. THE NORTH AMERICAN PREMIERE Now onstage until October 27 at the Avon Theatre at the Stratford Festival Credit: David Hou. Pictured L-R: Jake Runeckles and Cynthia Himenez-Hicks Guest writer Geoffrey Coulter, actor, director, adjudicator, arts educator "Peter and Wendy don't soar in this slow and underwhelming trip to Neverland!" The North American premiere of “Wendy and Peter Pan,” now playing at Stratford’s Avon theatre, is this season’s Schulich Children’s Play. Although the characters in the title and their story are universally familiar to all, the hook here is that this “update” turns J.M. Barrie’s classic children’s novel into a dark, dissonant, and unengaging production, with characters as flat as the pages from which they are conceived. As a child I remember experiencing Peter Pan through books, movies, plays and laugh-out-loud pantomimes. I couldn’t wait to be whisked away with Peter and the Darling children to a land of adventure and fantasy, full of Lost Boys, Pirates, and fairies. I marvelled at the Darling’s huge dog, Nana, the mystical twinkle of the disembodied Tinkerbell and the fearsomely funny Captain Hook. Pity that Stratford’s production of Ella Hickson’s 2013 adaptation retains little of the magic, mystery and revelry and the lovable, iconic characters I remember from the original. Instead, we’re left with a haphazard mix of dull performances, confusing antics and sets that aren’t quite up to Stratford’s normally high standards. In this retelling, the story is seen through the eyes of the protagonist, Wendy Darling. She’s a daring heroine determined not to play den mother to little boys. Peter Pan appears in her nursery and, along with her brothers Michael and John, she flies away to Neverland, teaming up with the Lost Boys and gaining allies of Tink and Tiger Lily to fight the evil, aging Captain Hook. This feminist re-working prominently uncovers some darker themes from the original narrative and introduces new characters such as Tom, a fourth Darling child. The production blatantly explores themes of death, childhood, grief, spirituality, envy and aging—relevant topics to a modern, young audience. There’s lots of flying and sword fighting, colourful costumes, and silly antics. Still, most characters don’t play enough to the children in the audience and end up two-dimensional and uninteresting. The unhappy result? Humdrum storytelling. Several children sitting around me at the opening matinee exclaimed to their adults, “What’s happening?” and “Why are they doing that?” I’m still pondering whether it’s the banal script or lacklustre performances and direction that makes this trip to Neverland rather…average. Director Thomas Morgan Jones, in his production notes, uses words such as “adventure,” “humour,” “alive “pace,” and “engagement.” Ironically, there’s not much of any of these in this production. He seems to have left his cast to their own devices. When a production features a classic villain or hero from Disney, literature, comic books, or even cartoons, kids expect everything they know about that character to come alive on stage. We know these characters and are eager to take their journey with them. Unfortunately, major characters seem watered down and lifeless. Peter (Jake Runeckles), Wendy (Cynthia Himenez-Hicks), Tink (Nestor Lozano Jr.), and even Hook (Laura Condlln) are underplayed and, curiously, lack charisma. Peter is missing his mystical whimsy, and Captain Hook (without a hat!) seems more like a wicked stepmother than a menacing, conniving, over-the-top cutthroat. Even Tink is played more the sarcastic drag queen than an enchanted sprite. Yet there are moments of inspiration, such as The Shadows, Peter’s mischievous team of reflections who move objects, open windows, and carry off humans. The result is an unbalanced, flighty mashup of complexity and commotion. Robin Fisher’s set is sparse and confusing with a noticeable lack of detail, especially in Darling’s nursery. Nothing seems to be made solidly. Wood seems fake, and small hand props, like Tink in fairy form, are hard to see. The bay window that heralds the arrival of Peter and his shadows is recessed and relatively small, making for unexciting entrances and exits (likely because the other side serves as the entrance to the back-end Hook’s Jolly Roger). Neverland is represented by dangling green fabric from a large arch over the stage. The telescoping palm trees seemed flimsy and delicate. Several thatched mounds (rooftops) with an attached highchair upstage are mysterious and confusing. What was this location? Hook’s ship, the Jolly Roger featured a large prow with a skeletal figurehead rolled in from backstage. An impressive piece that looked like it still needed some paint and weathering. The wheel end of the ship and a single mast evoked the rest of the vessel. The highlight was the tick-tocking metal framed crocodile ingeniously fashioned over a recumbent bicycle operated around the stage by Marcus Nance. Fisher’s costumes were appropriately Victorian for the Darlings, cut rags and old ripped coats for the Lost Boys. Pirates looked right for 18th-century buccaneers, with some splashes of colour and cut, but I did miss an eye patch or even an occasional hat, especially on Hook. Where was her hat? It’s in the promo photos. Pirates need hats! Lighting designer Arun Srinivasan once again proves his mastery of the art. His designs have shape, contrast, and colour that augment the story with every cue. Romeo Candido’s original compositions and sound design do their part to move the story along with nice twinkling underscores. Andrea Gentry of ZFX nicely achieves flying effects. Actors seemed very comfortable being surreptitiously connected to a wire and pulled up 50 feet into the air. Performances, as collaborated with the director, largely fall short of their potential. As Wendy, Cynthia Jimenez-Hicks does a fine job playing a feisty 12-year-old with bravery and loyalty to spare but her squeaky high voice never modulates. Noah Beemer and Justin Eddy are just fine as the inquisitive and daring John and Michael Darling. Agnes Tong and Sean Arbuckle make the most of their brief appearances as Mr. and Mrs. Darling. Jake Runeckles as Peter Pan is mysterious but not enigmatic. He never quite engages. His one-note performance lacks chemistry, especially with Jimenez-Hicks’ Wendy. As Captain Hook, Laura Condlln saunters on and off stage, trying hard to scare and cajole but ultimately coming off as an irrelevant aging villain (a real surprise as her performance as Malvolio in Twelfth Night this season is brilliant!). Tara Sky as Tiger Lilly is colourless and unremarkable. James Daly, as the analytical, smart-mouthed pirate, Martin, had genuinely funny moments, but many of his punchlines were lost due to his hushed and mumbled line delivery. Fortunately, there’s some fine comedy brought by Sara-Jeanne Hosie as Smee. Her none-too-subtle scenes pining for her captain and love interest are cute and way over the heads of the kids. While there’s plenty of swordplay, colour, and high-wire work, the production is disjointed and struggles to find its vision. The characters we love and love to hate are reduced to watered-down shadows of the literary classics we know and expect them to be. It is too bad that the fun of the original “Peter Pan” has been traded for this dissatisfying doppelganger. Running time: approximately two hours and ten minutes with one interval. Performances of ‘Wendy and Peter Pan’ continue to October 27 at the Avon Theatre. For tickets: stratfordfestival.ca or call 1-800-567-1600. Previous Next

Back 'A Midsummer Night's Dream' by William Shakespeare DREAM IN HIGH PARK High Park, Toronto. A Canadian Stage production High Park, Toronto. A Canadian Stage production Guest Reviewer Olivia (Eun-Jung) Jon Dream in High Park celebrates its 40th season amidst the beautiful backdrop nestled in the heart of Bloor West. It is fitting then it should present the story that inaugurated its stage. Shakespeare’s script is trimmed to 90 minutes and is aimed at being an audience pleaser. Many moments hit the mark from the reaction during this performance, and every inch of the space is used. Director Jamie Robinson is to be commended for the endless activity and artistry that comes alive in the pacing, along with set/costume designer Jackie Chau, and lighting designer, Logan Raju Cracknell. The movement direction by Monica Dottor is also a main strength of this show. The actors flow and move almost limitlessly on the High Park stage. Depending on who you ask, the story is beloved or reviled. The Fairy Queen and King are at odds. Four lovers run away into the woods, and due to a love potion mistakenly administered by the fairy Puck (sent by the Fairy King), two of the lovers wind up fighting for the wrong or unexpected partner. I don’t believe I give away any spoilers when I say that a set of wandering players enter the forest, and one is transformed and given a donkey’s head. Hilarity ensues. Evidently, magic is critical to bringing this fairy kingdom to life. There is plenty of that as one is seated in the glorious High Park amphitheatre and evening sets—the talent and prowess of the cast aid this. Robinson has assembled a magnificent, diverse group of actors to play out this comedy. It was breathtaking to see numerous BIPOC performers converging on one stage. Notably, Louisa Zhiu, as Titania/Hippolita, is grounded and imbues her character with charm and lyricism. This cast is fearlessly active, but at times, the broad activity on stage hindered the clarity of the storytelling. The actors were so focused on projection, movement and playing out to the whole audience that dialogue was occasionally rushed, and nuance was lost. This show shines best when the emotions and the subtleties of the characters lead into the comedy as opposed to playing for humour. This was probably dictated by the need to fill the space and broad comedy, large movements, and read better in an outdoor venue. That being said, taking time and allowing the words, for example, in Helena’s beginning monologue, to settle with the audience increases appreciation of the text. Shakespeare's words have such vivid texture and colour, and this is one area often overlooked in modern productions. Doing so engages the eyes and ears, but you miss fully engaging the heart. Still, audiences will undoubtedly be entertained by the cast's pageantry, costumes and exuberance, even if one does not come out more appreciative of Shakespeare. Now Playing at High Park 1873 Bloor St. West Toronto, ON M6R 2Z3 Running time: 90 minutes. Runs until September 3, 2023 Director: Jamie Robinson Stage Manager: Kate Redding Cast: Shelly Antony, Frank Chung, Steven Hao 郝邦宇, Stuart Hefford, Ryan G. Hinds, Vicent Leblanc-Beaudoin, Megan Legesse, Angel Lo, Jadyn Nasato, Julie Tepperman, Aaron Willis and Louisa Zhu Previous Next

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

Back Sedina Fiati The Self Isolated Artist Robert Obumselu Joe Szekeres Sedina Fiati held quite an interesting conversation today. Before this pandemic hit, she talks about how she was on that proverbial hamster wheel of ‘busy ness’; we both agreed on the fact that this isolation allowed us that opportunity to sit and just ‘be’ amidst the craziness of it all. Proudly black and queer, Sedina is a Toronto based performer, producer, creator and activist for stage and screen. She is deeply invested in artistic work that explores the intersection between art and activism, either in form or structure or ideally both. She is the former co-chair of Diversity Committee & Councillor – ACTRA Toronto (2013-2017), 2nd VP Member Engagement & Councillor – CAEA (2015-2018) and named as part of 2014 Dyke March Honoured Group – Toronto Fierce Femme Organizers. We held our interview via Zoom: We’ve just past the three-month mark of isolation and now slowly emerging from quarantine. How have you been faring? How has your immediate family been doing during this time? It’s been really difficult for a lot of us, but there’s a lot to be thankful for. I’ve been working throughout and haven’t stopped. I’ve been doing a lot of online facilitation and a lot of online Zoom calls. It’s been hard to be cut off from a lot of things that we used to be able to do and not be able to see our friends or our families. Here in Canada, we’re lucky for the health care system, the emergency benefits. In the grand scheme of things, it’s been a hard-few months, it’s been a hard three months but in the grand scheme of things, I’m 39, I’ll survive three months of hardship (laughs). I’ve been ok and so has my immediate family. I live with my partner, so we’ve just been isolating with each other. My mom is in a retirement residence, so I’ve been able to see her a couple of weeks ago with a physical distance. I’m looking forward to seeing her again, so yeah, everyone’s been ok. As a performer, what has been the most difficult and challenging for you professionally and personally? It’s been a time. I wear a lot of hats and it’s hard for me to talk just as a performer. It’s been hard not to go and see shows. I really miss that. It’s also been a good time of contemplation, of next steps. I feel like I was going to be quite busy throughout this spring, so this has allowed me to slow down as a performer, breathe and think through things. During this slow downtime as a performer, I’ve been thinking about training, about craft and how I’ve let that fall by the wayside for the last while and been wanting to reconnect with that and with practicing. Personally, my partner and I have been reconnecting with each other. I’ve been calling people and text on a regular basis with family and friends. I’ve done my share of Zoom calls. I haven’t done many social Zoom calls to be honest, a few for sure, but for professional reasons I use Zoom a lot instead. I appreciate not having to look at a screen if I can help it. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? Yeah, I was. There were three things that were supposed to happen. One of them has been postponed where I was assistant directing with a friend on a project that she was creating that was going to happen at the Railway Museum in the spring. I was also supposed to do a workshop of a new play at YPT by Alicia Richardson called ‘Sweeter’. Alicia is the Canada Council playwright in residence there. I was supposed to direct a workshop of that play and that has been postponed to the fall. I was producing a reading of a new play called ‘Leopards and Peacocks’ by Gitanjali Lena. We did an online sharing of two scenes a few weeks ago to do something and to commemorate the 11th anniversary of the Tamil civil war. There was a conference in Banff I was supposed to go to. That ended up being online with 3 seminars and video sharings. A lot of things postponed and moved around. Performance wise I had nothing. I had thoughts about putting a cabaret together. I thought about this schedule and thought, “That’s a lot.” I would have gotten through it all and would have been fine, but it’s probably better to chill out. I’ve been appreciating the time to do a few more things. What have you been doing to keep yourself busy during this time? Personally, I’ve been cleaning up a lot. So, my apartment is really clean. Just been watching things a little bit – lots of audible podcasts. I have more time to do things. More cooking, lots of baking. The stuff that I would squeeze in here and there I’ve had more time to do. A lot of cleaning. I’ve always been inspired by Marie Kondo and, in general, makeover shows. Watching ‘Queer Eye’ has inspired my partner and I to change our space around. In addition to that, it’s been a lot of Zoom calls and online facilitation. I work at Generator as APT. We moved to online – 2 sessions a week – until mid-May. I’m now in prep for a children’s piece theatre. We’re moved the session to be online this year. I know Camp TO is happening but I’m not anticipating the day camp to be open. The weekends I really don’t have any energy left for work. I feel just depleted by the time Friday rolls around. I don’t think I’ve been on the screen so much since all this happened. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? It is a time of disruption where what we were doing before is not even possible. To the professional theatre school grads: “To be fair and honest, to be so honest, it takes a long time to build up a career anyway”. That was my experience and thinking back to 2004 when I graduated from theatre school. I did an indie show right out of school and other Fringe shows. I wasn’t paid a lot but that was okay because I wanted to do them. To the graduates and to fellow performers and colleagues – those opportunities will come back. It’ll feel like, “My career is delayed but so is everyone’s”. We’re on such an individual trajectory anyway so who’s to say what you would or wouldn’t have gotten? In the grand scheme of things, if you’re in a career for the long haul, you’ll be fine. Even with a year off, you’ll be fine. Life happens to us for any reason why your career will take a break. Be ready for those moments when your career takes a break. This time of the pandemic has made me aware that we may have to be doing other things with our time. My overarching answer: “You’ll be fine.” Maintain yourself care in terms of your sanity and whatever you can do for your creative practice, but you don’t have to overdo it. I do anticipate live performance for an audience may not return for a little while, unfortunately, but I can’t see performers being off for a really long time. It’s hard to be a performer so that’s why I’m glad to be wearing a producer’s hat as the stars have to align for a show to happen. There are always things you can be doing. Still taking the classes, exploring video performance. Dance class, singing. You should always be doing these things anyway. The work never stops. You can make an audience online. Do you see anything positive stemming from COVID 19? For all of us, it’s just a time of collective pause and think through who and what it is you want to be. I feel personally that I was on a hamster wheel and still on there. Just thinking about my trajectory, I didn’t even take a break until I graduated. So the positives for the new graduates: Journal, refill the well, develop those self-care practices, find positive elements to sustain yourself. You can take that break too. Don’t feel like you’re actually missing out. This is your time, your trajectory, your career. This is a part of how your career has unfolded. Really take the time to contemplate. Others have had their own set of challenges too just like you. When things start back up again, you’re grounded and in a space of joy because that is, I think, the space where some of the best work happens. Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? Yeah, it will. Tonight, I’m a guest for the Indie Arts Coalition in an open space - a series of ongoing conversations about how we want to move forward in a better and different way. Things are in the air that haven’t been there in awhile. A big thing that’s happening is the contemplation of what we’re doing and why, and who it’s benefitting in terms of the independent artist. The system set up, nonprofits being set up, and making sure independent artists are recognized somehow, financially. With anti-racism, systemic oppression. Black Lives Matter, there’s a real spotlight on issues. I’ve been working on this for quite some time and so have other people before me. I don’t think we can come at this the same as we had. It’s also a tough time because I don’t know how funding will be affected by the economic downturn. Will there be the same amount? Which institutions will be left standing after this? The ones that are left are in a space of reckoning that we can’t do things the way we did before. We’re really going to have to work hard and pull innovative approaches to bring our audiences back to collective spaces, and to welcome people back. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? There are so many things to say about it good and bad. I have questions about the commissioning of online performance from larger institutions and are people being paid properly for that work. There was an immediate response, at first, of the proliferation of work online to try to address the fact performances were canceled and people were out of work they might have had. Now that things have settled, online performances are a good thing and especially because what alternative is there? I would rather see fewer performances that were well promoted, and artists were well compensated than seeing a bunch of performances. I can’t keep up with everything that I’m seeing online right now, bam, bam, bam…. who’s next? It’s still a valid format, but I would rather people took the time to explore the medium and what the possibilities are and that things were properly promoted. Streaming removes the barrier of participation of people who might not have money and presence for whatever reason for those who can’t attend live performances. The Zoom reading, I don’t know how that will fare when COVID is over. Yes, Zoom has allowed artists to collaborate from all over and that’s good. The Zoom reading will probably not endure to the extent that is happening now. Despite all this fraught tension and confusion, what is it about performing that COVID will never destroy for you? The ephemeral nature of performing. There’s something deep within the human history of storytelling that we can never erase that is deep within our DNA as humans. We need to share our stories with each other. We need to share emotions with each other. My parents were quite artistic so it appears that I’ve followed suit. The way we tell stories may differ, but we need to tell them. This will never be destroyed. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton here are the ten questions he used to ask his guests: 1. What is your favourite word? Breath 2. What is your least favourite word? Moist; it’s just kind of a funny word. It’s a great word, but it’s still a funny word Prime Minister Trudeau even pointed out what kind of a funny word it is. 3. What turns you on? Sharing, honesty, generosity, kindness, joy 4. What turns you off? Dishonesty, misplaced anger, meanness, excluding people, trying to feel better than somebody else. 5. What sound or noise do you love? I love laughter, children’s laughter, and children playing. 6. What sound or noise bothers you? Styrofoam rubbing together. That one really gets me. 7. What is your favourite curse word? Oh, Fuck, for sure. It’s so versatile. What is your least favourite curse word? Cunt ‘cause it’s a good word. 8. Other than your own, what other career professions could you see yourself doing? On line facilitating. Through various means, I’ve been teaching Zoom for Beginners to laid-off hotel workers. It’s all people of colour who worked in hotels who have been laid off so it’s been a joy to help these people figure Zoom. 9. What career choice could you not see yourself doing? Hmmm. This is a good one. I don’t think I’d be a very good accountant. (laughs) Too many details. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? Oh, this is a fun one. “Here is all of the foods you love. Here are all the people you love who are now dead. It’s a party.” (laughs) You can follow Sedina on Facebook: Sedina Fiati, Twitter and Instagram: @bwheelsheels Previous Next

Back Kyle Brown Moving Forward Andrew Seok Joe Szekeres It has only been a few days when I discovered that a former student of mine from many years ago, Kyle Brown, has been cast in the Toronto company of ‘Come from Away.’ The current Toronto cast had been performing ‘Welcome to the Rock’ from their various homes. I was looking at each of the cast members and was elated to recognize Kyle in the company. After studying Music and Biblical Theology at Gateway College in St. Louis, MO, Kyle practiced church ministry in music and youth leadership. Eventually, he learned this was not his path and returned to Canada where he began performing while taking private lessons in singing, dancing and acting. Kyle only had four rehearsals into the production before the pandemic shut down all the theatres. His first appearance in the Toronto company was to have been April 9. Well, Kyle, when the all-clear is given and you are in the company, I will be out to see your performance. It appears that after five exceptionally long months, we are slowly, very slowly, emerging to a pre-pandemic lifestyle. Has your daily life and routine along with your immediate family’s life and routine been changed in any manner? Well, first of all, we’re going outside more. It’s kind of like coming out of the cave if you will. We all are. It’s very nice whether you’re distanced meeting with people for a gathering. It’s a really nice feeling to see other people. On top of that, I’ve recently picked up a few restaurant shifts. I know an owner of a restaurant and was lucky enough that he was kind enough to offer me some work especially with the uncertainty of CERB ending. Were you involved or being considered for any projects before everything was shut down? My focus at that time when everything shut down five months ago was just on ‘Come from Away’. I was just really trying to get my brain wrapped around the entire production. It is a hefty show to put on in terms of just everything that is happening on stage. There are twelve actors on a stage for nearly the entire show. There are a lot of quick changes and a lot of transitions, not intense but very subtle and specific choreography. A lot of things to pick up on, and I had six weeks to do it as I was to have put in the show April 9. This whole process has been an interesting game of guessing and being wrong. I don’t guess anymore. You realize pretty quickly that at some point we have no clue when we will be back. Something in my gut is telling me maybe in Spring 2021 just because it marks a year since we were shut down. There’s no evidence for that, it’s just my gut feeling. I’m not basing that on anything. It all depends on whether there is a vaccine. Some of the theatre companies have big choices to make and the government allows people, what’s feasible for a production, safety precautions for the actors and the audience, and everyone involved. It’s a tricky thing to maneuver. I don’t envy anyone who has to make these decisions because it’s very tough. Describe the most challenging element or moment of the isolation period for you. Probably the very beginning was just the uncertainty. And I think throughout this whole thing is the uncertainty. It’s just a lesson for us all, we don’t know anything in life at the end of the day. But not knowing, for example, as we were discussing when we’re coming back, it makes things difficult and to go about your life. For me, I’m waiting with this awesome production that’s ready to go when we can go, but who knows when that’s going to be? And what do I do with myself in the meantime? How do I make an income? How long do I hold out? What do we do? The uncertainty is challenging but I’m getting used to it. The restaurant owner is a friend and knows my situation that when the theatres are re-opened, I will just say, “Here’s my two-week notice. As soon as I get that call, I’m out of there.” What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? Since theatres will most likely be shuttered until the spring of 2021, where do you see your interests moving at this time? I’ve been first and foremost embracing the ‘non-busyness’ of it all. I’ve been doing a lot of meditating, doing a lot of self-care work and reflection as well. I found myself alone a lot with my thoughts and doing this self-care and reflection allowed me some new and further personal insights into who I am and my person and what I wanted to know and/or change about myself. I’ve been exercising a lot which is something I never really did but it’s kept me sane. It gave me an excuse to get outside every day just into the back where I live. The exercise is nothing too intense but getting some air. I’ve walked A LOT…I’ve never walked this much in my entire life. I’ve walked around this entire city three times over. That’s been good. I’ve also been helping some friends with some projects. I’ve also been trying to explore other avenues of creativity. This is a good opportunity to explore other things I didn’t do so often. I tried my hand at writing a little bit. Currently, I’m trying to write a short film. I don’t know how, if or when anything will ever come of it. But the point is for me to exercise my creativity in a new way since I can’t be on the stage right now. I do want to finish the short film and find other related elements of my creativity. I also like writing songs and working on my instrumental skills. I play a little bit of piano. I’m not exceptional but I can work on it. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? Ya know, I’m not one as a kid myself like I should be doling out wisdom but…I would tell other artists just remember why you chose this route in the first place. Those reasons are still valid even though the avenue has changed. For most artists, we want to perform, we want to create, we want to tell stories and there’s a need for that. There’s always been a need for that. Regardless of what is happening in the world, we artists will come back again. Speaking for myself, it was never really about the paycheque because we know what this life could be like. It can be very tricky to get that pay cheque and there’s also A LOT of work involved. The pay cheque was not the leading motivation for me to become a performing artist. The reason why we became performing artists is still there. It’s still valid and will be needed more than ever. We’ve seen in this time how much it is needed from people performing from their balconies earlier at the beginning of the lockdown. There’s a need for performance. Stick with it. We’ll be back some time. We will be. To the new theatre graduates: This is a really good time to hone. You’ve just graduated but keep digging into yourself and into your craft. Keep learning and developing. Try new monologues. Now’s a good time to beef up your audition material. You’ve got plenty of time to select monologues and songs. It’s also a great time to create as well. Obviously, the time of a pandemic is not ideal for the new graduates, but this isn’t the end. You’ve just spent a bunch of money at theatre school so at least give it a chance. I’m taking my own advice. I’ve actually increased what I’ve normally been doing. I would normally see a vocal coach once a week. She was also an overall coach for me. We’d go over monologues, text work, and breathwork. Now we’re meeting four times a week at least via Skype. I’m just trying to improve. I’m trying to be the best I can be. Do you see anything positive stemming from this pandemic? With all respect and understanding to anyone who has lost anybody on account of COVID or who has lost a job or financially, I actually see a lot of good. Whether we want to call this ‘The Great Intermission’ or ‘The Great Pause’, this was something that was needed for all of us even outside the theatre industry. I think a pause was necessary. Our pace of life was, for many of us, a little insane if you think about it. Everyone’s running around constantly trying to run the rat race, busy, busy, busy and we’ve become so addicted to this need to be busy. I think that sometimes comes at the expense of our relationships, at the expense of our physical and mental health, at the expense of our spiritual health. We need to take the time to pause and to see what’s really important and valued and valuable in life. So, this pandemic was a necessary thing. I think now we’re seeing connection. I’ve connected to people to whom I haven’t spoken in a long time and it’s really been nice. My relationships have gotten a lot stronger throughout this even though I haven’t been able to see others in person all the time. I found everyone has just been a lot more vulnerable. Even the conversations I’ve had with friends, the tone of the conversation has shifted especially in America. Everyone now is in this place where we’re not so distracted. We can think about things in a deeper way, we can have conversations in a deeper way, more healing in our lives because we’ve been forced to. It’s time to heal. I really do. It feels very rough, tumultuous in the world but I think that’s what is needed for real healing to come. We have to see these things clearly. I see that we’ll also be a little more careful in the future. More people are washing their hands. I was always an avid hand washer. In your informed opinion, will the Toronto and the Canadian performing arts scene somehow be changed or impacted on account of the coronavirus? Yah, it’s undeniable. There are going to be impacts that are positive and negative at the same time. We’re seeing theatre companies struggle, amounts of money being lost. We don’t know what this is all going to look like. There will definitely be safety protocols in place. It’s going to be strange in the beginning because I don’t think it’s going back to the way it was before. We’re seeing a lot of online work now happening. We have to at this point. There’s a lot of conversation going on and talking since we’re not back to work yet. There will be a huge call for different inclusions in theatre. Those calls have been happening for quite some time. I didn’t see the Indigenous round table discussions going on at Stratford and I really wished I could have. I was mostly just reading what was happening online. There have been a lot of courageous people coming forward to have these tough conversations. As a black man myself, I found myself very affected by a lot the stuff that was happening in the US. There is a lot of conversation about race relations in every industry, really, and generally in life. It’s been a very emotional moment for me. I found myself coming in and out of a conversation and how I can pay attention to the conversation because I found myself going in and out because it was a lot. I hadn’t realized just how much it was affecting me and I had to control myself and breathe when there was too much information coming in. There’s been life to distract me and to keep me busy and during this time it’s really gutted me at points in ways where it was too much. When that occurred I got off Facebook, I got off online, and put the phone down as I couldn’t take it anymore. It was starting to affect my mental health. What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? Have you been participating, or will you participate in any online streaming productions soon? I have very mixed feelings about this. I understand it. And we’re doing what we can because we don’t have very many options and people want to continue to work and we want people to have content to look at. I appreciate streaming that is done in the most creative way we can. With this pandemic, it has become an onslaught of watching through boxes all the time with people staring into a camera, and it gets to be tiresome to look at. But I understand this is avenue that we need to reach people in their homes. That being said, you can never replace a live performance. The reason why I love live theatre so much – there is an actual exchange of energy in the room between the actors and the audience, the musicians, or whatever it is. There’s a spontaneity taking place, hearing the silence together, hearing the breaths together, feeling those moments together is what it’s about and that can never be replaced by a screen to me. You cannot put a screen there and satisfy me. The screen will pacify us for a time. It’ll do what it does for a while, but I just want to get back to being in the room. That’s why we do this. Streaming can be difficult because there’s so much grey area with what the rights are, what is permitted, not permitted, and how much money is going to be paid to Equity scale. It’s a very complicated time because there are so many unusual performances. There’s still a lot to figure out there with streaming. What is it about performing you still love given all the change, the confusion, and the drama surrounding our world now? The energy exchange is intoxicating but beyond that, performance has power. It has such incredible power and some of the greatest movements were fuelled by performance. Performance has the power to change people, to impact people in ways that we don’t even realize. Given all the craziness going on right now, the irony is we now need performance more than ever. There are so many stories that can be told. It’s a healing thing. Going to a good performance is a healing experience for everyone involved and that’s what I really love about it. I’ll never forget sitting and hearing a performance, or even in a church where you hear someone sing and it was like they were channeling something else. And with that being transmitted from them to me sitting there and tears welling up because I feel extreme excitement in that way, I love it. And if I can do that in performance to someone else, I love it. With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: a. What is your favourite word? Reconciliation. I like the sound of the word, I like the way it rolls off the tongue. I like the meaning behind the word. b. What is your least favourite word? No. Don’t tell me No. I don’t like it. I want to be able to do whatever I want to do it. c. What turns you on? Compassion and empathy, and open-mindedness is a big one. Humility – These are really sexy words, and I want you, Joe, to put that statement in my profile (Kyle says with a laugh). d. What turns you off? Willful ignorance and a lack of compassion. e. What sound or noise do you love? I love the sound of a pencil writing on a single leaf of lined paper. I don’t know what it has to be lined directly on the desk, not in a binder. It has to be one sheet, on the desk, with a pencil, and writing across. I love that sound and I don’t know why. f. What sound or noise bothers you? A cat purring. It weirds me out. Also paired with the vibration of the sound coming from inside them. I know, it’s weird, but it’s the sound of purring that weirds me out. I do like cats, but when they purr it gives me the shivers. My sister pointed that out to me when I was younger and I couldn’t recognize it then. g. What is your favourite curse word? Bomboclaat – it’s Jamaican. It’s just a curse word. It’s hard to translate, almost like the ‘f’ bomb. What is your least favourite curse word? That is a good one…that’s a tough one because I’m generally a fan of curse words. Any word that is derogatory to any race, gender, identity, I don’t particularly like. There are some boring swear words like shit, asshole, I like to get creative. h. What profession, other than your own, would you have liked to attempt? I always was interested in surgery. We used to watch surgeries in my home. My mom used to put them on. Some people would be grossed out by it, but I wasn’t. I could be eating dinner and watching an operation happen and I wasn’t fazed by that. I was told by my Grade 11 Biology teacher whom you know, Joe, that I should never be a surgeon because I had terrible technique. I’m also obsessed with space – astrophysics. If I could be an astronaut, I’d go. i. What profession would you not like to do? President, politics. I would never want to be president. I would never want to work in politics or in that realm. I understand activism, I understand the importance of politics, I respect it. But it’s just a whole other thing that I don’t connect with there. And there’s too many games, back doors. It’s a tough job. We need someone to run the country, but I don’t have any interest in doing it. My ego is different. It’s more about importance. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Let’s party. Just turn up. Here’s some music. Let’s have a good time. Relax. Breathe.” To follow Kyle, visit his Instagram: @thekyleofkyles. Previous Next

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

Back 'Pride & Prejudice' (sort of) after Jane Austen Now onstage at Toronto's CAA Theatre Credit: Mihaela Bodlovic Joe Szekeres “A cheeky, bodacious, and delightful ensemble. The production respectfully pokes entertaining fun at Jane Austen’s iconic novel.” Isobel McArthur’s tongue-in-cheek adaptation follows the lives of the five Bennett sisters as they each try to find a husband under the dutiful eyes of their mother. The sisters understand that they will become destitute and lose control over house ownership if they do not marry wealthy husbands. Each woman also begins to understand her duty and place within Regency society. We also see the love story of Elizabeth Bennett and Mr. Darcy play out in front of the audience. What makes McArthur’s story adaptation unique? These five women are servants in this upscale home. In her Director’s Programme Note, McArthur writes that ‘Pride & Prejudice’ is also set during the Napoleonic wars. While most men were off fighting, women made up for a disproportionate number of household servants. The five ladies play many roles in ‘sort of’ telling Austen’s story set in 1716 through modern twenty-first-century vernacular. I arrived at the theatre today not having read ‘Pride & Prejudice’ in my undergraduate years while studying for my Bachelor of Arts in English Language and Literature. You may ask, “How can an English major not read a book by Jane Austen?” “I’ll tell you; I don’t know.” “But it’s true, I didn’t read it.” (Thanks to Tevye’s conversation with the audience in ‘Fiddler on the Roof’ for this inspirational reference) Two things that didn’t destroy my attention towards ‘Pride & Prejudice’ (sort of): a) I could follow the story thanks to the colloquial language used in the dialogue. b) my guest today loves Austen’s novel. She was able to fill me in on a few amusing references I might not have connected with since I hadn’t seen the film with Colin Firth nor read the novel. Visually, the Regency era has been effectively captured thanks to Designer Ana Inés Jabares-Pita’s design of the grand semi-circular staircase. The drawings of the book spines on the wall and each staircase step nicely suggest an upscale setting without having to show that we are in a wealthy, upscale manor. Simple white costumes suggest these ladies are servants within the house at the top of the show. As the story progresses, they throw on various accoutrements and become the various characters. Colin Grenfell’s lighting indicates where attention is to be focused for each scene. I’ve been commenting on sound design for several productions recently and continue stressing the importance of hearing the dialogue and the lyrics of songs if applicable. Once again, thanks to Michael John McCarthy and Niamh Gaffney for aptly ensuring that sound quality is an essential component. ‘Pride & Prejudice’ (sort of) is an extremely smart comedy, making it a great deal of fun to watch. Thanks to Directors Isobel McArthur and Simon Harvey’s observant attention and this cheeky, bodacious, and delightful girl power ensemble of dynamite ladies, some wonderfully staged comic moments made me laugh out loud. Before the show begins, the ladies immediately break the fourth wall and enter the house, chatting, kibitzing, and joking with the audience. Yours truly had the top of his bald pate sprayed and wiped clean with a (hopefully) clean rag. If you are in the aisle seat, take notice that you may become part of the staged fun. And if you are, relish the moment. Remember, it’s the Christmas and holiday season. We all need to smile and laugh. Emily Jane Boyle’s choreography remains simple but nicely timed to the vocal numbers. There were moments when I couldn’t help but make a few favourable comparisons to ‘Six’ playing just a few blocks over. In both productions, the choreography aptly reflects the internal emotions the characters are experiencing. Some theatre aficionados may struggle with the idea of the continuous breaking of the fourth wall throughout a live performance. I get it that the magic of the theatre involves transporting the audience away for a couple of hours to another place and time. In this ‘Pride & Prejudice,’ the continued breaking is of necessity, especially in the staged karaoke numbers of twentieth century pop songs. They offer a biting and funny commentary on a plot event. The riding of Willy made me double-take, but man, oh, man, did I ever laugh. These five women are the main reasons to see the show over the holiday season and into the new year. It’s sensational ensemble work. The ladies listen carefully to each other and respond appropriately to the jokes and double entendres. Absolute hilarity and joy in the CAA Theatre. Running time: approximately 2 hours and 25 minutes with one intermission. ‘Pride & Prejudice (sort of) runs until January 21, 2024, at the CAA Theatre, 651 Yonge Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333. PRIDE & PREJUDICE (sort of) by Isobel McArthur after Jane Austen Directors: Isobel McArthur and Simon Harvey Musical Supervisor: Michael John McCarthy Choreographer: Emily Jane Boyle Sound Designers: Michael Mohn McCarthy and Niamh Gaffney for AUTOGRAPH Designer: Ana Inés Jabares-Pita Lighting Designer: Colin Grenfell Comedy Director: Jos Houben Performers: Ruth Brotherton, Christina Gordon, Lucy Gray, Dannie Harris, Leah Jamieson, Olivia Dowd, Grace Liston Previous Next

Back Peter Pan Musical adapted by Piers Chater Robinson Staged at Oshawa's Regent Theatre and produced by Mansfield Entertainment --- Joe Szekeres Do I believe ‘Peter Pan’ deserves another round of storytelling? What’s different or unique this time around? We all know the story of Peter Pan and the Darling children as they travel to Neverland to battle Captain James Hook. It might be the J. M. Barrie story itself, the Disney animated film, the early/mid 60s musical that seemed to tour forever (Mary Martin as the original Peter Pan) or various versions of the play (one version was produced at Port Perry’s Theatre on the Ridge a few summers ago). Ergo I don’t really have to give that much of a plot summary. Simply put, it’s a story about young children and the inevitability that we all have to grow up sometime. For some, it becomes a natural part of life while others (like the title character) do not want to grow up. From what I understand, Oshawa’s Mansfield Entertainment secured the rights to the musical with the blessings of the adaptor Piers Chater Robinson. The poster for the production asks the question that is also one of the titles of the songs from the Second Act: ‘Do You Believe?’ Well, yes, I do believe in the power of theatre to move an audience. Theatre reviewers, critics, bloggers, and lovers always want to encourage audiences to go to the theatre to see a production. We don’t write for a theatre company, or the actors, or the production team. We write for the audience to let them know what we thought with the hope it will encourage others to attend. When a company calls itself professional, it must also be able to take all kinds of feedback. And was this opening night 2-hour and 35-minute performance of ‘Peter Pan Musical’ with tickets starting at $44 with tax (they go up in price the closer you get to the stage) worth it? I sat in these seats near the back of the auditorium. For the most part, yes, but there are some quibbles. ‘Peter Pan’ needs a good-sized stage to tell a story and it was a wise choice to stage it at Oshawa’s Regent Theatre. There’s no mention of a Set Designer in the program but that Mansfield Entertainment provided Sets and Props. The pre-show music was a bit puzzling as I heard a few ABBA synthesizer melodies from MAMMA MIA. I couldn’t figure out the connection between ABBA’s music and Peter Pan. Hmmmmmm. There were a few elements that worked well on the stage. Stage right is three beds angled which is the nursery in the Darling home. Stage left is the window angled and adorned with lace curtains from which Peter will enter and the children leave to fly to Neverland. One thing that kept annoying me throughout that first scene and at the end when we return to the nursery. Every time Peter entered through the window, it kept shaking and, at one point in the last scene of the second act I thought it would fall over. Can that somehow be stabilized because it spoils the illusion of wanting me to believe the sturdiness of the window if it wobbles. Lace curtains adorn the window. Lined wallpaper behind the children’s beds and the windows give some depth to the room. What was a nice touch was this backdrop slowly spun around for each of the scenes which added further depth to the setting of each scene. Bright green and fall colours clearly caught my attention and made the scene come alive. Hanging centre stage is a rectangular screen used for projections which add nuance to each scene. It was fine for me, but in the second act when Hook is at sea and we see the water behind, there are moments when it is apparent that we’re watching a film as it stops and starts. Andrew Nasturzio’s Costume Designs are eye-catching and highly colourful for the entire company. I must applaud Nasturzio for the hours that were probably spent in searching, coordinating and measuring each cast member for fittings. Colin Hughes’ lighting design finely accentuates each of the scenes whether it’s full lighting or effective hiding in the shadows. There were a couple of times when some of the ensemble were in the shadows and I couldn’t see their faces. Thanks to Dale Wakefield for the clear audio design. Again, there were moments where some of the dialogue was not clearly enunciated by some of the actors and I couldn’t hear it. That isn’t Wakefield’s concern, however, it’s the actors. At times, Tristan Matthews’ choreography was rather simplistic to the point it reminded me of some similar dance moves one might find in a high school musical production. Concluding a dance number with jazz hands didn’t cut it for me. One of the highlights of the production was the solid synchronistic work of Miguel Esteban and Diana Chappell as Music and Vocal Directors. Thankfully, save for one moment in Act One, there was never any overpowering of the seven-piece band members in the company musical ensemble numbers. Another highlight of the opening night production was the array of youthful up-and-coming 18 cast member talent that I hope to see in other productions soon. Space will not allow me to mention each, but I do want to highlight a few. Jeff Hookings becomes a dastardly devilish Captain Hook. Laura Denmar’s compassionately sensitive Mrs. Darling shone through beautifully in the last scene of Act Two. Enya Watson’s lovely singing voice coupled with a truly believable performance as the young Wendy on the verge of becoming a young woman was fascinating to see play out before me. As the title character, Kyra Weichert effectively assumes that youthfully genteel sense of abandonment in only wanting to focus on play and having Wendy as his ‘mother’ figure. In the last scene of Act Two, Weichert and Watson nicely juxtapose and share how growing up becomes a natural part of life. Joan Mansfield’s direction of the production at times is uneven. There are moments where the actors are simply placed on stage in what I call the ‘park and bark’ or ‘park and sing’ with no believability in how to get from Point A to Point B. Additionally, at times, there are a few moments where the play does come to life and then that needed energy quickly evaporates and dissipates. I felt the cast was uniquely sensing this on opening night and they were doing their utmost to bring the play back to life where it should be. Hopefully, as performances continue, that sense of the appeal of the life force can be reignited. Running Time: 2 hours and 35 minutes approximately. I kept my mask on in the theatre as did others I saw around me. However, there were many in the audience who did not wear masks. ‘Peter Pan, The Musical’ runs to July 24 at the Regent Theatre, 50 King Street East Oshawa. Tickets range from $44 - $67 with taxes included. For further information, please visit www.regenttheatre.ca or call 905-721-3399 extension 2. PETER PAN MUSICAL Produced by James and Joan Mansfield and MANSFIELD ENTERTAINMENT Book, Music and Lyrics by Piers Chater Robinson. Adapted from the play by J. M. Barrie Directed by Joan Mansfield Music Director: Miguel Esteban. Vocal Director: Diana Chappell Lighting: Colin Hughes Sound: Dale Wakefield Choreographer: Tristan Matthews Stage Manager: Kit Bauldry Featuring: Kayleigh Cerezo, Kaitlyn Coulter, Mercedes Davy, Laura Denmar, Peyton Garcia, Annabella Gulliver-Azevedo, Celeste Hauser, Tanner Homonko, Jeff Hookings, Brogan Nelson, Kelly Preeper, Jordan Robertson-Reid, Kelsey Robinson, Rebecca Rodley, Lucy Sanci, Amy Sarjeant, Enya Watson, Kyra Weichert Previous Next

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

Back Allegra Fulton Looking Ahead Chris Franpton Joe Szekeres I really I wish I had the chance to speak with Allegra Fulton either in person or on Zoom. You’ll see from her responses below that her energy and enthusiasm for the performing arts community and all its components were contagious to me. I liked how she said a couple of things that might be considered grandiose, but that’s okay because we all have to think big and look ahead as we emerge from this pandemic. Last year I had the opportunity to see Allegra perform in ‘Between Riverside and Crazy’ at Toronto’s Coal Mine Theatre and in ‘Sweat’ at Canadian Stage. Two opposing different characterizations but terrific work, nevertheless. Make sure you check out her personal website. I’ve included its link at the end of Allegra’s profile. Here is a lady to keep an eye on as I want to see more of her work onstage when it’s safe to return to indoor theatre. Thank you for adding your voice to the conversation, Allegra: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. For me, it’s been like a grand Buddhist exercise in surrender, acceptance and radical kindness. Meeting oneself in such global difficulty, amidst abounding fears and frustrations, and deep sadness everywhere, I’ve found my best way was to turn in and sit with all my own terrors and attempt to stay curious to my own inner landscape reflecting on what is…and not too much on what was or what will be. No big future tripping, if possible. So, if anything, I’ve used the time to really pause and to get to know my inner world better. The life of an actor, of course, is a long deep dive into the human psyche, and this experience is proving a profound one. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? More than ever, I’m glad that to be a working actor, at least in Canada, one must develop one’s talents in many areas, and learn many mediums. I’ve come from the theatre and my delight and curiosity continues to lead me back to the theatre. But I’m grateful to have cultivated skills in all kinds of arenas where an actor is needed. I also really enjoy moving between disciplines for each informs the other. I know that working in TV and film has made me a better actor on stage and visa versa. Working with a microphone, in animation, or commercial voice over, even audiobooks, each have specific demands, and continue to sharpen one’s brain, one’s elasticity, one’s instrument and which is hugely important to continue to do. I think everyone has been wonderfully impressed with themselves learning new platforms like ZOOM and being able to continue storytelling, in such wonderful new ways. I find the hybridized forms of theatre and music, and even dance, to be very exciting and exhilarating. Storytelling is storytelling, and I think we are so lucky at this moment to have so many platforms available to us to keep doing that very thing. But of course, what makes live theatre so special, and what we possibly understand now more than ever, is that wonderful energy and kinetic connection in a room, a small room, a huge room, even a stadium…The communal experiencing of story, and that’s incredibly special. The energy one plays with onstage, with one’s fellows, and with the audience, is almost a metaphysical ceremony of sorts. That sounds a bit grandiose, I know, but I believe it works in the same realm. And precisely for that reason, theatre will never die. It will continue to morph as it must each generation and century, as it has since it began many thousands of years ago. For the theatre needs only one actor and one audience to begin a ‘play’. I look forward to that exchange again. As a professional artist, what are you missing the most about the live theatre industry? The people. The energy. The thrill. The LIVE-ness of the moment, the NOW-ness of it. That no one can stop, rewind, pause, go to the bathroom, go to the kitchen and get chips, come back…it’s all happening right now, and the intense focus of both actors and audience is a very sacred and healing communal experience. I look forward to that again. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? That I have a job. But I feel that way on each project, frankly. Describe one element you hope has changed concerning the live theatre industry. The outmoded and long entrenched systems that no longer serve or help us make good art. There are many revolutions going on globally right now, and I hope it all seeps into every facet of life, and that change happens quickly and invites everyone to the table. Our world is in for a really large treat as massive amounts of new stories and perspectives are suddenly being given voice. It’s gonna be way more colourful and way more fun! Just watch. Explain what specifically you believe you must still accomplish within the industry. Oh my! I have so many roles I may never get to play, but I have them in me, and I study them and crave them. I have so much to learn, to hone, to explore. I’d also like to keep directing and working with scripts and writers and …’accomplish’ is a tricky word. I had wanted to do every Shakespeare in the canon, but I’m only just a over a third of the way, on that count. Tennessee Williams, more Chekhov, Ibsen, Pinter, Euripides, Kroetz, Churchill, Birch, Drury, Nottage, Parkes, Guirgis, and so many wonderful brand-new writers. Again, the searingly complex human psyche, yes, even by the aforementioned dead male playwrights, is hard to resist wanting to tackle as an artist at the top of my game. But to your question…Is it kinda boring to say that I don’t care to ‘accomplish’ anything but continue to create, simplify and learn better how to plumb the depths of the human condition? Sounds a bit grand, but it’s true. (My note back to Allegra: that doesn’t sound boring; to me, that sounds like the truth of the actor’s voice.) And then there is the question of passing the torch and mentoring, which I am divinely lucky to do quite a bit of. Somehow, quite by accident, I’ve collected all these beautiful young actors, playwrights, creators who come to me for coaching, advice, a good cry, a good laugh, and they teach me too, and fill me with grace, excitement and energy. I’m not shy to say that I do have a lot of ideas and opinions about things, and I am a good acting teacher for may. It’s all very quiet and unofficial, but it feels like my best way to pass along how much I’ve learned from so many great teachers along the way. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I don’t think ANYONE will relish dwelling on this time. As I discovered early on in the pandemic, there is rathe little written about the plague of the 13th, 14th, 15th century, or the flu pandemic of 1918. I should think we’ll all have had quite enough of it by then, thank you very much. But we will better appreciate and understand familiar lines like, “A pox on both your houses!” (Romeo and Juliet) As an artist, what specifically is it about your work that you want future audiences to remember about you? Depth, truth, risk, and glee. My dear colleague and friend Alexander Thomas, with whom I was lucky enough to act with in ‘Between Riverside and Crazy’ at Toronto’s Coal Mine Theatre turned to me one day and said: “Allegra Fulton: Classy but goofy.” I think that summed me up perfectly. Visit Allegra’s personal website page www.allegrafulton.com . You can also follow her on Insta: Cinesylph Twitter: Allegra_Fulton Previous Next

Back Jacoba Knaapen Executive Director of TAPA (Toronto Alliance for the Performing Arts) Sean Howard Joe Szekeres I know of TAPA and its vision as the voice of theatre, dance, and opera in Toronto. I also know the Dora Mavor Moore Awards (known as the Doras) are presented by TAPA as they acknowledge and recognize outstanding Toronto theatre in 50 categories over 7 Divisions in General Theatre, Independent Theatre, Musical Theatre, Theatre for Young Audiences, Dance, Opera and Touring. The awards in each division are voted on by a jury of eight to twelve individuals drawn from the professional performing arts community. What I was not fully aware of regarding TAPA was the tremendous advocacy of the arts AND the extensive programs it offers. I’ve only just begun to examine TAPA’s website and plan to spend time in perusal to learn more. I was also pleased TAPA’s Executive Director, Jacoba Knaapen, was available for an interview for this profile series. She is a tireless arts leader who, throughout this pandemic, has, as well, spearheaded numerous campaigns to fight for the interests of the performing arts community she serves. The most current one is petitioning the provincial government to allow theatres to rehearse in advance for outdoor performances and record digital content in their spaces (as film and tv are allowed to do) PRIOR to the stated Stage 2 opening (likely in July) so that the outdoor shows & streamed content will be able to go on. In addition to Executive Director at TAPA, and, as part of her role there, Jacoba is the Producer of the Dora Awards, and thus is the Producer for the Dora Mavor Moore Ancillary Awards which will take place virtually on June 16, 2021 at 10am on the TAPA YouTube channel. I will include the link for this presentation at the end of Jacoba’s profile. The Ancillary Awards are not based on a specific performance season but acknowledge a recipient’s whole career - and encompass administrative as well as artistic roles. The awards that will be handed out are Leonard McHardy and John Harvey Award for Outstanding Leadership in Administration (LMJH), the Victor C. Polley Protégé Award, the Pauline McGibbon Award, the John Hirsch Director’s Award and the Barbara Hamilton Memorial Award. Given her extremely busy schedule as you will see from her first answer, Jacoba kindly answered questions via email. Thank you so much for your time, Jacoba, and for allowing us to hear your voice on these important issues as the arts community emerges slowly from this worldwide pandemic: It’s a harsh reality that Covid 19 has changed all of us. Please describe how it has changed your understanding personally of the world you once knew and how your perceptions and experience have changed and transformed. COVID 19 has changed everything and the awakening to systemic racism has changed everything. Although it has been a time of heartbreak and pain, it has also created a new future time. A time of possibilities that seemed impossible before. That gives me hope. Personally, I have never worked harder and longer days in my life. I hear and read about folks baking bread, finding new hobbies, reading books, looking for ways to fill their time. That has not been my reality and for me there have not been enough hours in the day. The advocacy work at TAPA has been relentless and all-consuming. Due to the COVID-19 pandemic circumstances, our ongoing efforts have expanded beyond TAPA’s usual municipal focus and included provincial work. Our entire existence seems to be all about advocacy. I feel privileged to be working and I am certainly not complaining, but these are indeed unusual and unprecedented times, and I am just now starting to carve out time for myself, which was originally prompted when my mom suddenly fell ill and I had to stop everything to take care of her. Thankfully she is well and on track to recovery, but it was a real wake-up call for me to climb into self-care territory. Of course (like everyone else) I am working remotely from a home office, and the large majority of communications have shifted to online, and I spend more hours on ZOOM than I ever could have imagined. The level of online exhaustion is high, and I miss in-person conversations and meetings. I have new folks on my team who were hired during the pandemic who I have not yet even met in person! As a professional Arts administrator, how has your understanding of the arts industry of theatre, dance and opera been altered and changed professionally? I think the professional theatre, dance and opera community in Toronto is extraordinary. There have been many shows that have been lost ­– that perhaps will never get the chance to be workshopped or presented on stage. The impact on individual artists and their careers is cruel, and acutely felt. Producers, managing directors, marketers, publicists, technical staff, bookkeepers – they have all been forced to pivot so many times that they have become expert alternate scenario planners. It remains to be seen what will happen when audiences return to our currently-shuttered spaces (when it is safe to do so, of course) – how will that experience have changed for folks sitting together in a dark theatre? As a professional arts administrator, what are you missing the most about the industry? I miss many things. I miss seeing my team on a daily basis and being able to ‘jam ideas’ together, and on a very human level, sharing food together with them. I miss strategizing and sitting in person with the committee volunteers who are a critical part of the engine at TAPA. I am mostly missing seeing the community at live theatre performances, as well as dance and opera. The feeling of being with other people together in a theatre is impossible to replicate virtually. Although I have enjoyed the digital content being created, in fact some of it has been personally inspiring, it is still not ‘live performance’ to me. The magic of live, in person, is the best! As a professional arts administrator, what will you never take for granted ever again? Kindness. We cannot understand what is really happening behind those little ZOOM squares. The difficulties and personal stress individuals are experiencing is not apparent. Please describe one element you hope has changed regarding the professional arts industry and community. I don’t think we can fully know what the future looks like for our sector until we come back. But I do hope that we emerge as a community that is able to work equitably and with fairness. No one is interested in returning to an institutional status quo that didn’t work in the first place. I hope that we can come out of this with a sense of universal humanity that will give our artists and art-makers wings to take risks in their artistic exploration that was not previously possible. And I believe that perhaps, as never before, the arts have become valued. I hope that the realization that arts and culture is an essential part of the overall mental health of a society will change attitudes toward financial support for the arts and the way that artists are paid. I hope that this new realization will end the cycle of poverty that so many artists face and their value will be recognized monetarily. Toronto is a ridiculously expensive place to live and work on an artist’s salary. Universal Basic Income! As a professional arts administrator, what is it about your work that you would like members of the industry, the community, and future audiences to remember about you and your work? I hope that folks will remember that TAPA has done its best to listen and to adapt, and to respond to the evolving membership needs. I work with a very small, albeit hard-working team who are committed to serving the diverse needs of a membership that ranges from theatre to dance to opera. I am also fortunate to have an exceptional Board of Directors. Their collective wisdom is my compass. I hope that folks will remember that always for me it has been driven by the love of theatre. To learn more about TAPA (Toronto Alliance for the Performing Arts), please visit www.tapa.ca . Previous Next

Back 'Wildfire' translated by Leanna Brodie. From the play 'Le Brasier' by David Paquet Factory Theatre Factory Theatre Joe Szekeres (Photo credit by Dahlia Katz) "An at times unpredictably surreal satirical comedy that is ‘so damn good’ once the fragmented plot pieces connect with each other." Sometimes it’s a challenge within a theatre review and commentary not to give away any plot twists. I’m doing my best not to spoil the surprises in this at times unpredictably surreal Canadian English Language premiere of David Paquet’s ‘Wildfire’ with translation by Leanna Brodie. It’s just so damn good that to delve any further than I have regarding the plot would spoil and ruin what audiences need to experience for themselves. Divided into three parts, I’ll admit I kept wondering what is the connection of the second and third tales to the first part of the script. Be patient, however, as once these pieces fall into place, and start making sense, there were gasps and laughs from audience members. And yes, I admit I was one of the individuals who laughed out loud and who gasped when I realized what was going on. A quick bit of research about ‘Wildfire’ before I ventured to the Factory. The play has six characters. Up to six actors could be cast. In other productions in North America, three actors were cast in doubling up the roles. That’s what Director Soheil Parsa in his Factory Theatre debut wisely selected to do with sterling work by Paul Dunn, Soo Garay, and Zorana Sadiq. More about them shortly. To begin, we meet three whacko sisters: Claudine, Claudette and Claudia who are experiencing their own personal crises within their lives possibly as a result of a tyrannical and abusive mother. They are each confined to their own space and rarely leave those confines but instead telephone each other. Claudine’s cookies taste horribly according to her sisters, but she continues to bake them. Claudette is trying to get her baby to say Mama but, instead, a sentence emanates from the bassinet that sends her nearly over the edge to do something insanely wild. Claudia (who initially perhaps appears to be the ‘sane’ one) tries to give her sisters advice sometimes biting, often sarcastic – perhaps a remnant of their time with their mother. In the second part, we meet a very shy Callum who is a fan of fantasy card games. Callum meets Carol who is despondent over her dead cat. What next transpires is their falling in love through playing these fantasy card games and going to the movies. Sadly, their cute love affair becomes unraveled in a trip to the local candy shop. The third part explores the life of Caroline who is passionate about the world of television and eventually succumbs to her sexual libido that, at times, becomes hilarious to watch and then rather uncomfortable as this is something we should not be watching as she turns into a ‘wildfire’ storm (note the connection to the English title). As I sit and ponder why this final preview performance worked so well, the first thing that remains within my mind is Kaitlin Hickey’s Set & Lighting Design, Thomas Ryder Payne’s Sound Design & Composition and David Hoekstra’s props. Hickey’s prudent vision of the simplicity of the bare stage with the right props, perfectly coordinated and timed sound composition and tightly focused lighting strongly focused my attention completely throughout the 70-minute performance. I can still visualize the stage in a complete blackout during the pre-show save for the sharply focused lighting on the angled angelic-looking baby bassinet stage right which, to me, somehow suggested that same baby bassinet at the conclusion of the 1968 Roman Polanski film ‘Rosemary’s Baby’. Whether that was intentional or not, that image is ingrained in my memory, so bravo. Ryder Payne’s Sound Composition is primo to hear. As the sisters call each other on the phone, they talk to the audience and punch an imaginary dial pad. When the call is picked up by another sister, the actor appears to click an imaginary button with their palm to indicate the call has been picked up. The audience hears the click sound perfectly timed. Paul Dunn, Soo Garay and Zorana Sadiq’s bravura performances are carefully deepened emotionally by Soheil Parsa’s assured direction. There are some dynamite monologue deliveries by all three artists. To all actors who are looking for new monologue deliveries for auditions, take a look at ‘Wildfire’. The doubling of roles works extremely well in this Factory production as the story clips along at a good pace. Blackouts on the stage only momentarily shift our attention to another place, space and time. Paul Dunn and Zorana Sadiq grittily capture youthful and vibrant first love as the shy, awkward Callum and the despondent Carol. Soo Garay’s Caroline becomes a sultry mess of a woman who must deal with sexual feelings that have been repressed for so long. Final Comments: Since we’ve all lived through these last two Covid-ridden years of angst, David Paquet writes in his programme note something that caught my eye: “Believing that we are detached from others …makes us short-sighted. And when we collectively lose our vision, we stumble and grope our way until we can’t move at all.” Hopefully a return to the theatre will be one baby step forward to re-attach ourselves to others so we don’t lose our vision of community. ‘Wildfire’ is an in-your-face, bold, comic look at what we all share as our common weaknesses as individuals. Running time: approximately 70 minutes. Covid protocols are in effect at the theatre. The production runs to June 19 at the Factory Theatre, 125 Bathurst Street, Toronto. For tickets, visit www.factorytheatre.ca or call 1-416-504-9971. WILDFIRE Translated by Leanna Brodie From the play ‘Le Brasier’ by David Paquet Directed by Soheil Parsa Set & Lighting Design: Kaitlin Hickey Costume Design: Jackie Chau Sound Design & Composition: Thomas Ryder Payne Apprentice Stage Manager: Anastasiya Popova Head of Props: David Hoekstra Stage Manager: Christina Cicko Previous Next

Back Richard Lam Looking Ahead David Leyes Joe Szekeres Richard Lam has been one busy guy these last few weeks. I saw his work in a terrific production of Bad Hats’ Theatre production of ‘Alice in Wonderland’ presented by Soulpepper. I really enjoyed the production because the use of the technology enhanced the visual presentation of this iconic story. Hopefully, Soulpepper still has the production on its website that you can access, especially if you are an educator. Richard’s biography is also impressive. From Bad Hats’ Theatre website, “[Richard] is a Toronto-based Actor, Writer, Musician, and Sound Designer. Originally from Vancouver, Richard obtained his B.A. in Political Science at UBC before training in the BFA in Acting program at the University of Alberta. He was a company member at Soulpepper Theatre for four years, where he trained at the Soulpepper Academy in a split actor/musician stream under Director of Music Mike Ross. At Soulpepper, he appeared in 15 stage productions and concerts, and joined the company on tours to the Charlottetown Festival and Off-Broadway in New York City. He has also worked for many other theatres across Canada, including the Citadel Theatre, Canadian Stage, Coal Mine Theatre, Buddies in Bad Times, and Outside the March. In 2019, Richard wrote, performed, and composed music for his first original play, ‘The Little Prince: Reimagined’, and received Dora Award nominations for Outstanding New Play and Outstanding Performance. He is the guitarist in the band James King and the Midnight Hours (@jk12hr), and recently released his own home-recorded pandemic EP Hard Rain: A Mixtape Cabaret.” Richard is also an Ontario Councillor for Canadian Actors’ Equity Association. We conducted our interview through Zoom. Thanks again for your time, Richard: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. It’s kind of like everything was thrown on its head completely. I feel like the world I know doesn’t exist anymore, or it’s covered in moss. I’m sure many people you’ve talked to have said the same thing. I was really used to a pace and a rhythm of my years, my kind of world, my career, auditioning for stuff, doing stuff, thinking ahead to what’s coming next (in 18 months). And then all of a sudden to have that completely go to zero, everything seems like it’s up for discussion now in a way that’s really, really fascinating. Some of that is really good. It’s been really refreshing to be able to spend some time with myself and to explore different stuff. I know a lot of people who have wondered about their relationship with theatre in this time because it can be a tough life and a tough career. There are aspects of it that definitely take their toll. For me, it’s been really refreshing to say, “Oh, no. I miss it. I want to do it again really badly.” I’m ready for it to come back when it does come back, and, in the meantime, I’ve pondering all the ways that I can plant seeds that will hopefully poke their way above the earth when the time is right. It’s been a little bit of everything. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? Well, if anything, I have a newfound appreciation, not that I didn’t have it before, but a newfound appreciation for how much we need people. We need people who aren’t us so badly who want to come and gather, sit together and have that experience together. The health of our industry and the ability of our industry to be relevant and important to our country and our society really depends on people having the time and energy, and feeling safe to sit together, be together and to have those experiences in leaving home, the safe nest that’s acquired a different power in Covid than it did before. But even before the industry was fighting against Netflix, getting takeout, and spending a night at home. The industry is nothing without people. Film and tv have been rolling along just fine but the theatre industry is in a complete standstill because we really need everyone else to want to leave their houses and sit have an experience. It’s a very simple thing, that’s the heart of it at the end of the day. Doing ‘Alice in Wonderland’ where we did get to have the creative aspect, the process, and that was so welcome, and I miss that so much. Knowing that the audience was never coming was strange, and I really miss that because it really changes everything. You can spend all your time in the rehearsal hall putting the show together, but once the audience is in the room with you, you learn so much about the show so quickly that it takes on its real identity. I felt like it was so close and yet so far. There was so much joy in making ‘Alice in Wonderland’ that we’re not back yet. The people are missing. As a professional artist, what are you missing the most about the live theatre industry? Along with the people I’m missing, I miss my community. I really did take it for granted how many people who were my friends and colleagues whom I adore and respect were in my life. We don’t make a coffee date and hang out as much as we should. But we see each other pretty regularly at a show, or we end up at the same bar after a show, and they’re talking about the show they saw, and I’m talking about the show I saw. The number of little networks of connections made it feel like we were part of a real group of people, a real functional community. I miss that a lot. I miss running into people and hearing about what people are up to, their lives in the lobby or wherever we end up running into each other. That’s the thing that has been really lacking from my life. My circle of humans used to be so big, and I loved that. And now it’s very small and it’s strange. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? You know what, I did say it was my community, but if I’m honestly going to be 100% real with you, it’s so simple, - it’s BREATHING. When we were rehearsing ‘Alice in Wonderland’ we had masks on for three weeks. Finally, once everyone got a Covid test (the whole cast and production team), it was masks off and we could finally start performing. Yes, we still had the plexiglass. Honestly, rehearsing the show with the mask on, learning choreography, singing, even just speaking with projection, Jacob Macinnis who was in the show defined it as “We’re training at altitude” like athletes on a mountain. It was so hard to breathe. When I finally got to remove the mask, I was, “Oh, I’m not out of shape and I haven’t forgotten how to sing and speak without my mask.” (Richard laughs) I’ll never take breathing for granted ever again. It seems like a mundane thing to say, but it was like night and day when we had the masks off during final rehearsals. Describe one element you hope has changed concerning the live theatre industry. I hope that people really value what we have, and value how special this industry is and this work we get to do. I do feel there’s equal parts magic and reality sometimes in the theatre. And when you’re in the thick of it, it’s easy to get stuck on the reality; it’s easy to get detailed focus; it’s easy to get career focussed on the how much money you’re going to make and to spend and how the show’s going. It’s hard to step back and just realize what a beautiful thing it is to gather everyone and have these experiences and make this work. I don’t think anyone will ever lose sight of that at least for a generation. I’ve been teaching at Sheridan College and a little bit at Randolph for the last year all on Zoom. It’s been really humbling and a great reminder for me to see these students who are about to graduate or part way through their programs who still want to do theatre so badly that they’re slugging it out online for dozens of hours a week. Some of my students have 54 hours of class online a week; they’ve set up dance spaces in their home so they can dance on Zoom. They’re doing their singing and acting lessons all over Zoom, and they still want to make theatre and are still excited by it It was hard on them, but when these young people finally get the chance to enter the profession, which will be a little delayed from when it should be, the appreciation and joy these students will take from being able to do it finally is going to change all of us. And I hope all of us are changed in that way too. Explain what specifically you believe you must still accomplish within this industry as an artist. Ooooo…what a question! I really do think that I am still searching to realize my potential as an artist. I’m a bit of a ‘jack of all trades’, or at least now, thankfully, that I’m getting a bit more experience that I’m a ‘jack of some trades’ and not ‘all of them’ anymore and trying to narrow them down to just a few. Instead of every possible door being opened, now there’s just several. I am getting better at all of those things. I’m a musician, an actor, a writer. I have a lot of different hats I’ve worn at different times, and I really like all those things. For me, my happy place is balancing them all together and treating them all equally or making sure they all get to have their space. For me, I feel like I’m learning slower than I would if I had one thing because there’s just more things to keep track of, but I am learning and I am getting better. I just want to harmonize all those things together as well as I can and get as good as I can and treat them seriously. I know I’m not close to the tip of the iceberg yet; maybe I’m on the tip in using this confusing metaphor, but I know there’s a point that all the unique things I do can sit together and make me an artist that is different from anyone else. I am really looking forward to feeling like I’ve mastered whatever that balance is. I’m not quite there yet but I’m working at it. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. A few months ago, The Musical Stage Company compiled a survey of audience members with a bunch of questions actually similar to this. One of them on a scale of one to ten was how much do you want to see work which addresses this time of Covid. I was ZERO on the scale. Give me ‘Cats’ or ‘Phantom of the Opera’ instead. Give me ‘The Buddy Holly Story’, that’s where I’ll be. I want to see the lightest thing possible for at least two years, and then maybe I’ll be able to handle something surrounding Covid. But right now, I just want to celebrate moving through this time of Covid. Maybe I could handle something a little more indirect. Everyone has had such a life changing monumental experience in Covid. Every single person, on earth, Covid has become one of the life defining moments of this period of their lives and who they are, no matter how old you are or how much history you’ve lived through. This is one of the chapters of our lives. And so, I feel as if all us had a wild, first hand experience with this. It would be nice not to have to be reminded of this at the theatre for awhile. As an artist, what specifically is it about your work that you would like future audiences to remember about you? What a great question. The thing that I always think of the most, no matter what I’m doing whether I’m writing music, writing a play or acting is surprises. That’s the thing I think about a lot when I’m crafting something . Once I feel like I understand what the story is and zeroing in on the performance, I start thinking, okay, where am I going to surprise them. Where is the moment that I’m going to give something to the audience they don’t expect? And they’ll draw in a collective breath. That’s what I really enjoy doing. And that’s what makes the theatre so awesome is those moments where you really surprise somebody. And they can be simple. I remember being in ‘Of Human Bondage’ at Soulpepper several years ago. There was this great moment that was so small, but I lived for it watching it every night. All of the sound effects were created by the actors on the stage. There was a moment where an actor walked up and saw another actor through a window. The first actor knocked on thin air and the other actor knocked on a glass vase at the same time. People gasped every night because it worked so well. Nobody expected it, and for that one second it was a real window. And I loved that moment so much because people didn’t see it coming. I always think of little things like that. I hope I’ve showed some people little surprises and things like that they didn’t expect, and that it was delightful. To follow Richard on Instagram: @rickyslams Previous Next

Back 'The House of Bernarda Alba' by Federico Garcia Lorca Presented by Aluna Theatre and Modern Times Stage Company John Lauener Dave Rabjohn ‘The House of Bernarda Alba,’ now playing at Buddies in Bad Times Theatre, is a fiercely powerful production from the great poet and dramatist Federico Lorca. Lorca writes with primitive earthy zest and often uses folk tales and ballads from his native Andalusia. As a poet first, Lorca’s play is brimming with imagery and potent language which the director, Solheil Parsa embraces with vigour. This cast is stocked with talent and one would assume correctly that the title character Bernarda Alba, played by Beatriz Pizano, is the formidable actor. However, her extraordinary performance is equally matched by the dynamic work of Rhoma Spencer who plays the fiery maid Poncia. Upon the death of Bernarda’s second husband, she demands years of mourning from her five tortured daughters. They have been submitted to years of rule and cruel manipulation from their mother who denies them the colour of the outside world and the passion of outside relationships. Ms. Pizano’s unrelenting voice of anger fills the theatre. Her dark flashing eyes help to choreograph the daughters as Von Trapp-like children. She makes superb use of a walking cane that sparkles with brass and punctuates with regal knocks on the floor. As mentioned, Ms. Spencer plays the formidable role of Poncia, who acts as muse and confidante to Bernarda. She is also Bernarda’s conscience - much like a Shakespearean fool, who we know is not a fool at all. Poncia is also a bridge between the mother and daughters and the dueling daughters themselves. Her performance ranges from quiet anger to amusing comic effect. Her movements are all angular with boldly rolling hips and arrogant shoulders. She sometimes hides beneath the role of meek housemaid, but more often rails against Bernarda’s injustice, coming within inches of Bernarda’s anger, and the cane. At one point from Poncia, a simple “mm” is full of weight. The oldest half-sister, Angustias, is played by a smoldering Lara Arabian who is engaged to the spirited Pepe. The sisters are jealous, none more so than Martirio, played by Liz Dar, who uses a sour face to perfection. The tension in her face is subtle at first and then explodes in raging self promotion. But it is Nyiri Karakas, as Adela, who is most rebellious of all. She refuses traditional mourning and has been discovered to have an affair with her sister’s fiancé. Teamed with Ms. Dar, the two offer a wealth of talent as they match each other’s characters with seething anger and unrelenting savage dialogue. Finally, Bernarda takes matters into her own hands which ignites the tragic end for the sisters. As a poet, Lorca fills the play with imagery of passion, lust, and bloody despair. While the frustrated daughters watch the men working in the fields, we hear of wild stallions kicking their stalls and horses running free. One potent scene has the girls following the song of working men into a crescendo of orgasmic tension. Another powerful scene follows the horror of the daughters as they witness the bloody torture of a young unmarried girl accused of killing her illegitimate child. The motif of eyes and eyesight depicts Bernarda’s control over her daughters and defines Poncia’s skills in observation. At one point, Poncia proclaims, “my whole body is full of eyes – I watch.” In the end, Bernarda wants no tears. A separate mention goes to Thomas Ryder Payne for an extraordinary sound design – funereal bells almost pound us into submission as directed by Bernarda. In the two scenes just mentioned, the sound rises and falls dramatically with the horrors of each scene. Booming knocks on the door reflect the challenge from the outside world. Lorca’s work dwells on the conflict of generational divides and the problems of conformity. He was murdered at the age of thirty-six by Franco’s army due to his homosexuality. This luminous cast has embraced the challenge of Lorca’s beautiful lyricism and demonstrated the bitterness of a house of pride. ‘The House of Bernarda Alba’ by Federico Garcia Lorca Director – Soheil Parsa Performers – Beatriz Pizano, Lara Arabian, Theresa Cutknife, Liz Der, Soo Garay, Nyiri Karakas, Monica Rodriguez Knox, Rhoma Spencer Lighting/Set design – Trevor Schwellnus Sound design – Thomas Ryder Payne Performances run through April 24, 2022. Tickets – buddiesinbadtimes.com Previous Next

Back Petrina Bromley Moving Forward ... Joe Szekeres To know when Canadians have made it to Broadway to showcase their talent is something to celebrate all the time. When one can go to Manhattan to see Canadians in a Broadway production and see them perform is another excitement in itself. That’s why it was exciting for me to see ‘Come from Away’ in New York when East Coast artist Petrina Bromley was in the show (along with Toronto artist Astrid van Wieren whom I interviewed earlier). Petrina is an actor, director, musical director, and composer from St. John's, Newfoundland who has worked with Artistic Fraud of Newfoundland since its inception, having participated in ten of the company's original works. A bit of online research discovery that Petrina also made an appearance in one all time favourite CBC shows I watched religiously each week: ‘Republic of Doyle’. We shared our conversation via Zoom: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are things in Newfoundland? How are you feeling about this? Will we ever emerge to some kind of new normal? We’ve been very, very fortunate. The provincial government has been diligent. The benefit we have over everyone else is the physical location (of Newfoundland) and the fact it’s an island. You have to make an effort to come to Newfoundland. No one is flying and the ferries were reduced. There were less people travelling anyway and they actually closed the borders for awhile provincially as well. Now we’re in an expanded bubble but it’s just with the Atlantic provinces. You still can’t even come here from Ontario and Quebec. They’re being very, very strict about all this stuff so I think it’s good. When I first came home in March, we (Broadway production of COME FROM AWAY) shut down March 12 and I hopped on a plane the next day and came home. That first week I was home which was around St. Patrick’s Day, over the weekend there had been at a funeral home two wakes happening and someone came home to bereave a loved one and brought Covid with them and didn’t realize it, and out of that one person, 150 people got sick. At least one person died. Because that happened immediately, everybody really took it seriously. You became so aware suddenly of how contagious it was and how quickly it spread and how sick you could get. It’s put the fear of God into everybody, and people have been taking it pretty seriously since then. We’ve been slowly, slowly coming back to some things. We had a pedestrian mall downtown this summer on the main drag where restaurants had outdoor service. They closed it to traffic and that was a huge success. The kids have gone back to school last week and so far, that seems to be going okay. We’re very lucky that we don’t have any community transmission. Anytime anyone has been sick, it’s been quickly traced, and it’s usually connected to someone flying. A lot of it has been people who have been away and trying to return home. Because of the rules and the isolating, it’s been under control. Cross my fingers and knock wood, we’re in a really good place with it so far. We’ve been fortunate enough that I actually went to a live performance the other day, a socially distanced piece of theatre. The main theatres here in the Arts and Cultural Centre which are a series of large theatres across the province all operated provincially have officially re-opened and have their social distancing, masks, sanitizing rules in place that are now opened to houses of about 100 which is a start. I think there will be some sort of new normal. We have been warned for so many years that superbugs are on their way, and it’s a question of when. I think masks are just going to be a part of our future in general, particularly during the cold and flu season. And hopefully we’re all going to wash our hands a lot more often. And just be aware of how much contact we do have with people. I hope it makes us more aware and more grateful for the physical contacts that we have, being able to be in the same place with others, being communally together and developing a greater appreciation for that. I know it’s made me aware of how much I miss being in a room with other people. And for performing arts in general, I’m now teaching a university course online. It’s a singing course and it’s almost impossible to connect because technology doesn’t really exist to facilitate it. It’s made me very aware that I can’t wait to sing in an ensemble again, a true ensemble, not “I take my part, and you take your part and we stitch them together with an editor, but I’m looking forward to when we make sound together.” It’s made me realize how important this is in my life. How have you been faring personally and professionally? As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Again, I’ve been very, very lucky and fortunate that I own a home in Newfoundland. All of my family have been good. Knocking on wood again, I haven’t add anyone adversely affected by it all. It has been something that has been happening elsewhere. It’s more something that you see on tv since I haven’t had anyone in my life who has been sick. Professionally, the biggest is teaching this course online as I’m stretching all of my skills and learning new ones every moment of every day. I also think the other challenge that performers, particularly theatre performers and musicians are a little bit better equipped to deal with something like a shutdown because we go through long periods of time of “I don’t have a gig”. There are periods of non creative output in terms of jobs. It’s gone on so long that doesn’t stand anymore. Theatre performers are deeply affected because our industry is in question itself in terms of what will come back, how it will come back, and how we manage to make it work. I have no doubt we’ll be back no doubt as we all need that storytelling. There’s something in our lizard brain, from cave people that we need to sit in a group and be told a story together. We will find a way to make it happen again. It’ll just look a little different and feel a little different, but I think we’ll be back to it. But this is what I found hard, the uncertainty of it has been challenging. For the first six months, they kept pushing with faint hope that the Broadway League kept pushing the dates and that Broadway would come back. It was always a guestimate and still is, really, but every time it got moved, there was a feeling of “Ugh, it’s being moved again.” That has been hard, wondering. The research that was also coming out saying that singing was a no no was also disheartening. It really did make me feel that our industry doesn’t exist anymore and won’t. Times are changing and this is such a fluid situation. There’s flux in this Covid situation, but we will find ways as we’re hard wired to find them. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I wasn’t personally in any kind of planning. I was very content to be where I was. It’s been the best gig ever and I couldn’t imagine leaving it. Besides the university teaching, what have you been doing to keep yourself busy during this time? You know, I’m actually surprisingly busy which is a great complaint. It’s because I’m back home in Newfoundland and it has given me the opportunity to work with people I’ve worked with before and to re-kindle old work relationships. That’s been great. I’m involved in a workshop that’s coming up in a little while. Now there are two television productions shooting here and I got a couple of days on one of those. I’m supposed to be writing my own show as well. I’m busier than I should be in normal times let alone in Covid times. Any words of wisdom or sage advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? Oh, I don’t know. ‘Hang in there’ is about all I can say. You have to be kind to yourself. You have to be able to give yourself the room to feel whatever you’re feeling at the time. There’s general anxiety, upset and depression given the times that we’re in right now because the whole world has changed. It’s a huge tectonic shift for anyone to go through, and we’re all going through it together. I think we all need to be a little more generous to the people around us in terms of understanding that we’re all going through it. Everyone is having a bad day just about every day, maybe not every moment but there will be those times where it’s going to feel bad. To the new theatre grads, yes, be kind to each other, be gentle with each other but hang in there is the best thing I can say to them. I would always tell people before all this that the road to where you want to get might be longer than it needs to be. It took me my entire professional life to get to Broadway. It happened eventually and happened when I did not expect that it would happen, very, very unlooked for and unexpected for me. But as I look back on it, everything happened as it should have happened, and I can’t imagine having gone sooner in my life because it would have been a terrible experience and ruined it for myself. Knowing me and knowing how I would have treated it when I was younger, I would have just blown it. Sometimes the path you go down takes a lot of twists and turns before it fits in where you want it to go, but every one of those twists and turns will have value, maybe not until later but it will. Do you see anything positive stemming from Covid 19? Oh, definitely. There’s tons of positive stuff happening because we’re so focused or we’re forced to be especially during the lockdown, a little less now that we’re getting back to some sense of normal life. People were so focused on everything that was happening on screens in front of them because there was nothing else. That really facilitated the focus on the ‘Black Lives Matter’ social movement and all those things that sprouted from that. Theatre companies and institutions were being called to task for their response to the Black Lives Matter movement. Also again, I hope, that it’s going to make us appreciate communities so much more, physical community being with other people, and experiencing things with other people because there has been such a movement to have everything be on line. Even before everything went on line with Covid, we were doing a lot more virtually, through video, and through conversations on tablets and phones, and I hope having this moment will remind us just how important it is to hang out and just see people be together. A lot of that can be seen when they reopened the bars and the reports came out there were too many people and they were too close together. I think we are really, really just hungry for it to be around each other again. Do you think Covid 19 will have some lasting impact on the Broadway/Canadian/North American performing arts scene? Again, there’s a lot coming out of the Black Lives Matter movement. This focus is changing the world of theatre all over the world. It’s shining a light on that and allowing and opportunity for us to take stock of that, well more than take stock, to really give the attention that it deserves. I think we’re really going to see the affects of that. Hopefully there will be a focus on the technical side of things, a focus on some of the older theatres around being properly ventilated. Some rehearsal practices that might encourage some proper physical things as well, just handwashing. It’s very easy for a bad cold and flu to go through an entire cast, let alone something like Covid. We’re all going to be mindful of these things. If it does come to a place where masks are more common, then that might help that as well. There’s ton of more things that we’ll eventually look back and say, “You know what, that started after Covid.” The first couple of times seeing audiences wearing masks might be little jarring, but the thing about New York is New York is full of individuals. Everyone there is an absolute individual so you would run into different people all the time like subways or in the stores who are already wearing masks a year ago. That wasn’t uncommon to see in New York back then. During the show close to the shut down, we would see one or two people wearing masks in the audience and that was when it was startling. I think it’ll feel natural now because it’s all over the place now, but who knows? Going back to New York, it might seem startling not to see masks. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? It’s great. It is definitely a double-edged sword because it depends on whether or not an individual artist is able to support himself or herself by putting their stuff up online. The arts is not a hobby, it’s a job. I always call it a calling. I always tell people don’t get into this industry if there is anything else you can see yourself doing. If this is a compulsive behaviour for you to be in the arts, then you might make it because it’s so challenging, so difficult and demands so much of you. As long as people are managing to turn streaming into something that gives them a viable living, I think it’s fantastic. There was a lot at first as people kept thinking, “Oh, we have to keep doing something” and so much was poured out. We’ve come to a place now where there should be limited access and pay thresholds as a product because it is as people do need to support themselves. Again, the irony of it all – when something goes wrong in the world and someone wants to have a benefit for something, the first people who are called upon and step up are performing artists, visual artists and artists in general who say, “I can help”. I think this happened when Covid hit as people just wanted to help out in some way and so they just started posting things to make people feel better, things to look at and to focus on. Where it has come to now is good with the talk of pay thresholds, paid performances and having limited access to something so that it’s not out there on the internet forever. Despite all this fraught tension, confusion, and uncertainty, what is it about the performing arts that Covid will never destroy for you? Our need, absolutely, that goes back to what I was saying earlier about our compulsion with people. If you’re a performer and this is how you identify yourself that you have to do it. Being unable to do it is challenging enough but just being not allowed to do it is a different thing altogether. Everyone has had a moment as stage performers where you’ve had an injury or illness and that has prevented you from performing. I had some voice trouble once and it was a long period of time where I couldn’t sing and during that time it kept running in my mind, “Who am I if I can’t sing?” What do I have to offer and who am I as a person. That’s one thing. But now with Covid and it’s the feeling of “No, you’re not allowed to sing” is so much harder because it’s hard to make those reasons realistic to yourself. They seem like someone is imposing something on you. Again, everybody started putting up these videos right away speaks to the compulsion that the performing artist needs to create. It’s who we are as a human being and how we get through this world. So I don’t think that can be taken away from us at all and people’s need to experience that can’t be taken away either. At least I really hope. Previous Next

Back 'The Sound Inside' by Adam Rapp Now onstage at Toronto's Coal Mine Theatre Tim Leyes Joe Szekeres Haunting and powerful. Tony-nominated ‘The Sound Inside’ by Adam Rapp recently made its Toronto debut at the newly relocated Coal Mine Theatre. Bella Baird (Moya O’Connell) is a 53-year-old tenured creative writing professor at Yale University. With this assurance in hand, one might think she lives a grateful privileged life as a university instructor. Far from it. Thanks to Laura Delchiaro’s spot-on costume design for Bella, flashy clothes on the Yale campus are not the norm for her. Dressed in a nondescript plain-looking tan sweater, slacks, and blouse, Bella reflects matter-of-factly she doesn’t have a lot of associates on campus with whom she might go to lunch during the day. There’s a pervasive sadness about Bella. She doesn’t own a home but lives in the faculty housing on campus. She reads a lot when she is at home along with completing her responsibilities for her career. The plot briskly moves when Bella begins to mentor a visionary and extremely intelligent but enigmatically puzzling student Christopher (Aidan Correia) who’s in her ‘Reading Fiction for Craft’ class. Christopher prefers writing in longhand, doesn’t like using email to make appointments, and hates using Twitter. Dressed inappropriately for the fall weather on the university campus, Christopher shows up one day without an appointment during Bella’s office hours just to talk. He sports long hair, an earring, a spring jacket, loose fitting shirt, jeans, and wearing white sneakers. Although the instructor and student initially appear awkward at first, they begin to form an intense bond with each other (perhaps out of wanting to feel a sense of belonging or loneliness?). Ultimately Bella asks Christopher to do something quite unpredictable and out of the ordinary which initially surprises him as well as the audience. Will Christopher go through with this request? Wes Babcock’s simple set design of an office desk and chair is an apt choice. The actors deftly move the set pieces around to create several scenes. The intimacy of the Coal Mine Theatre swiftly brings the plot action right into the audience’s personal space. But something just doesn’t appear quite right even at the top of the show which intrigues even more. Babcock’s extreme shadowy pre-show lighting casts an ominous look on Coal Mine’s intimate stage. That shadowy gloom becomes twofold in purpose. It permeated into the darkness of the house as the audience enters. Truth be told it is so dark that one audience member behind me remarked how dangerous it is if someone doesn’t have good eyesight while walking in. Throughout the 90-minute production, Babcock’s lighting still incorporates that sense of gloom even in focusing the audience’s attention on the action and the characters. Hmm…are we being prepped for something earth-shattering? Yes, we are. Leora Morris thrillingly directs the production. Moya O’Connell and Aidan Correia sweetly savour the delicious wordplay of Adam Rapp’s thrilling script. The actors listen and hear each other while reacting and responding soundly with believable emotional impact in their chemistry. Several monologues are delivered compellingly. As Bella, O’Connell becomes a matriarchal university professor. There are moments when the actress speaks to the audience as if she delivers a typical university undergraduate lecture, and how important it is to pay attention, hear and listen to what is said. How true that is as the plot further unravels and the truth comes out. Correia’s glaring silent responses as Christopher gradually become unnerving. It appears as if he will explode in rage at any minute when O’Connell may either ask a question or make a comment. When Bella finally asks Christopher to do something for her, Correia’s stone-faced reaction becomes haunting. And yet this mysterious bond between Bella and Christopher becomes fascinating. How can two individuals who appear so different from each other be drawn together? Christopher is writing a novella and wants to share it with Bella. I smiled at this remembering what it was like to be a full-time undergraduate student taking a full course load. How could anyone even consider such a grand task? But Christopher does. Bella does read Christopher’s work. Leora Morris’s intelligent staging amidst the shadowy lighting design again becomes completely mesmerizing. O’Connell and Correia become like chess pieces and move around the stage with purposeful intent and a clear reason why they move and remain still. Final Comments: At times, this Toronto debut of ‘The Sound Inside’ is a mystery akin to that of Alfred Hitchcock. But there’s more going on than just the mystery. ‘The Sound Inside’ becomes an understanding of the human psyche and asks how far individuals would go to follow through on a request that would certainly alter the course of events for everyone. Haunting and powerful work by Moya O’Connell and Aidan Correia. Go see ‘The Sound Inside’ A fine production indeed. Running time: approximately 90 minutes. The production runs until May 28 at The Coal Mine Theatre, 2076 Danforth Avenue, Toronto. For tickets, visit coalminetheatre.com. THE SOUND INSIDE by Adam Rapp Director: Leora Morris Set, Lighting, and Prop Design: Wes Babcock Costume Design: Laura Delchiaro Sound Design and Music Composition: Chris Ross-Ewart Stage Manager: Elyse Quesnel Performers: Moya O’Connell, Aidan Correia Previous Next

Back “First Métis Man of Odesa” by Matthew Mackenzie and Mariya Khomutova Now onstage at Toronto's Distillery District in the Young Centre for the Performing Arts Credit: Dahlia Katz. Pictured: Matthew Mackenzie and Mariya Khomutova Guest reviewer Geoffrey Coulter, actor, director, adjudicator, arts educator VOICE CHOICE “A wonder in its sheer simplicity.” Soulpepper Theatre, in the heart of Toronto’s Distillery district, hosted a wonderful evening celebrating all things Ukraine. Not only was a fantastic play on offer but an entire evening celebrating the heritage and crisis facing the Ukrainian people. The theatre’s atrium was transformed into the Odesa Bazaar replete with Ukrainian artists and artisans showcasing and selling their eclectic offerings of hand-crafted candles, stained glass, fine art, kids’ books, jewellery, beaded embroidery, charity organizations – all helping to raise funds and awareness for the plight of war-torn Ukrainian families. After the play, the audience was invited to remain for a post-show reception and experience Ukrainian Heritage Night, a free event celebrating authentic Ukrainian cuisine, music, and community. The Bazaar and Heritage Night were memorable bookends to a heartwarming play full of equal parts charm, wit, angst, tumult, and hope as a young couple captivatingly share their real-life love story set against the backdrop of the COVID pandemic and the Russian invasion of Ukraine. “First Métis Man of Odesa” is a multi-Dora Mavor Moore award winner and was the most popular touring show in the country last year. It’s easy to see why. It’s relevant and engaging with an easily relatable narrative of the transcendent resilience of love defying the odds. Edmonton-Born Matt Mackenzie, a Métis playwright travelled from Canada to Ukraine to workshop one of his plays. Native-born Mariya Khomutova was one of the actors in that performance, and their romance blossomed between rehearsals and after shows. Together they recount their burgeoning romance, meeting the parents, getting married on the banks of the Black Sea, leaving Odesa for Edmonton, life in a new country, becoming parents, homesickness, relationships and what it means to be an artist in a time of crisis and what ultimately makes their bonds unbreakable. The play just works! It’s 90 uninterrupted minutes of pure joy and unencumbered vulnerability. Not only are the performers instantly likeable, but their storytelling is superb, their chemistry as a real-life couple undeniable! Many of the best scenes in the show are so deeply improbable (early conversations, dates, and marriage ceremony) or so straightforwardly honest (travelling during COVID, pregnancy, war), one wouldn’t believe it as a work of fiction; but as the true stories they are, they triumph. The simple set - a theatre within a theatre, with dramatic red curtains and glorious textiles inspired by Khomutova’s Ukrainian and MacKenzie’s Métis heritage — is perfect. Their stories are told with the help of two white chairs, a creative testament to director Lianna Makuch’s considerable talent. Matthew Mackenzie, Artistic Director of Punctuate! Theatre, an average guy in conservative grey pants and shirt, proclaims before the show begins that he’s not an actor, but a playwright as if apologizing upfront that we weren’t getting an experienced performer, rather someone making his acting debut! Despite his disclaimer he was thoroughly delightful and authentic. He has wonderful comic timing, heart-felt sympathy, good physicality, and a clear connection to his scene partner. Isn’t that what every actor strives for? He’s a natural. Mariya Khomutova is absolutely lovely as Matthew’s life partner. In simple grey skirt and blouse, she’s very much at home on the stage. Like Matthew, I found it difficult to think of her as an “actor”, so natural an unforced is her performance. She fully utilizes her excellent vocals and engaging storytelling ability with a twinkle in her eye and more than a few loving gazes to Matthew. Khomutova and MacKenzie are experts at drawing the humour out of every possible moment, building their stories around the most incongruous of details and adding to each other’s lines with perfectly timed bits of banter. They are each other’s perfect foil and perfect partner. But it’s Lianna Makuch’s inspired, respectful, and innovative directing that catapult this production skyward. She makes the most out of the minimalist set and brilliantly creates vivid images by simply changing the positions of the two chairs. Angled to the left and Matt and Mariya are having their first date, to the right, we’re meeting their unseen parents for the first time. When the chair is toppled it becomes Mariya’s hiding place in the rubble of a war-ravaged town, then the handlebars on a bicycle. Every part of the stage is used to full effect, we never doubting where we are or how we should feel. Her clever use of the moveable centre upstage column and suspended panels is sheer brilliance. Incredibly, this is her directorial debut. I see a very bright future for this emerging artist and storyteller. A production’s sound design needs to enhance each scene with appropriate music and sound, enhancing mood and crating auditory “images”. Edmonton’s award-winning composer and sound designer Aaron Macri’s and audiovisual group Daraba, work incredibly immersive magic. Daraba’s original scores and stings are wonderfully thematic while Macri’s ethereal drones and sound effects guide us from the joy of a beach wedding to a Russian attack on Mariupol, from airports to baby cribs. Soft and innocuous and booming and intrusive as the scene required. This team’s wonderfully understated work provides maximum impact. Projections has always been a bit dubious for me. I’ve seen them used to dreadful effect, washing out actors' faces, or being too washed out to see the images being projected. However, they can also be used very effectively to provide context, location, and mood. Amelia Scott’s vivid lighting and projection design is proof positive of the power of simplicity. Rather than projecting solely onto a back wall, Scott creates depth and dimension by projecting video images and animations simultaneously onto the arched proscenium resulting in an immersive tapestry that, like the music and sound, beautifully enhances but never distracts. We are taken to dozens of locations across years and continents in brilliant detail. Lighting design utilizes rich colours, shades of grey, a couple of spots ensuring that there wasn’t an inch of the stage in darkness when it wasn’t supposed to be. Kudos to the use of sharp geometric projections on the stage floor to denote the perimeter of a queen-sized bed. Dazzling! “First Métis Man of Odessa” is a wonder in its sheer simplicity. One wonders how, with the war raging on, this couple can expose these open wounds of grief, terror, and trauma to an audience of strangers every night. But their co-written script and the intensity of their shared performances make a bold statement; these moments are too important to forget, these stories too impossible not to share. Particularly laudable is the loving care with which the production team nurtured this narrative, lovingly elevating it to a story for our time. Khomutova and MacKenzie are resolved to return to Ukraine and perform this play in Odesa. On that remarkable day, their son Ivan will celebrate that his parents’ love story will have been told in both his homelands. Running time: 90 minutes with no intermission. Soulpepper and Punctuate! Theatre present “First Métis Man of Odessa” written and performed by Matthew Mackenzie and Mariya Khomutova. Directed by Lianna Makuch Previous Next

Back 'Dana H' by Lucas Hnath Crows Nest Theatre presents the Goodman Theatre, Centre Theatre Group, Vineyard Theatre Production of Lucas Hnath’s ‘Dana H.’ Now onstage at Factory Theatre Credit: John Lauener Dave Rabjohn ‘Chilling’ ‘Powerful’ 'Baker's work is the heart of the play' Please be patient – this is quite a list. Crows Nest Theatre presents the Goodman Theatre, Centre Theatre Group, Vineyard Theatre Production of Lucas Hnath’s ‘Dana H.’ As well – that is at the Factory Theatre filling in for Crowsnest. That is a lot of parts, but the sum is a bold inventive play and a unique and compelling performance by Jordan Baker. This solo production tells the chilling real life story of Dana Higginbotham, a psychiatric ward chaplain who was abducted by an out patient and dragged for five months through seedy Florida motels and unimaginable abuse. What is so singular about the structure and performance of this play is that the victim’s son, as the playwright, creates all the dialogue from actual interview recordings of Dana Higginbotham after her escape. Every word you hear is her actual voice – Jordan Baker says not a word but lip-syncs the entire play. Powerful. Baker’s work is the heart of this play. Memorizing lines is the backbone of work that any actor experiences. But Baker must do much more – every line must be memorized. Then the rhythm must be matched. Each intake of breath was perfectly time – every ‘huh’, every cough, every pregnant pause. An extraordinary effort. Adding to this technical miracle, Baker takes us through the roller coasters of emotion and terror. Almost static in a centre stage chair for most of the 75 minutes, she draws us in with hand gestures and bright dramatic eyes. She rolls us through the spectrum of expressiveness and withdrawal. Hnath’s Tony award winning play tells more than one story of horror. Higginbotham’s words describe not only her own terror, but the painful upbringing of the unstable young man. He was manipulated into some rag tag Aryan society. He didn’t know how to operate a light switch because most of his life was in prison. Maybe not entirely forgiving, she at least sets the table for his unhinged behaviour. The other shocking story is from her own loveless upbringing – cold parents virtually ignoring an unwanted daughter. Heartbreakingly, she suggests a cold irony. Her abuse as a youth may very well have ‘trained’ her to manage the pain and terror of the abduction. Her parents did her a favour? Ouch. Not surprisingly, one of the two Tony awards was for best sound design. Mikhail Fiksel’s work reflected the process of taping itself. The voice is slightly tangy and mechanical as it echoes out of a machine. It was a haunting gesture as the old reel to reel ran out and we hear the circular flapping of empty tape. Andrew Boyce’s scenic design was a harsh box set representing the seedy motels on the outskirts of Orlando. Raw florescent light easily exposed the mould and grunge of the place – an awful place paralleling an awful crime. As horrors descended further, Paul Toben’s lighting design, along with Fiskel’s sound began caterwauling into dysfunction. Another effective moment was an eerie flat white light seen momentarily as the motel door opened – her disassociation with the outside world. As director, Les Waters should be applauded for a minimalist approach. He let Baker set the tone and pace. As mentioned, blocking and movement was minimal allowing her thoughts to surface undistracted. A tinge of Stockholm syndrome is suggested. At times Dana feels almost as a protector of her assailant. But important, continuing issues of blaming a female victim in abuse cases becomes a central theme. The final chapter is called ‘The Bridge.’ Higginbotham finds a hospice career where she helps patients bridge between life and death. Her story also finds a bridge between horror and survival. ‘Dana H’ by Lucas Hnath Performer: Jordan Baker Director: Les Waters Andrew Boyce: Scenic Design Janice Pytel: Costume Design Paul Toben: Lighting Design Mikhail Fiksel: Sound Design Production runs through: April 7, 2024. Tickets: boxoffice@crowsnest.com Previous Next BACK TO TOP

Back Andy Massingham “The moments you spend with other artists, whether over coffee or sitting in a rehearsal hall, you sponge everything you can. The minute you start doing that, you extend your own language.” Self portrait Joe Szekeres Dora Award-winning actor, director, choreographer, educator and playwright Andy Massingham is upfront, personable, witty, and knowledgeable. He loves criticism although he doesn’t read reviews. What brought him to this realization? Actors cannot sit in an audience without doing the same thing – critiquing and talking about the work of others. He knows his stuff and what he wants when directing for the theatre. He shared a thought that all directors have probably felt: “As a director, the heartbreak of opening night is one of the deepest heartbreaks because you know that it’s over and the actors are going to go.” Massingham is currently directing ‘The Complete Works of William Shakespeare’ (Abridged) (Revised) (Again) for Port Perry’s Theatre on the Ridge (TOTR), which will close out its 2024 season. A comedy encompassing Shakespeare’s 37 plays in two hours, he feels it’s a nice way to close out the summer season. How did Andy hear about Port Perry’s Theatre on the Ridge? The company’s Artistic Director, Carey Nicholson, took a course Massingham was teaching through his long-standing association with Toronto’s Tarragon Theatre. For the last 5-10 years, Andy has been doing weekend physical theatre workshops focusing on no dialogue, structure, and physical stories using clowns and various elements. The workshops mainly involve putting a show together without dialogue. Massingham and Carey hit it off at that workshop: “When she walked in, I didn’t know who she was. By the end of the weekend, she said she would love to talk to me about Theatre on the Ridge. The next year, I came out and did exactly that. We formed a one-hour theatre piece that was purely physical.” Andy salutes Carey because she understands what he is doing regarding physical theatre. To these other larger companies, like Stratford and Shaw, Andy would describe Theatre on the Ridge as an enclosure that is still open to the elements, which gives actors, directors, and designers a little freedom to throw some stuff out. When you’re going outside, you know there will be unlimited expectations. There’s a big difference in the summer between walking into a theatre and walking outdoors into a theatre. Andy calls Theatre on the Ridge: “A mini-Stratford. If I were to describe [Ridge] to Antoni Cimolino [from Stratford], it’s a small setting under a big top. Intimate work can be done at [Ridge]. Clown work can be done [at Ridge]. It’s within that realm much like commedia dell’arte did over 500 years ago, and the original Stratford Festival did under the first tent many years ago.” Andy says Carey is making bold choices under the usual summer stock realm. As he got to know her, Andy firmly stated that Carey was doing very clever programming. He pointed to this year’s slate—a Kat Sandler play, a musical, and a slapstick ‘Monty Python-like’ version of Shakespeare in one season. That’s a great season because Andy says this selection of plays appeals to everyone. It might be a challenge to bring audience members from Toronto, Drayton, and Stratford to Port Perry, but that’s Andy’s dream. He wants audience members to know that Theatre on the Ridge is only an hour away but come here. It’s accessible. Massingham intends to shine a light on Port Perry. The town is beautiful, and the shows at Theatre on the Ridge are great. Our conversation then veered to where Massingham completed his artist training. His response made it clear his wit is one of his personable qualities: “I haven’t completed it yet. It’s still going on.” We shared a good laugh before he continued. Massingham graduated from George Brown Theatre School in 1985 and studied for two years with Richard Pochinko doing clown. Pochinko was Andy’s clown teacher at George Brown. Massingham has been working with teachers, dancers, and actors since then. Andy calls himself an amateur, but he’s a lover of the form. To continue learning does not necessarily mean to keep taking courses. Andy continues meeting with artists over coffee and talking about things. When he worked at the Stratford Festival, he soaked up everything he could from the legends of working with Brian Bedford and Martha Henry: “I sat in a rehearsal hall with these people and sponged everything I could. Musicians have to keep working with other musicians to keep their skills updated. The minute you start doing that, you extend your own language.” Has Andy realized there is any difference between the theatre companies in downtown Toronto and the theatres in the outlying areas? “Work is work, and I’ve become very pragmatic about it. I go where the work is. I like it. I’m happy seeing a show in a church basement or a hole-in-the-wall, as I am at Festival Theatre.” He has performed on stages across Canada. What is the commonality between them? Everyone wants to hear a story and be entertained. It doesn’t matter where the story is told. Andy recounted how he learned much while touring a clowning show in Northern Ontario. The residents came out to see a show and didn’t care about a resumé or the theatre. They wanted a show. That’s all that matters, whether it’s Shakespeare, clown, modern dance, or jazz. That’s been Massingham’s guiding light. He’s plugged into the next generation of up-and-coming young artists and sees a huge fire coming up in them. On a break, before rehearsals for ‘Complete’ continued, Andy shared his excitement for the show. Rehearsals for this actor-driven piece have been a ‘hoot.’ The text for ‘Complete’ was written for only three people, but five actors are present in the TOTR production. Immediately, they all knew there would be slicing and dicing, and that’s fine with Massingham because he loves re-visioning. The first week of rehearsals saw everyone playing around with the text while the unique personalities of each of the performers shone through. Massingham said the five of them are like the Marx Brothers. They are completely different but have unique things about them. The performers have gelled through the rehearsal process. Nicholson afforded an extra week of rehearsal, which Massingham called glorious. He says the actors are ready for an audience, terrified but ready, which is a good way to be. It’s show business. He greatly encourages these five actors; They should all be working in the business now: “Stratford. Hire these actors. These are solid, fantastic emerging artists.” I have heard that the study of Shakespeare’s plays should either be removed or significantly curtailed. Massingham’s response to that kind of thinking. He says he won’t get angry about it, but that’s a stupid idea and: “I’ll never stop teaching it, and I don’t care what they say. That’s it. That’s inflammatory talk, and I don’t believe it at all.” He then made a valid comment: “If you’re studying music at Julliard in New York City and the decision is made to cut Mozart or Miles Davis,” doing that would be removing the centered structure of all modern music.” Finally, what’s next for Andy Massingham once ‘Complete Works’ concludes its run? He works at The Toronto Film School. He will be directing a show there in the fall, but he is always on the lookout. He hasn’t acted in over ten years but is looking to get back to it. He’s also starting work on a sequel to 2005’s ‘Rough House,’ a solo show based on the physical theatre and clown. Andy Massingham has been a lifelong lover of the form. He thrives in the classroom with young minds and artists. ‘The Complete Works of William Shakespeare’ previews August 8 and will officially open on August 9. Running until August 24, all performances will take place under the TOTR Tent at the Scugog Shores Museum, 16210 Island Road. For tickets, visit www.theatreontheridge.ca . email: boxoffice@theatreontheridge.ca or call (905) 242-9343. Previous Next

Back Lucie Arnaz Luckinbill 'Ultimately, success requires taking action and making choices." ​ Joe Szekeres Three years ago, I was appreciative Lucie took the time to chat with me. You can read her first profile here: https://www.onstageblog.com/profiles/lucie-arnaz-luckinbill. It was a rather humorous experience attempting to connect via Zoom with each other this time. Our email correspondence was filled with comical attempts to schedule due to our different time zones on the West and East coasts. After much online effort, we finally managed to connect and had a good chuckle about the whole situation, agreeing that it was quite the “clusterf&%k.” I felt highly comfortable picking up where we last left off three years ago. Lucie’s wry sense of humour and love of life remain keen and sharp as ever. Everyone is well in her immediate family: “Knock wood, babe. Everybody’s doing great. My brother and I are getting on. I’ll be 72 in July, and Desi’s 18 months younger. He and I are healthy. I have three beautiful grandchildren. My three children are working and happy, and my two stepsons are working and happy. Larry is of a certain age, and he has all of his wits about him. I’m a very, very grateful gal, very lucky.” Lucie calls these last three Covid years a great exercise in the study of impermanence, the good and the ugly. Covid’s always going to be here, so we just had to get used to that going forward. Change is inevitable, and you have to live in the moment and live for tomorrow but be ready for the plans to change. A lot of stuff has happened to all of us in these last few years, and we’ve learned this the hard way. She also had a knee replacement and had just returned from her physiotherapy before our conversation. Calling herself a late bloomer, a come-from-behind horse, as it has taken almost a year to recover, Lucie was up and around a few days after the surgery, but the knee still swells. She coyly stated she’s not tap dancing yet, but her knee is almost back to normal. It’s totally fine at the moment. She’s not in any hurry regarding the other knee, given what she experienced in this first recovery phase. Lucie also travelled to Kenya in February of this year as part of Craft Tours group with Jim West and said it was ‘life-changing.’ It was a culture none of them on the tour could even imagine. In her words, the tour was a hell of a lot more than a safari. She can’t wait to return: “The combination of the magnificence of the wild animals that you see, the tenaciousness and the kindness of the Kenyan people. I was astounded. Every person I met was polite and gentle, and smiling. And they live in such abhorrent poverty most of the time. The children have to walk four miles to school by themselves. Some of them are 5 years old. They’re in the dust and dirt to sell whatever they can make on the streets”. It was an entirely different world outside the walls of beautiful trees surrounding the hotel. The Kibera slum in Kenya was one of the worst seen anywhere. She also spoke of touring a school where it was exorbitantly costly (around $240 US for one year) to send a child. That’s not a lot of money, so Arnaz and a few of her friends took each of the six kids individually and paid for them to attend the school for the next three years. Arnaz rationalized this school fee payment in comparison to shopping weekly at the grocery store. When the tour group returned, the hoops she and her friends had to jump through to send the money for the next three years in support of these six students seemed insurmountable. Finally, a bank account was established where the money would be deposited and then distributed to the students at the school. Arnaz and the group were assured that no money laundering or distributing would go elsewhere except to the students. But tracking down and ensuring the money was going through the proper channels was hard. Arnaz is now back to touring her concert shows across the U.S., postponed during the pandemic. ‘I Got the Job: Songs from My Musical Past’ opens in New York’s 54 Below on July 19 and runs to July 22 inclusive. I’m attending the opening night to review and looking forward to returning to the city and finally seeing Lucie at her nightclub performance. How does she feel about venturing back to the Big Apple? “There’s nothing quite like it. There isn’t another city anywhere that’s like the hub of fashion, industry, finance, theatre, and music. It’s a town that embraced me and welcomed me, and that’s a wonderful feeling. Larry and I have many friends on the east coast, so it’s an opportunity to get caught up, see them, and have them come to see the show…when I’m working there, it’s just like I’m Cinderella at the Ball. There’s no place like it.” Yes, Lucie is cognizant of the constant traffic, construction, and noise compared to the peaceful environs of Palm Springs, where she and Larry live. She balances that by comparing New York to a big campus where all the performers are in a concentrated area. At a particular hour of the night, everyone is walking to work from the nightclubs to the theatres and restaurants, and everyone is waving to each other. How cool is that? As a proud Canadian, I asked when she was planning to cross the border and come to Toronto. She smiled and wished she was in charge of wherever she went. She would love to call up a venue or theatre and say: “I’m ready, willing and able,” but concert bookings don’t work that way. Any interested persons are to go to Lucie’s website and follow the instructions. Toronto producers and concert venue promoters – are you listening? Yet a lot has changed in how Lucie approaches her concert work. Depending on scheduling and if an artist gets sick, it can change on a dime. Lucie isn’t naïve to think Covid is gone because it’s not. It’s still out there. She’s constantly on the alert: “I wear a mask everywhere, not because of getting sick or feeling unwell; I’m afraid that I’m not going to be able to leave. I leave in ten days for New York for my show that has been postponed four times, and I don’t want to get sick. I have to be very cautious.” The aftermath of Covid has also affected Lucie’s concert work. She used to love to come out to the audience to chat, pose for pictures and autographs and sell CDs. She can’t do that anymore. Instead, she wears a mask when she does go out to greet people. She feels guilty if people want to take pictures, but she has to face the reality that she can’t get sick. Larry Luckinbill (Lucie’s husband) is of a certain age, so she also has to be cognizant and aware of him and his health. Lucie doesn’t have any theatre work lined up at the present time except for the concerts. She loves live audiences and feels at home in her concerts. Regarding any upcoming plays in the future, she calls herself a woman of a certain age. She would have to be super passionate about the material to leave Larry or uproot him if she is cast in an 8 show per week schedule. She couldn’t say no to the revival of ‘Pippin’ several years ago. Although she only had one scene where she played Berthe and got to sing that terrific song, ‘No Time at All,’ Lucie also was trained to do a trapeze routine high above the stage. That was an experience she was glad to fulfil. Family is vital to Arnaz. She and Larry are in what she calls ‘the third act,’ and her husband remains rightly so her priority. They want to spend as much time together as they possibly can, so at this time, producing, directing and concert work suits Lucie just fine. But that doesn’t exclude any producers from contacting her if there is an upcoming project. She reads everything, and if it entices her, she, and Larry talk about the project. It all depends on what the project is, where it is and for how long. Although artists cannot earn a decent living at the theatre, Lucie says it’s the place where her heart has always been. If she didn’t love it, she wouldn’t do it anymore. There’s much rejection in this business, and she still would tell up-and-coming artists not to be bothered by that. It’s an opportunity to be tenacious, to learn and practice. Rejection is never personal in the theatre. Arnaz was fortunate to have had her start on her mother's television show, which opened doors for her. She seized the opportunity and never looked back, knowing that having an advantage only gets you so far. Ultimately, success requires taking action and making choices, especially when bills need to be paid. Lucie faced a similar dilemma, as she had a passion for both family and live performing/theatre. Balancing these two aspects of her life was not always easy, and every choice required careful consideration. Speaking of television shows, Lucie also appeared in the early 90s in the terrific comedy/drama ‘Sons and Daughters’ and loved working on it. Is there any talk of her appearing in another show anytime soon: “There are about five and a half people who can plan their television future and 55,000 in the Screen Actors Guild. (and we both had a good laugh). No, I don’t have any plans. Sometimes things come my way, and I turn them down because I’m not passionate about them…I pick and choose my work carefully.” As we wrapped our Zoom conversation, I threw some quickie questions to get an immediate response. 1. If your life was turned into a live performance play/musical, whom would you like to see play you? Larry? Your brother? Your parents? I have the same answer for all these individuals – “The best damn actors of the time with a damn good script.” Who knows when that will happen? It would depend on what ages of Larry, my brother and me. I think enough has been done about my parents, so I can’t see that happening anytime soon. But I’m not in charge. 2. What book(s) are you reading right now? Generally, I’m not a book reader since I don’t have the time. I do the shopping and the cooking and other things, so that’s my priority. When I have an opportunity, I read a lot of books by listening to them, and that has helped me to get through a number of them. I love biographies more than fiction. I’ve been reading everything from Mel Brooks’ autobiography to Michelle and Barack Obamas, Carl Reiner, and Randy Rainbow’s. 3. Is there a particular place you have not been to yet, but feel drawn to visit? Ireland. We’re going next June with the Craft Tours, and I’ll do my show. Larry will come with me this time. He really wants to go. I’ve never been there so I really want to see it. 4. You and Larry have been married for 43 years. What’s one piece of advice you would give to newlyweds? To new grandparents? To newlyweds and married people – ‘Never give up.’ Stuff happens; you get mad at some dumb stuff and can have some really bad fights. Go back into the room and say you’re sorry, even if it’s not your fault. Don’t give up. People don’t know how to talk about stuff today. To new grandparents – “Enjoy every blessed minute because it goes by so fast. Don’t be judgmental. Let your children raise their children and be there for them.” 5. You’ve been elected President of the United States for one week. What would you focus on and try to change in that week? Global warming, helping the planet survive and convincing the world this is a priority. It’s the one thing that scares me more than Donald Trump, more than gun control, more than women’s rights being taken away, more than Russia, more than China. It’s the planet, for God’s sake. If we don’t have the planet, none of this other stuff matters. To learn more about Lucie and her concert work, visit her website, www.luciearnaz.com . You can also follow Lucie on Facebook: @LucieArnazOfficial. ‘I Got The Job: Songs from My Musical Past’ plays at 54 Below, 254 West 54th Street, Cellar, New York City, July 19 – 22, 2023, inclusive. For tickets and more information, visit 54below.org. I’ll post my review after opening night. Previous Next

Back Rodrigo Beilfus Self Isolated Artist Ann Baggley Joe Szekeres Rodrigo (or Rod, as I found out later) Beilfuss told me in an email that he owes a great deal of appreciation to his high school English teacher, Mr. Gord McLeod, who opened the young exchange student’s world to the beauty of the language of William Shakespeare. Beginning with the study of ‘Hamlet’ in high school, Rod affectionately blames his teacher for everything since the young actor hasn’t stopped pursuing and bringing to life some of Shakespeare’s greatest stories. Rod’s path in life has certainly fascinated me. Born and raised in Brazil, he moved to Winnipeg in 2001 as an exchange student. In Manitoba’s capital city, Rod is a founding member of Theatre by the River and has also acted and directed in several productions at local various theatres. He holds a BA (Honours) from the University of Winnipeg, an MA in Classical Acting in England’s London Academy of Music and Dramatic Art. Rodrigo is also a graduate of the Stratford Festival’s two prestigious flagship programs: The Birmingham Conservatory for Classical Theatre and the Michael Langham Workshop for Classical Direction. Some impressive high credentials here. Currently, Rod is Artistic Director for Shakespeare in the Ruins (SIR) in Winnipeg. This young actor was a member of the Stratford Festival Company for four years. Since I began reviewing for On Stage not that long ago, I can recall two productions in which he was involved that were personal favourites. Rod played young Siward in a very sexy production of ‘Macbeth’ that is now streaming until the end of the month. He also was the Assistant Director with Graham Abbey in a top-notch production of ‘The Front Page’: 1. How have you and your family been keeping during this two-and-a-half-month isolation? Are you in Winnipeg right now? Yes, we are in Winnipeg; after 4 years in Stratford, Winnipeg has been our new home since last Fall. We are generally ok…but I’m not going to lie, parenting a 4-year-old while both of us work from home AND with a new baby coming out in early June…we feel a bit scattered. There are good days, and there are bad days – same as with everyone else out there. With the weather warming up, we feel less claustrophobic and a bit more hopeful. My wife is now entering her mat leave (baby comes out in a couple of weeks), and she’s busy nesting. My 4-year-old really, really misses his friends. Think about it, little kids out there haven’t played with other kids in about 10 weeks. Wouldn’t you feel a little crazy?! 2. Were you involved in any productions that were cancelled as a result of COVID? Were you in rehearsal or pre-production/planning stages that have been temporarily halted? If so, what will become of this work? Yes, we were in pre-production for ‘The Winter’s Tale’, the mainstage offering from my company, Shakespeare in the Ruins (SIR). The Cast and Creative team were set to go, and we were a month away from rehearsals starting. It was going to be an exciting bilingual production, done in both French and English, staged outdoors at a beautiful heritage park. As Artistic Director, it was my job to call everyone involved to tell them the show couldn’t happen this year – that was not a fun day on the job at all, as you can imagine. But everyone took the news with such grace and kindness. Theatre people are incredible. Right now, the plan is to stage this production next year instead, as part of our 2021 season. 3. What has been most challenging and difficult for you personally during this time? What has been difficult for your family during this time? What have you all been doing to keep yourselves busy? I think finding an emotional balance amidst such uncertainty has been a challenge. Every day is its own journey, there is no consistency. And living in an “eternal present” can be a bit maddening. My wife and I feel like we don’t have enough energy to devote to our boy properly – he’s a busy boy. We are trying our best; we’ve been reminding ourselves everyday that this is not “the new normal” – it’s just a moment in time. Personally, I’m struggling with the predicament of ‘The Theatre’; we will be one of the very last sectors to recover, and I already miss being a room with great people creating something beautiful, together. I have to dig deeper into my well of patience. I have been devoting myself to little healthy obsessions to keep the mind busy, such as listening to a lot of classical music, and reading a biography of Chopin; and watching my favourite trashy show on TV right now: Billions. Trying my best to unplug the mind from the universe of Theatre sometimes, so I can re-charge. 4. You are one busy man, Rodrigo, with your work at Stratford plus your work as Artistic and General Directors of companies in Winnipeg. 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? Ya know, funny thing is, I’m a bit of a workaholic, and I always feel guilty if I don’t “do something” – it’s terrible, I’m working on fixing that, and failing. Maybe it’s my Catholic background growing up in Brazil; there’s so much guilt around enjoying life’s idle pleasures. Managing a theatre company right now, weathering this pandemic storm, is fascinating – and incredibly exhausting. It turns out ‘not making theatre’, or “unmaking” theatre, is more work than making the bloody thing. The game right now is all about strategizing and stabilizing, thinking long term so that our company has enough resources to come out of this intact. It’s logistical, careful work, and terrifying. But also thrilling; the possibilities for reinvention are endless. We are in the middle of the storm right now, and I cannot wait to see what we create out of this. This is our chance to re-design how we work. We were overdue for a re-examination of our processes in the theatre; for instance: do we really need to rehearse 6 days a week? How about we start giving people a two-day weekend? And: what are the stories we want to tell once we can gather again? What are the stories we will need? COVID-19 has changed everything. Theatres will never be the same, I do not think. We also live in an era of constant paranoia, about everything. The fear of a resurgence or another pandemic will always be present. I expect we won’t be as huggy anymore…which is a shame. I love hugs. 5. 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? Oh god. Where does one begin? This is a moment in time. It is not a “normal” time, and we should not think in those “new normal” terms, ever. Instead, we should work toward learning, adapting, and supporting each other – constantly. Events will unfold incrementally into the next few months, and our sector will go through a lot of ups and downs within the next two years. It will take time for things to feel “right”. It is ok to feel completely devastated by this. It is ok to feel like you need to let go of this “business” for a while. In fact, maybe that’s the best thing to do right now if you really feel like taking a break: letting go. It is ok if you must take on odd jobs to make ends meet – you’re not alone. It is ok to stop. You won’t be forgotten. Everyone, from busy Oscar winners to amateur performers, everywhere, is out of work right now. Remember when Daniel Day-Lewis took FIVE years off and became a cobbler? He did win 2 more Oscars after that…maybe it was good for his craft? Sure, Day-Lewis was always a bit eccentric – and already rich and famous. But maybe there’s method in his madness. I’m managing a theatre company at the moment, but if theatre is no longer a thing we do for the next few years…hell, “maybe I’ll sell shoes”, as Martha Henry once said to me. All joking aside: it will suck for a good while. And then it won’t. Think of it this way: the possibilities are endless. For once, we can completely dream, openly, about what we want theatre to look like in the future. And you can be a part of that revolution. 6. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? As I mentioned above: yes. This is our chance to begin again. And it is also a chance to reveal, once and for all, to everyone out there, just how precarious our lives in this medium really are. This is the moment to advocate for better public funding, for more partnerships, for a better collective understanding of what it is that makes life worth living. Is it really status? Money? Competition?...I don’t know about you, but I don’t miss the Before World. I miss people, and being in togetherness when celebrating Art. But I do not miss that world at all. It was a vile place, moving at an obscenely, unnecessarily fast pace. This is our chance to properly slow down, and to investigate our sense of community. 7. You Tube 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 You Tube 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? I think Theatre is a lot of things, and it is constantly changing and evolving and challenging our pre-conceived notions and prejudices. I think all these Zoom readings and streamed productions are fascinating, and the whole online revolution only proves just how utterly resourceful and inventive theatre people are. But none of it is ‘live’ – ie. in the true presence of an audience. And that is a big thing to miss from the equation… Ultimately, I find all those options unsatisfying by nature. In that regard, I suppose they do a good job in making us miss the real deal – and in that way, they make us value live performance even more; because nothing compares to it. Again, I don’t think this is a “new normal”, and I refuse to believe there is such a thing anyway. It is simply the thing we do, for now. What I am really interested in is finding a ‘new art’ from this; what sort of theatre can we create that is inspired by these social restrictions, and not done despite them? What does that look like? 8. Given all this confusion, drama, tension, and upheaval about COVID, what is it about your career as a performer you still like? We are trained to be very empathetic creatures; to have our senses open to all sorts of stimuli. I’m trying to use that training to investigate what’s beautiful about the world right now: the acts of kindness from strangers; the chance that Nature has to recover; the emotions I feel when I sit down and listen to a great piece of music or the immense pleasure I get from watching my son grow up. We call that “being in the moment” in theatre. “To be here, present, alive, in the moment”. We have used those words to describe the act and the experience of Theatre so often, they are almost clichés…well, now we have been forced to LIVE those concepts. I’m finding the experiment immensely fascinating. 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? “Ridiculous” 2. What is your least favourite word? “No” (my 4-year-old likes that word a lot…) 3. What turns you on? Great theatre; there’s nothing like it. It’s like being awaken from the Matrix. 4. What turns you off? People bragging about money. 5. What sound or noise do you love? The sound a soccer ball makes when it hits the back of the net! 6. What sound or noise bothers you? Construction noises. Just big machines making a mess, that sort of thing. 7. What is your favourite curse word? Nothing beats a good “fuck” and its myriad variations; but when I lived in the UK, I did throw a few “bollocks” and “tosser” about. 8. Other than your current profession now, what other profession would you have liked to attempt? Teaching, or writing. 9. What profession could you not see yourself doing? Anything to do with tools, construction…I look absurd with a hammer in my hand. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “It’s not what it looks like, but we do have Campari!” His Twitter handle: @RBeilfuss. If you wish to know more about Rod, visit his website: www.rodrigobeilfuss.com . To learn more about SIR (Shakespeare in the Ruins) of which Rod is the Artistic Director, please visit www.shakespeareintheruins.com . Previous Next

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

Back Samantha Sutherland Looking Ahead Jeremy Mimnagh Joe Szekeres Samantha is an Indigenous contemporary dance artist, choreographer, and teacher based in Tkaronto. She is from the Ktunaxa Nation in British Columbia. Her ancestry is Ktunaxa and Scottish/British Settler. She completed the Arts Umbrella Dance Diploma Program in 2018, the pre-professional program. She has worked as a guest artist with Ballet BC and an associate artist with Red Sky Performance. Samantha explored what aspects of her Ktunaxa culture, history, and traditional knowledge can be pulled into her choreography. She has presented works at Matriarchs Uprising by O.Dela Arts, and the Paprika Festival. However, I have more to learn and appreciate about the art of dance and I’m appreciative of those artists who are taking the time to share with me and others what is it about the art of dance that continues to fascinate and intrigue them. Samantha laughed as I asked her to start with the big question – what about the world and study of dance still intrigues her as a performing artist? “Overall, it is a universal language. It doesn’t matter where you come from or where you’re at in your life. You can watch movement and watch a body move, and that will trigger some kind of reaction within us. It doesn’t matter what language we speak as dance is understandable. As an expression, [dance] reads as it’s a way to express the human experience using this human vessel we all have, and we all share that similarity.” From Samantha’s perspective, movement is an extremely satisfying experience for her. Dance and movement keep her happy and when she tends to dance her day gets a little happier personally. How is Samantha feeling about this gradual return to the performing arts even though Covid still envelopes us for the foreseeable future? She’s excited about the return and remarks how it appears that the city of Toronto seems to be excited about its return. Even though Covid is still present, Samantha says these last two years have given all of us an awareness of our own health in how to engage with people. Yet Samantha is not turning Pollyanna because artists are aware there are some fears, but if we follow regulations in what’s happening around us, then that’s all any of us can do going forward. There is a safe ambition as we return because we have to trust that those who aren’t feeling well don’t come around those who are feeling fine. Let’s embrace the changes that we’ve seen over the last two-plus years. The arts need to be experienced because if artists are afraid of getting back into the studio, then there is the possibility the work, the experience, and the artistic connection could die out. Samantha is most excited about presenting a premiere dance work kaqwiⱡȼi as part of the late-night dance series NIGHT SHIFT co-presented by Citadel + Compagnie and Fall for Dance North (FFDN). The piece she will present works in her native Ktunaxa language. Samantha has been learning her traditional Ktunaxa language over the past two years via Zoom. “Learning my language is something I need to do,” Samantha states, “but I wasn’t always sure how or when I was going to be able to do it, so I’m very happy I am learning the language now with my teacher, Alfred Joseph.” About a year and a half ago, Samantha recalls in one of her classes they were given the body parts vocabulary list, and this triggered an idea in her brain. As a dancer herself, Samantha says she thinks about the body parts and how could she translate Ktunaxa words to movement. She shared next what she would do. All of this language learning begins with the study of the body parts and then meshed into a solo dance piece built from a practice of translating words into movement. Samantha works with an audio recording of her grandmother, Sophie Pierre, and another Elder, Marie Nicholas, of them having a conversation in the traditional Ktunaxa language. Sutherland then translates the story and the full sentences of the ladies into movement, and this is what is being presented. Samantha also uses her own voice in speaking the traditional language and dances along with her own movement as well. What are some of the ways Sutherland approaches translation into her traditional language? She looks at the shape of the letters and then uses her body to form that shape. How many syllables does the word have? If three, then the movement would have three parts. If she had the word ‘river’ in front of her and she heard her grandmother say river, then Samantha uses her hands to show a free-flowing fluid movement of the river. Other vocabulary words she said with me during our conversation: ʔa·kⱡam - head (sounds like ahk-thlam) ʔa·kiy - hands (sounds like ah-kee) ʔa·kⱡik - feet (sounds like ahk-thlick) Samantha likes working with text because there are so many ways to approach a word either how it sounds or looks on paper, or whatever it means and then using movement to define the meaning. She describes the process as fun. She is excited that she gets the opportunity to continue to present it. Earlier this spring, she had made this production for the Paprika Festival and got presented at ‘Sharing the Stage’ at the National Ballet and she gets to continue it for Fall for Dance North and the Citadel. Within the five-year trajectory plan of where artists see themselves, Samantha hopes that she continues to collaborate with other Canadian artists and get to create whether solo or with others. She loves the Indigenous dance community not only here in Toronto but Canada abroad. As a new choreographer herself, Samantha hopes to meet and to create within the next five years. Sutherland hopes one day that her story presented by Citadel and FFDN can also be presented live in her home nation so that her relatives and other Ktunaxa folk can see her work. She is excited to share the work with her classmates and teacher and relatives. What’s next for Samantha Sutherland once this show is complete? She has a couple of other shows coming up in Toronto and the area for the fall. She teaches full-time as well so she’s excited to be getting back to seeing her kids. Mostly, however, Samantha will be performing her works at a few upcoming festivals. To learn more about Samantha Sutherland’s production visit www.ffdn.com or citadelcie.com. Previous Next

Back Ryan G Hinds Theatre Conversation in a Covid World Dahlia Katz Joe Szekeres The forty-five minutes I had spent with Ryan talking about all things theatre simply vanished rather quickly because I was on every word about this great pause. Ryan is quite candid at times as you will see from his responses below, and I thank him very much for allowing his voice to be heard during this time. Ryan G. Hinds is a critically acclaimed theatre artist who has appeared across Canada and the US in shows such as “#KanderAndEbb”; Theatre New Brunswick's "It's a Wonderful Life”; Magnus Theatre's "We Will Rock You”; Hedwig in ‘Hedwig & the Angry Inch’ at the Capitol Theatre; and” Lilies; Or, The Revival of a Romantic Drama” for lemonTree Creations, Why Not Theatre, and Buddies in Bad Times. Ryan is an Associate Artist at lemonTree Creations and serves on the National Council of Canadian Actors' Equity Association as 2nd Vice President. Hinds was an Artist-in-Residence at Buddies in Bad Times, 2014-2016, and has performed alongside artists such as Liza Minnelli, Todrick Hall, Debbie Reynolds and more. We conducted our conversation via Zoom: In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? Your immediate family? Well, peaks and valleys, just like any journey that’s worth taking with highs and lows. My mom died in October. She had been on a cancer journey for a couple of years. My mom and I were really close and she shared my love of theatre and art and culture and performance. She was always my favourite theatre date. So, when I think about the pandemic, I do think in some ways I’m fortunate because it allowed me to really be there for her for her final months, and to give her the respect, care and attention she’s given me my whole life. She had a really hard experience with cancer and chemo. By the time she died, she was ready to go. Something I’m very grateful for – she left this earth with a lot of pride in me, a really strong sense of feeling that her life had been a productive, fabulous, globe trotting experience full of colour, food and music and wonderful things. In her last year of life, my mother got to see me sign my contracts to perform at Ottawa’s National Arts Centre, the cover of NOW magazine. She got to see me film a commercial in September. So, I also know she left with a confidence that I was going to be able to handle whatever was coming. That was very important to her. We knew this time was coming and talked about it often. It was important that she left her only son knowing that he could thrive in the world and not be utterly destroyed by her leaving me. So it’s been a tricky year navigating that. I miss her dearly. Christmas was hard without her. I know that she would be thrilled Trump lost. I know she would be thrilled there’s a vaccine coming for all of us. Even though times are hard now, she was always looking forward to the horizon and to the next good thing that was going to happen. My immediate family here in the house – it’s just me and my cat, Sammy (and Ryan picked him up to show me). We’re doing okay. I have some cousins in Kingston, Vancouver and one second cousin in Toronto. Because of the lockdown I haven’t been able to see them, but we’re keeping in touch via phone and Zoom. How have you been spending your time since the theatre industry has been locked up tight as a drum? My work as second vice president for Canadian Actors’ Equity Association has kept me extremely busy and I’ll get into that shortly. At the beginning of the pandemic, I was the doomsayer of all time. I thought our careers were done. I thought the industry was done and that all theatres would go out of business, and that the artists would have to give up on the careers we’ve built up over the years. I’m fortunate that while I was being dramatic and weeping in the corner about what I thought was going to take place and that my career was over, my friends and colleagues pivoted quickly and got things going online and figured out what had to be done. Some things I had accomplished: I had directed ‘Sarah Frank’ for Toronto Fringe (which was a solid production that moved me emotionally). I directed ‘The Kindness of Murder’ at Next Stage. I did a solo cabaret for Buddies in Bad Times. I did a fundraiser for the Black Legal Action Centre with Boylesque TO. I am in an incredibly fortunate situation where I’ve been able to work since the doors of physical theatres have been shut to keep my creative self alive. I’ve been lucky enough to have been on an ACTRA shoot during this time with the commercial I shot in September. Even though it’s been a really horrible year, I’m still really grateful for it. Grateful for the people in my life – I may not have been able to see them physically but we’re still working together and still in each other’s lives. Something else this pandemic has taught me is the fact I’m committed to this life of the artist in my soul and in my body. It’s the only thing I’ve ever really wanted and trained for. Now that I’m in the thick of my career, it’s going to take a lot more than a pandemic to get me to turn the corner and do something else. 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 describe it as an escape so much as a refocus. I’ve learned better how to re-calibrate myself to work on camera than on stage. I’ve really had to figure out ways to hold on to my optimism and not let go of my hope and my drive. For me, it’s really been a re-focus. Hal Prince is bar none my favourite director of musicals. So many of his musicals were foundational to how I see the world and how I understand things. It is through Hal’s work that I’ve pulled things into focus in the first place. I’ve been able to use this downtime to re-examine some ideas and focus on what’s important to me and to keep my spirits up. I don’t want to escape anything; I want to stay present in the moment and bear witness to this crazy time in history. I want to stay engaged with my friends and my audiences who are really important to me and don’t always get the credit they deserve. It’s really about re-focusing over escaping. A theatre friend and I have come up with this idea of ‘Strong Backs and Open Hearts’. As opposed to trying to be the best singer or dancer in the room, we are going to the best of ourselves that we can be in that moment. The way we are going to get there is by having a strong back and an open heart and we can sail through with whatever is coming. I’ve interviewed a few artists several months ago who said that the theatre industry will probably be shut down and not go full head on until at least 2022. There may be pockets of outdoor theatre where safety protocols are in place. What are your comments about this? Do you think you and your colleagues/fellow artists will not return until 2022? I think if you talk to 100 different actors, you’re going to get 100 different responses on this. Because of my work with Canadian Actors’ Equity, I was on the negotiations team for the Canadian Theatre Agreement, the contract that actors and theatres work under in this country. For the past couple of years, I’ve been in the thick of it thinking about the safety of how we work, thinking about the effects of how we work, thinking of the methods of how we work, the frequency of how we work. So, whether we come back in summer of this year, fall of this year, spring of next year, two years from now…that doesn’t matter to me as much as the idea of when we come back, we’re all a bit more on the same page of how we are creating together. And how we are healthfully moving forward from the wreckage of this pause. Theatre went through a big reckoning last summer in terms of race and culture and equitable practices. It was really interesting to me as someone who was actively negotiating in the CTA at that time and involved in those discussions of how do we make theatre in this country better? The most satisfying thing about the CTA – Equity had their ratification vote in September, PACT had their vote in January and both bodies voted overwhelmingly for it. I was really proud to be part of a team that really seemed to respond to what people were saying. The CTA is a living document, something that we’re all going to encounter and play with soone or later. I learned a lot; it was really, really, useful and my takeaway from it is the way we were working was unsustainable, just unsustainable. There was a lot of elitism in Canadian theatre; there was a lot of gate keeping and closed doors. Hopefully, fingers crossed, this pause we have all lived through has made us think does it make sense for us to be a gatekeeper or a door opener? Does it make sense to keep a certain audience or a kind of artist out OR is it better for us and for our practices to think more broadly and open? I’m personally, and it’s a flip from the beginning of the pandemic where I was anxious to get back work, I’m now happy to wait a bit until we are all on the same page of how we are going to work healthfully together, how to work equitably and safely and respectfully together. That’s more important to me than the doors just flying open and move us back where we were before. 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? For me, it’s transformed me not just as an artist but as a consumer of theatre. I have realized how much I rely on going to a play to help me process my own thoughts and understand all of our places in the world. It’s not just my own theatre practice, although obviously I’m committed to it, at the end of the day, I’m a theatre fan. I love theatre. I will go to see a play, a musical. I don’t care if I don’t know anybody in it; I don’t care if it’s a large company or a small company, I’m just hungry for theatre. And it’s the theatre that helps me see the world clearly, and I don’t think I understood that before. I don’t think I had a clear understanding of how important to me the theatre as a consumer was until it was taken away from me. Then, all of a sudden, there are the gaping holes, the lack of truly understanding things. I take the theatre that I see seriously. I try really hard to apply the lessons that I learned in the theatre to my own life, to the situations that I face. So for me it’s really about that processing and understanding the world. Now I understand a little better. I’m an Associate Artist at Lemon Tree Creation with Indrit Kasapi, Cole Alves, and Donna Michelle St. Bernard. The way Lemon Tree works -it’s not always about the finished product so much as it is the process of the show in how it gets made, who’s making it, who’s in the room? It’s been really interesting working that way at Lemon Tree for a number of years and now seeing other companies begin to work in that way as well and beginning to transform their own understanding of how theatre is made, and who makes theatre and why we have some of the processes that we do. 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 absolutely agree with Zoe Caldwell. Artistic danger and artistic risk are supremely important to what we do. Certainly, they’re important to my own practice as a theatre creator and actor. In terms of the pandemic and how I felt danger – I felt over the past year sometimes in physical danger. There are just too many screens in our lives. We’re staring at our phones, our tablets, computer, television. It’s bad for our posture and eyes and bodies to be sitting so much. To me that’s a really dangerous thing physically that goes hand in hand with the way theatre has pivoted to survive in the pandemic. We have no choice but to be on screen, on Zoom, on live streams, on our phones and social media apps. That worries me. It really and truly does. When you go see a play or musical, there’s an active movement. Theatre asks us to be actively involved as participants. There’s a physical involvement and I see the danger. If I’m being honest, I’m 41 and I feel the danger in my body of too much screen time, too much staring at a computer and my phone and the effect on my body. I worry about this effect on the theatre because when we all get back, the last thing I want anybody to do is to apply the standards of the comfort of watching something on screen in your own home to being live in the theatre. Over the past years, I’ve heard people say that the theatre should be more like Netflix. I couldn’t disagree more. Theatre is its own thing and the more we use theatre to replicate the screen, the more we damage the experience of live theatre. That’s a danger I’ve been thinking a lot about. 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 and has it made some impact on your life in such a way that you will bring this back with you to the theatre? I’m pretty sensitive to start with. I’m the person who cries at car commercials on television. I feel things deeply. In the time of Covid I have become hypersensitive about little details that I just never noticed before. I know what time of day the birds start chirping outside. I notice when the days started getting longer just by 60 seconds. I hurt more if somebody says something in jest that’s meant to be in jest that I would usually take in jest. I take it as a slight and insult. I certainly feel sadness a lot more. I’ve talked about losing my mom. It doesn’t matter who you are – that’s going to make you really sensitive for a long time. In her last week, we had a conversation in which she said she knew it was going to hurt and to be really hard for me, but you have to find a way of being strong and keeping going. The way I’m doing that personally is by letting myself feel things and be sensitive and opening myself to the sensations and feelings that come along with being sensitive. I think It’s important as artists. I don’t want when we come back from all this, I’m already afraid of the bad pandemic dystopian art and shows that are going to happen. Something that I really, really hope is that we talk about and are allowed to access the feeling and the emotions of what we went through, and not just the physical experience. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any interest in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? Absolutely. Absolutely. Curiosity about mundane things to large things. Curiosity about if people miss us if we haven’t seen them in a long time. There are some larger curiosities about the people that I look up to. As a fan of theatre, there are individuals, artists and institutions that are really, really special to me. I’m wondering how they are doing today. How are the employees at X theatre being treated? How is this person who I know is a social animal and showstopper, how are they doing when they can’t stop a show or don’t have access to the social lubricant that keeps them going. I have curiosity about my own future. There are some shows that I am scheduled to do before the end of the year. I don’t know if they will happen, I hope they will, but they might not. I’m curious to know what the experience of doing them is going to be like. I’ve ridden my couch a lot during this pandemic so getting back into the studio for 910 am and having to warm up and get into my body again, that’s going to feel a lot different than it did a year ago. Emotionally, of course, I think about what it’s going to be like the first time we’re going to see each other again. Are we going to hug? Are we going to maintain distance? Are people going to be emotionally overwhelmed by things? I’ve been doing a Kander and Ebb show for a number of years. It’s one of my favourite shows. It was my mom’s favourite show to do. I really think I will have the pleasure of stepping into that show again, but I’m curious to know what that is going to feel like now that we know Brent Carver (from Kiss of the Spider Woman) is gone? How is going to feel to do the show now knowing that Terrence Mcnally is gone? There’s a lot of curiosities about how things are going to feel like when we step back into work. You can follow Ryan: @ryanghinds on Twitter, Instagram, and Facebook, or you can visit his website: RyanGHinds.com. Previous Next

Back 'Liminal' by Throwdown Collective World Premiere presented by DanceWorks Courtesy of DanceWorks web page Guest writer Geoffrey Coulter, actor, director, arts educator Toronto’s DanceWorks started 2023 with an interesting, visually appealing and esoteric tale of change and evolution conceived and performed by a superbly disciplined trio of artists from the Throwdown Collective. I’ve always marvelled at modern dance and how choreographers and dancers can tell a myriad of narratives, apparently abandoning the confines of classic technique and randomly shaping their bodies, leaping, writhing, running and stretching to tell a subtle, off-beat tale. Such is the approach to Throwdown Collective’s “Liminal”. The program states the piece, “examines time and perception with theatrical imagery and dynamic physicality”. This performance certainly showcased theatrical imagery and dynamic physicality, but I was often puzzled. Don’t get me wrong, this 60-minute performance, which I would call more movement than actual dance, was created and performed by three extremely gifted artists – Mairéad Filgate, Zhenya Cerneacov, and Brodie Stevenson. Their enormous dedication, skill and herculean physical control are a sight to behold. They lift each other, fall into each other’s arms, run, roll, embrace, convulse, pulsate, gyrate, snap, and even tie a necktie in trilateral unison. Though the messaging often had my companion and me scratching our heads, the individual investment of these artists in the work was ultra-impressive. Performed in a black-box style space, David J. Patrick’s and Great Lakes Scenic Studios provided a small portable revolving stage. Narrow shafts of pre-show light beamed through clouds of ethereal smoke projecting two rotating and intersecting vertical lines centre stage. Haphazardly strewn about the stage were men’s shoes, shirts pants, and brightly-coloured rumpled suits, and ties (courtesy of costume designer Sorcha Gibson) that seemed to have spilled out of a laundry bag as someone was running to the cleaners. The performers entered wearing only their undergarments, equally spaced themselves on the revolving floor and proceeded to dress in slow motion. They jumped on and off the revolving stage, undressed and dressed again, connected, hugged each other, fought each other, folded, unfolded, in almost complete silence. Mute madness and mayhem? I wanted more human sound to help me connect. This transcendent compendium was supported by a fabulous original score by Joshua Van Tassel. His eerie drones, clanging phrases and pugnacious percussive underscored the roller-coaster of activity on the whirling wheel. From hard-hitting jabs to a single heartbeat, his choices here were spot-on. Lighting designer Arun Srinivasan once again shows us his brilliance in illuminating a space. I’ve recently seen other shows designed by this Lord of Light and he never fails to impress. His wonderful use of specials, motion gobos, and pattern projections combined with colourful side lights and narrow steep beams from above created equal parts mystery and psychedelia. Brava! It was a full house at this final performance with query and conversations abounding at the post-show reception. Throwdown Collective has created a buzz in Toronto’s theatre scene. Their work is unexpected but thoughtful. Even though I wasn’t always sure the meaning of what I was watching, it was executed brilliantly! Previous Next

Back Adam Brazier Moving Forward Confederation Center, PEI Joe Szekeres Adam Brazier’s name is another one I’ve recognized over the years especially from the late 80s and early 90s when live theatre was thriving in Toronto. In learning where life has taken him since that time, Adam has certainly reaped bounteous rewards of his professional career. He is a multi award-winning actor/director and the artistic director of Confederation Centre of the Arts in Charlottetown, Prince Edward Island. Serving as the inaugural artistic director of Theatre 20, Adam led the development of several new works, including the world premiere of ‘Bloodless: The Trial of Burke and Hare’, which was nominated for nine Dora nominations. Adam’s accomplished acting career includes originating the male lead in Andrew Lloyd Webber’s ‘The Woman in White’ on Broadway, and also the male lead, Gabriel, in the 2013 Charlottetown Festival musical, ‘Evangeline’. The Toronto native has held starring roles with most major Canadian theatre companies, including at Stratford, Shaw, The Canadian Stage, Mirvish Productions, as well as in London’s West End and with the Chicago Shakespeare. Adam has been nominated for Dora awards as an actor, director and producer. Adam is a graduate of the George Brown Theatre School (’96) and has a diploma in acting. …his parents are very proud. We conducted our conversation via email. Thank you for the conversation, Adam: It has been an exceptional and nearly seven long months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? One of the many blessing to living on Prince Edward Island is the natural isolation that the Island offers. There are only three ways on the Island and due to its small population and exceptional guidance from CPHO, COVID-19 cases have been few and well controlled. We have had zero community spread and most Islanders are respectful and wear masks and practice social distancing. How have you been faring? How has your immediate family been doing during these last six months? This year has been brutal for everyone. I myself, lost my father five months ago. We have been unable to have a celebration of life and I am lacking any sense of closure. My mother is in Ontario and does not feel safe travelling on an airplane or quarantining alone during this stage in her life. So yea… 2020 has been shit. The good news is my wife (actress Melissa Kramer) and our two boys are doing very well. The boys wear a mask to school but other than that, life is pretty normal for them. Again, a blessing of the Island. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Being an artistic director means you wear all the decisions you make personally and professionally. Every choice is public and is always personal to other artists/peers. Cancelling the 2020 Charlottetown Festival season broke my heart. Not for myself, but for the amazing company of artists we had assembled. It pains me to watch peers whom I respect and admire, continue to face the anxiety of unemployment and their many lost opportunities. I mourn for the young artists who finally had the opportunity to play large roles on significant stages, only to have their hopes and dreams dashed by this virus. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? We were two months away from rehearsal for the Festival when we were forced to cancel the season. Only one of the 2020 productions are now slated to move forward in 2021 season. We are working on various models for next summer and patrons will have to stay tuned until we know more. We hope to make a programming announcement early in the new year. What have you been doing to keep yourself busy during this time? Raising two boys with my amazing partner and trying to re-imagine what a 300 seat Charlottetown Festival will look like for 2021 (we normally host 1100 in our main theatre, plus three other smaller spaces). Fortunately, because of the Atlantic Bubble we have been able to continue working and developing new content for our stages—another Island blessing. I’ve also had a crash course in video production, creating and producing 12 episodes of “Postcards from the Island” and a 40-minute digital celebration of Anne Shirley called “Feelin’ Might Proud!” Having spent very little time behind the camera, this was an exhilarating time of learning and creativity. https://www.youtube.com/watch?v=6QCyny3T65Q&feature=emb_title https://confederationcentre.com/postcards-from-the-island/ Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? You are not your career. Your value as an artist has nothing to do with your employment or your peers’ vision of success. Stay disciplined and joyful in your art and make every obstacle an opportunity for creativity. Art and science have got us through every pandemic in history. Lean on your art to get you through this one. Remember to “Love the art in yourself, not yourself in the arts.” Wise words from some Russian guy. Do you see anything positive stemming from Covid 19? I have seen countless blessings from COVID-19. It has presented The Charlottetown Festival with an opportunity to redefine its purpose and its structure. This is both terrifying and thrilling. Change is difficult at the best of times, but this change was out of our control, so we can either deny it or roll with it and grow. I have always believed that if there is an elephant in the room, put a spotlight on it, give it some tap shoes, and start selling tickets. Sing out, Louise! Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? Sadly yes. I worry that North American audiences are not in the cultural habit of attending theatre regularly enough to bring every theatre production company back, post COVID. That being said, I’m sure this time of isolation will inspire great art and innovation, and digital advances that will serve us in the next chapter. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? With the exception of watching the George Hearn and Angela Lansbury filmed stage version of ‘Sweeney Todd’, I struggle to watch any theatre on a screen. I need the collective experience of sharing with an audience. However, I think the move to digital content was inevitable and is necessary to staying relevant. I’m just a bit old fashioned that way. Confederation Centre of the Arts has made a sizable commitment to streaming live content but I am trying to focus on concerts and off performance in an effort to avoid anything too story-driven, as I think the form suffers on screen…unless it’s starring Angela Lansbury, she can do no wrong. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? For me, the performing arts is about the human spirit. It’s about sharing our individual truths and finding commonality. As an artist on stage or as an audience member, witnessing artists share themselves with open vulnerability and craftsmanship will never cease to inspire me. You can follow Adam on his Twitter handle: @adambrazier01. Previous Next

Back 'Jesus Christ Superstar' at Toronto's Princess of Wales Theatre The 50th Anniversary Tour Mirvish Site Joe Szekeres From a Catholic/Christian point of view, it might appear a tad incongruous to stage Andrew Lloyd Webber and Tim Rice’s ‘Jesus Christ Superstar’ during the Advent season in preparation for the celebration of Christmas and the birth of the Saviour. The musical is a loose Gospel retelling of how Jesus Christ spent the last week of his life as seen through the eyes of Judas, the betrayer. In 2018, Jonathan Merritt wrote in the Washington Post that: “Superstar” flopped when it debuted in Britain in 1970, and was banned by the BBC for being sacrilegious. When it hit Broadway the next year, the musical was widely criticized by Jews and Christians — as well as by Webber himself. (https://www.washingtonpost.com/news/acts-of-faith/wp/2018/04/02)) I can even recall a moment from the iconic 70s television show ‘All in the Family’ where Archie Bunker made a side swiping comment about making Jesus into a ‘Superstar’. From the same online article, Merritt also alluded to a comment Sir Andrew made regarding ‘Superstar’: “…(It) was really not an irreligious piece, as has been so often suggested. In its own way and in its own time, it was simply a work attempting to ask a couple of questions, the chief of which was stated by Bob Dylan some years ago: ‘Did Judas Iscariot have God on his side?’ (“https://www.washingtonpost.com/news/acts-of-faith/wp/2018/04/02) In a woke culture in which we now find ourselves where religion and faith might be cancelled or ignored, this production of ‘Superstar’ is not an irreligious piece as stated above. Instead, this 50th anniversary tour answers if Judas does have God on his side while providing some important context for audiences. I don’t want to spoil how it does, but the fact that it is done suggests this ‘Superstar’ is more than mere ‘fluff’ entertainment for the holidays. And that’s exactly what is accomplished on the Princess of Wales stage. And done quite well, I might add. Nearly flawless, but more about this in a moment. Every inch of space is utilized to maximum effect on this multi level set without appearing cramped. The orchestra is located on the top level where some of the actors suddenly and mysteriously appear when my attention was focused on another part of the stage. Slightly angled just off-centre stage is a runway in the shape of a crucifix (and yes, those who know the show are aware of how this runway will be used at the end). This runway also becomes the scene for the Last Supper. Upon hearing the astounding and soaring solo and choral vocal work along with Drew McOnie’s hypnotic, dazzling and ‘to die for’ choreography, this 50th anniversary production still packs an emotional wallop. The only slight quibble I did have was momentary unbalance of orchestra and singers in some of the songs. Even though I knew the lyrics, I put myself in the shoes of those who might be seeing JCS for the first time and could not hear some of the songs. Again, just a slight quibble if I had to get nit picky. I continue to marvel how ‘Superstar’ still stands on its two feet when placed in the hands of creative individuals who assuredly make it work. Lee Curran’s Lighting Design heightens so many poignant moments especially in The Garden of Gethsemane and in Judas’s Death. Without spoiling for future audiences, the lighting effect at the top of the show and at the closing between Jesus and Judas becomes mesmerizingly haunting. Director Timothy Sheader impressively keeps the production moving forward at a heart pumping pulse right to the jaw dropping emotional climax of the title song and the Crucifixion. The remarkably eye-catching prominent ensemble choreography in ‘What’s the Buzz’ is sensational and stunning to watch. From my seat, this tight knit ensemble impeccably worked as a single unit in hearing simultaneously the words and the music. Both The Last Supper and the 39 Lashes drew gasps from me for two dramatic tableaux moments. Absolutely stunning. The ensemble work becomes exquisitely breathtaking so many times but I’ll just mention here to pay attention to the staging of the title song and ‘The Temple’. Paul Louis Lessard’s Herod soundly provided a few seconds of comic relief in his song, but what worked tremendously well for me here was that tinge that something awful was still going to occur. As Pilate, Tommy Sherlock’s visceral turmoil in confronting the crowd in deciding if Jesus is to be crucified is terrific. Now for the triumvirate around whom this production centres. Jenna Rubaii’s Mary Magdalene divinely reaches inside of her very being in ‘I Don’t Know How to Love Him’ and ‘Could We Start Again, Please’ to showcase very real human emotions of care and selfless love. One may wonder why the character of Mary remains with the apostles with all sorts of speculation ensuing, but who cares? Rubaii creates an authentic person who reaches out to comfort the Saviour in his moments of tired weakness and vulnerability. Without going into specific details of what occurred before the Toronto stop Tyrone Huntley, who played Judas in the original 2016 production of Jesus Christ Superstar at London’s Regent’s Park Open Air Theatre, reprises his role as Judas until January 2, 2022. He will only join the touring company for the Toronto engagement of the show. Huntley’s exuberant tour de force performance as the anguished, bitter Judas remained palpably imbedded within my memory even a few days later. Stellar work, indeed. At the performance I saw, Pepe Nufrio (Jesus and Judas standby) delivered a sterling character portrayal of Jesus. Nufrio’s Jesus is not the blond-haired, blue-eyed persona we might see in modern photographs, but a man who (even though is exhausted and tired) remains firmly rooted and convicted in knowing who he is and what has been set out for him to do. Final Thoughts: Several weeks ago, I had the opportunity to profile Aaron LaVigne who plays Jesus in this production. I asked him what message he hoped audiences would take away with them upon leaving the theatre. LaVigne’s response: “Hold a little bit more space for other people. Hold more space than you normally would for others.” This message radiated clarity for me upon seeing how Messrs. Huntley and Nufrio gaze at each other at the beginning and conclusion of the musical. Again, I don’t want to spoil it here for future audiences as I’m assuming the same occurs when Aaron LaVigne performs. One must see this live to understand it and experience it. Final Word: This ‘Jesus Christ Superstar’ remains exhilarating and inspiring. A wonderful gift of live theatre to give someone this Christmas/holiday season. Approximate running time: 90 minutes with no intermission. Work Light Productions presents the Regent Park’s Theatre London Production of Jesus Christ Superstar 50th Anniversary Tour Lyrics by Tim Rice and Music by Andrew Lloyd Webber Directed by Timothy Sheader. Choreography y Drew McOnie Music Director/Conductor: Shawn Gough with North American Music Supervision by David Holcenberg Lighting Design by Lee Curran Co-Sound Design by Keith Caggiano and Nick Lidster Scenic Hair and Costume Design by Tom Scutt With Aaron LaVigne, Tyrone Huntley, Jenna Rubaii, Alvin Crawford, Tommy Sherlock, Tyce Green, Pepe Nufrio, Eric A. Lewis, Paul Louis Lessard, Tommy McDowell. David André, Sara Andreas, Cou8rtney Arango, Wesley J. Barnes, Milena J. Comeau, Lydia Ruth Dawson, Derek Ferguson, Brian Golub, Brittany Rose Hammond, Garfield Hammonds, Quiana Holmes, Darrell T. Joe, Sheila Jones, Jacob Lacopo, Danny McHugh, Jenny Mollet, Sarah Parker, Erick Patrick, SandyRedd, Cooper Stanton, Chelsea Williams Note: all remaining performances of ‘Jesus Christ Superstar’ from December 26 - January 2, 2022 at the Princess of Wales have been cancelled due to Covid infections backstage. Check the website for future productions. Previous Next

Back Rick Roberts Theatre Conversation in a Covid World ... Joe Szekeres Rick and I had a good laugh during our Zoom conversation when he said he’s always on the verge of quitting. He said since this pandemic has started that he has been threating to quit the whole time. But I was glad to hear that, as a creative person, he’s in it for the long haul. He loves being an actor and he loves writing. As actors, you have to wait until someone asks you to do it. Both a stage and screen actor for over three decades, Rick Roberts is arguably one of Canada’s most versatile actors. He recently starred in the CBC series Fortunate Son for which he has been nominated for an ACTRA Award. Recent appearances include Nurses (Corus/Global), Coroner (CBC), Frankie Drake (CBC), and Sensitive Skin (TMN/Movie Central), Between (Netflix). He starred in the series This Life for the CBC. Recent features include North of Albany (Slykid and Skykid), All My Puny Sorrows (Mulmur Feed Co.). He will appear in the upcoming video game Far Cry 6. In 2013, Roberts starred in the CBC movie Jack where he played the role of the late Jack Layton. His performance garnered him the Canadian Screen Award and the ACTRA Award for Best Actor. Other work includes guest starring roles on Saving Hope (CTV/NBC), Copper (BBC America), Cracked (CBC), Republic of Doyle (CBC), Murdoch Mysteries (CBC), Crash & Burn (Showcase), Haven (SyFy), Zos (Whizbang Films), Three Days to Jonestown (Next Films), and was featured regularly in the hit CBC series, This is Wonderland. Rick has headlined the series An American in Canada (CBC), L.A. Doctors (CBS) and Traders (CBC). A popular fixture on Canadian stages, Roberts recently toured with Why Not Theatre’s hit production of Prince Hamlet. Other recent favourites include Animal Farm, Waiting for Godot, The Accidental Death of an Anarchist (Soulpepper), Within the Glass, Enemy of the People, (Tarragon), Proud (Belfry), Julius Caesar (Citadel Theatre) and the title role of Zastrozzi (Stratford Festival). He was in the middle of rehearsing Copenhagen at the NAC when the pandemic hit. As a writer, Rick’s work, Mimi (which he co-wrote with Allan Cole and Melody Johnson) premiered at The Tarragon Theatre and was nominated for a Dora Mavor Moore Award for Best New Musical. His play Kite premiered to critical acclaim earning numerous Dora Award nominations for writing and production. Other writing credits include Nod (Theatre Gargantua), Fish/Wife (Tarragon Theatre) The Entertainers (Offstage Theatre Company) and short film The Birthday Cake. His newest play will premiere at a major Toronto theatre in 2020. Additionally, he has several television scripts in development. He is a graduate of the National Theatre School of Canada. Thanks for the informative conversation, Rick: Many professional theatre artists I’ve profiled and interviewed have shared so much of themselves and how the pandemic has affected them from social implications from the Black Lives Matter and BIPOC movements to the staggering numbers of illnesses and deaths. Could you share and describe one element, either positive or negative, from this time that you believe will remain with you forever? I was lucky just to have the experience of ‘Orestes’. To salvage an aspect of theatre from this…I was doing a play at the NAC which was interrupted and then cancelled on account of the pandemic. It was kind of like a slap in the face and it took a while to come to terms with the reality of that. Even though ‘Orestes’ was a gathering in a Zoom room, there are things I will carry forward from this experience. For example, what works theatrically that you can imagine in a live space. Some of it is the appreciation of gathering in rooms with people. There are lots of similarities to having rehearsals in Zoom rooms and there is a real sense of community and connection around all these people, for the most part, never left their homes to do it. There was a real camaraderie and that mixture of having the experience made me long for the other experience [of being back in a theatre] again. The other thing I will carry forward is a real ‘talking to myself’ in a kinder fashion around downtimes, around when you’re laid low. In this case, I think the constant stress of the pandemic eats away at you, and early on I felt certain I would not work at all this year and that whole community seemed to be exploded. I will go through manic periods of creation and then down periods of just not being able to get out of bed. It was because I knew the cause, the constant tension of this pandemic and what it meant. I was able to go, “Today is okay to be down today.” And I’m hoping I can take that frame of mind to other things when there’s not a pandemic. It really has helped my creative process in terms of going “It’s not happening today” rather than muscling something through. The good thing once again of the ‘Orestes’ experience – it was never a done deal. Even when the last lockdown came, we were in the middle of rehearsals and we had people isolated in two different theatre spaces but wildly separated for practical reasons. In the middle of rehearsals, we had to move three mini theatres back into people’s homes. I was expecting a phone call saying, “It’s over. This is too much” from ‘Orestes’ being the season opener to not happening to happening in January and then changing it to a streamed play. Is that technologically possible? Do we have the time? So, at every point there was this feeling it could not possibly happen, and you would be heartbroken, but you knew why. Have you learned anything about human nature from this time? Oh, man. What I learned about myself and I guess it is about human nature too is the mask wearing and people not wearing masks. As the pandemic evolved and the realities of it, it’s such a stressful thing and it has to do with people’s relationship to authority a lot of times and what we are as a society. If I see someone not wearing a mask or not wearing it properly, I’ll have a reaction, but I’ll also have to be generous and go that I don’t know that person’s story. I don’t know what brought them to this place. Are they going to barrel through and not respect social and physical distancing or wear a mask? It’s a stressful time, and stress brings out different behaviours in people. I guess the human nature part is that everyone has a story which brings them to the place we are now in. The other thing and it may have to do more with human nature is that we ‘ve been steered into this hyper individuality through the neo-liberal project from the 80s. That we accept that, as human nature, we are all in it for ourselves and it’s every person for themselves. It’s not a reasonable way to address a pandemic in that we are social beings. And now we have to navigate that reality with this other reality that we also see ourselves as individuals. So, ourselves as social beings is being pushed into the fore, and we have to re-learn them. With neo-liberalism, it’s like we got hit by a car and now we have to learn to walk again. How has your immediate family been faring during this time? As a family, can you share with us how your lives have been changed and impacted by this time? My kids live in Toronto and I live in Hamilton. So, we’ve had great moments of togetherness and then the challenge of navigating the rules that are often not clear. So, my kids are also hyperconscious of social distancing and mask wearing are up to speed on that. We hang out in a park, we’re very conscious of all this, and yet we’re also aware if we’re allowed to sit on a bench or not. That becomes hard to manage and make a plan. We’ve managed to make plans. My siblings and my parents, we’re more in contact than we’ve ever been through weekly Zoom meetings which is not how we operate. We are now way more aware of each other, for better or for worse, mostly for the better. All the nieces and nephews get on that call and many more family reunions than ever. Generally speaking, the stressful part of employment and separation is there. The positive parts of recalibrating and reflecting which has been the opportunity for a lot of people is also there. We’re lucky we can do both. I know none of us can even begin to guess when professional theatre artists will be back to work. I’ve spoken with some who have said it might not be until 2022. Would you agree on this account? Have you ever thought that you might have had to pivot and switch careers during this time? That seems likely. There might be little pockets and forays but there may be the positive be such as the experiment with ‘Orestes’ and how does online participate in the comeback, and also smaller events. But in terms of theatres and large buildings with groups of people together? I feel right now 2022 seems pretty likely with even the logistics of opening a building and planning a season. I think a lot of artistic directors are going to have cold feet after this. Just to even open a building instigates a big flow of cash when things are tight with the likelihood you could close down. It’s not good for theatre if you’re not even able to predict for theatre how things are going to look in a few months. I think film and television can pivot a little more, even though it’s more expensive. If you asked me a few weeks ago, I probably would have said, “Oh, we’ll be back in September”, but 2022 seems more responsible. I don’t like to think in terms of a trajectory because I don’t know what the rest of the year is going to look like. I’m going to assume it’s going to be sparse, but that’s what I thought about last year and a bunch of interesting things came up in the middle of the pandemic, so I don’t know but I’m ready to crash again. The pandemic has put us all in the same basket. I’ve talked to people who’ve said, “I’ve been thinking about the future so I’m going to study this.” We see people whose side hustles are blossoming into something, whether or not we continue, it’s a bit of palate cleanser on the positive side. Negative side – it’s an opportunity cleanser. If another theatre company said, “Okay, it’s safe now. Bring ‘Orestes’ here. Would you consider it? Do you feel confident that you can and will return safely? Tarragon is staging ‘Orestes’ but if the NAC said, “You know what?” I don’t know what I would do. There are so many elements of the story now, I guess it would have to be a conversation about that. The original conversation was a theatre production with online elements, and the online elements were too tricky to consider. And then it reversed, and now “Can there be any live elements?” I added a lot of stuff to ‘Orestes’ that I really love right now that I’m not sure could live on stage. It would be like cutting out some things now. My knee jerk reaction right now is No. My knee jerk reaction is ‘This is what it is.” There are lots of smart talented people who would go, ‘What about this?’ and I might go, “Ooooo…hmmmm” The experience of doing it online with the experience and the involvement of the creative team and how it’s shifted to the screen and online as its own space – even now, thinking about it, it’s a unique space because the actual performing happens remotely but the actual stage is the screen which is unlike theatre, film and television so it’s its own thing. This has now been crafted over the last few months to be that. At some point, yes, I do feel safely that we will be able to return. I remember reading early in the pandemic about the plagues that shut down the theatres in Shakespeare’s time. The Spanish flu had similar conversations around. It became clear with the waves of opening and re-opening that we may not feel that definitive moment of the end of this plague, and it might just be a gradual shift into another normal, and how much that will feel like the old normal? It was the timing of the BLM movement in the plague that still has to be reckoned in live theatres, and that conversation is ongoing. Cleansing things are happening. Taking time to come back in a new way? For example, what does theatre look like? Do we need official big buildings for it to occur now? What about crowds? I know Ravi Jain at Why Not is asking those same questions in a really serious way. These all have yet to be worked out. The return to live anything is going to be gradual where we will just start to feel like, “Hey! We’re doing it again.” I do feel that in local theatre history that this time is going to be a big historical marker for lots of reasons and Covid might just be the emblem of that Tectonic shift that has been a long time coming in Toronto and Canadian theatre. This time of the worldwide pandemic has shaken all of us to our very core and being. According to author Margaret Atwood, she believes that Canadians are survivors no matter what is thrown in their path. Could you share what has helped you survive this time of uncertainty? What has helped me survive? I feel like I’m talking about ‘Orestes’ since I was smack dab in the middle of it. (and Rick laughs) I do think that theatre people do have that trait, not necessarily Canadians. Passionate people who are always inventing things and solving problems was really on display in putting ‘Orestes’ online as everyone was inventing new things as we were on the fly with the production concerning deadlines. Everybody was adapting their skills to something new that we didn’t know the rules of it. The sad part is with theatre and any live performance, often when you hit a rough patch as an actor you can talk to your parents and it’s “Hey, that’s the life you chose” which is true. I know people who had work lined up for over a year and all of it was wiped out in a space of weeks, and there is no life decision you could have made differently. Musicians and theatre people have been laid low by this pandemic but what I have seen the things we bring to any rehearsal or into our lives is resourcefulness, generosity, community mindedness and also you take the responsibility for the role you’ve taken on – whether as an actor, director, designer, and you carry that forward into a community. I’ve made lots of connections with theatre people on porches. You see the sadness of the loss and we also see the resilience and the resourcefulness musicians and theatre people have in moving forward. I attribute the term ‘theatrepeopleness’ to these individuals. It’s just spoken here for the first time. The good thing about Zoom is to mute yourself and to watch technical achievements and the conversations and people navigating. It’s like putting on a play while building a theatre in a landslide. You get to be a witness to all of this in an online environment that you might not get the opportunity to see if you’re in a physical building. I know when I’m back in a rehearsal room, and I know I will be, I will be hugging people and crying a lot. Imagine in a perfect world that the professional theatre artist has been called back as it has been deemed safe for actors and audience members to return. The first show is complete and now you’re waiting backstage for your curtain call: a) Describe how you believe you’re probably going to react at that curtain call. I’ll be weeping. Funny you should say, we were in the middle of rehearsing ‘Copenhagen’ at the NAC with Jillian when the pandemic hit and we had our first stumble through. We said, let’s just do this stumble through. Some of the theatre people would be there and we thought let’s just do it even though it wasn’t going to be performed. We were working out stuff like it was a performance. Part of your brain is going why should we worry about this? We were just on the verge of being off book. We would rehearse all day, grab a quick bite, meet in someone’s hotel room to run lines so we couldn’t do it anymore. Go to sleep and then all day next day. It was a real accomplishment. ‘Copenhagen’ messes with your mind. My dream is to go back and perform that play will Jillian, Jesse LaVercombe and Allegra Fulton and to complete that. My emotional reaction to that run through is weeping and enormous sense of gratitude for the people who sat and who were involved knowing the play was going away, I would like to put a bookend on that and have an opening night for ‘Copenhagen’ and to stand in front of an audience with that, however that may manifest itself. b) There is a crowd of people waiting to see you and your castmates at the stage door to greet all of you. Tell me what’s the first thing you will probably say to the first audience member: The weird part for me is I love talkbacks and Talkback Theatre. I get really shy in lobbies after shows, and I always try to skirt around them. I don’t think I’ll do that anymore. I’ll walk into lobbies. It’s so hard now to even think about embracing somebody of meeting an audience again, but I don’t think I’ll ever take an audience for granted ever again. That people coming and showing up to see something, I’ll never take that for granted again. I feel more a sense of camaraderie and sense of purpose with the broader theatre community which includes the audience. Previous Next

Back 'No One's Special At the Hot Dog Cart' by Charlie Petch Now onstage at Toronto's Theatre Passe Muraille Credit: Nika Belianina Pictured: Charlie Petch Geoffrey Coulter, actor, director, adjudicator, arts educator 'This solo performance poignantly hammers home the importance of coping, listening, and helping.' I was a Toronto boy! It was my city! I spent three years in a downtown university and the next two decades of my career within a 3-kilometre radius of Yonge and Dundas. It was a pleasant trip down memory lane then to rewind the clock and re-live the urban jungle of decades past with Charlie Petch’s whimsical, yet provocative, “No One’s Special at the Hot Dog Cart” now playing at Theatre Passe Muraille. This irreverent, funny, and oh-so-timely reminiscence, performed by the playwright in a single 65-minute act, is a personal and societal exposé of the impact of sharing space. It poignantly hammers home the importance of coping, listening, and helping through first-hand events they experienced as a teenaged hot dog vendor and how the de-escalation techniques learned years later as a health care worker could have saved relationships and forged a deeper understanding of the street community. The play’s politically charged themes of dignity, an overburdened health care system, criminalizing the underserved and connecting to the human condition are not new, but they do challenge our collective attitudes and responsibilities. Through monologues, spoken word, and music, Charlie proclaims how a failing economic structure perpetuates poverty rather than protects the poor. All this while pushing around a hot dog cart. Staged in Passe Muraille’s main black box space, we see the faint background of the building’s brick wall and fire escape metal stairwells. Charlie emerges from the distant shadows dressed in jeans, T-shirt and plaid shirt tied around the waist. They push a hot dog cart between two light standards signed “Yonge & Dundas” and “Church & Gerrard”. They stand like sentinels marking the perimeter of Charlie’s garbage-strewn precinct of the early 90s. To the left is a small platform with a microphone, stand, a foot-operated recording device and several eclectic instruments including a ukulele, cowbell and even a handsaw (when was the last time you saw someone play one of those?). Also visible are buckets, pylons, squeegees, a necktie, sneakers, and milk crates. These are later assembled to act as proxies for Frank and Jimmy, characters integral to Charlie’s narrative. As with many new works and pieces still in development, playwrights often cast themselves in their own leading role. Such is the case here. Petch is storyteller, observer, philosopher, and advisor, thoroughly invested in a message that must be heard. Petch’s talents as a wordsmith and musician are undeniable, their acting skills not quite as accomplished. Some lines were hard to hear when facing away from the audience (with no help from the inoperative headset microphone). Characters and situations in Charlie’s monologues, like the unfortunate thief Frank or the loner Jimmy, could have been more colourful and impactful were it not for Petch’s frequently monotone, one-note delivery. Rather than speaking to milk crates, Petch could have breathed more life into the characters by becoming them through simply donning a hat, slipping on a tie, or wrapping in a blanket. Perhaps this acting challenge will be realized in future iterations. Director Autumn Smith stages the scenes in the downtown locations clearly. We know where we are in the city – the corner, the street, Dundas Square, a parking lot. The pace mostly clips along as Charlie follows the hot dog cart to meet new people and discover new things about what makes Toronto tick. What’s not always clear is Charlie’s focus. Much of the first half they avoided eye contact with the audience, delivering lines in profile to some formless shape on stage right. This choice served to disconnect more than engage this reviewer. Less clear were the juxtapositions of Charlie’s future years as a hospital caregiver and 911 operator with their heady hot dog days. I wanted this contrast to be more apparent with a physical or lighting change to signify these leaps in time. Sounds of street buskers, music and blaring megaphones added greatly to the inner-city heartbeat. It is problematic that the pace of Charlie’s narrative suffers while they move to a small platform at the side to set up equipment and instruments to record it live. Perhaps pre-recordings could have been used here to supplement rather than slow the pace. Lighting designer Steph Raposo nicely shapes a shadowy set with sharp spots and square shapes representing digital screens. Amber and blue hues effectively convey the morning and midnight hours. Street scenes are instantly recognizable. As stated earlier, a deliberate effect to transition us to Charlie’s health care years and back would keep the narrative lucid. Set designer Joel Richardson evokes the iconic Toronto locations perfectly by plunking two towering light standards in opposing corners, metropolitan monoliths with an excess of trash strewn at their bases, a constant reminder that this is a city story of intersecting communities. “No One’s Special at the Hot Dog Cart” is a love letter to relationships, self-discovery, compassion, respect for our street communities and an overburdened health care system. It’s about de-escalation and the truth about what’s working in our emergency services and what’s failing us. Perhaps Charlie’s message of “if I knew then what I know now” can give us all to cause to ponder, protect, respect and question, “Am I helping enough?”. Running time: approximately 65 minutes with no intermission. The production runs until March 23 at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto. For tickets: visit passemuraille.ca or call (416) 504-7529. A Co-production with Theatre Passe Muraille and Erroneous Productions The World Premiere of ‘No One’s Special at the Hot Dog Cart’ written and performed by Charlie Petch Directed by Autumn Smith Set Design by Joel Richardson Lighting Design by Steph Raposo Previous Next BACK TO TOP

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

Back 'Constellations' by Nick Payne Presented by Icarus Theatre and now on stage at Tarragon Theatre's Extra Space, 30 Bridgman Avenue, Toronto Credit: Desmond Lazar. Pictured: Emily Anne Corcoran and Anthony Goncharov (back to camera) Joe Szekeres Graduate student Marianne (Emily Anne Corcoran) and beekeeper Roland (Anthony Goncharov) meet at a party. Do they go for a drink or not? It’s not clear, but it might be. (How’s that for confusion?) As the story progresses, Marianne and Roland fall in love and start dating but eventually break up. They meet again in a chance encounter in a supermarket and get back together again. Or do they? Maybe they just run into each other in a chance encounter in a supermarket where Marianne says she’s engaged to someone else, and that’s that. Or perhaps Roland is engaged. Do Marianne and Roland get married? Or is their time together short-lived? Icarus Theatre’s website describes Nick Payne’s 'Constellations' as a play about free will, friendship, quantum multiverse theory, love, and honey. But it’s more than that. Again, it’s one of the plays that begs discussion in an audience talkback. I hope Icarus has planned at least one for future audiences. Tarragon’s Extra Space provides a suitable environment for Payne’s engrossing script. Upon entering, it’s an empty dark stage, but there are orbs of light suspended from the ceiling. I wonder if other audience members find the dimly lit stage alarming or frightening. I didn’t. There’s nothing eerie at all in looking at the stage. I felt serenity and calm, just focusing on the lights. Is this what the universal cosmos looks like in space? Very creative. When performers Anthony Goncharov and Emily Anne Corcoran (real-life partners) enter, they wear comfortable clothing and socks, no shoes. This makes sense because ‘Constellations’ occurs in a world unfamiliar to audiences, so there’s no need to hold to familiar conventions in a world we know. There are many worlds in ‘Constellations.’ We’re in another galaxy. Some of Payne’s dialogue is presented two or three times, during which the actors may reposition themselves on the stage under the hanging orbs of light. Some of the continuity of the dialogue is out of order as the text jumps back and forth. Something said initially might not make sense at that point, but it will a few minutes later. There are moments where the dialogue focuses on quantum physics and astronomy. There is a great deal of wordiness that may seem confusing because so much is told to the audience. Many serious themes abound in the play that strike close to my heart. Grief and death are only two that struck me as I continue moving through the grieving process of losing my mother three months ago. All these heady and emotional issues are smartly handled under director Connor Briggs’ care as he pays the tiniest, most minute detail in Goncharov and Corcoran’s performances. There are moments when Goncharov may slightly raise his eyebrow in his dialogue or respond to Corcoran with a slight head turn. That meaning is conveyed only by that simple movement. Goncharov and Corcoran deliver enticing performances as Roland and Marianne. They understand there is a through line from all the wordy dialogue. They listen carefully to each other and respond naturally. The fact that they are real-life partners also brings comforting believability to their on-stage work. At one point, Corcoran slightly strokes Goncharov’s arm or hand with such a tender connection she feels for him. Another time, he lies on the floor, looking up at her. From my seat in the house, I couldn’t see Anthony’s face, but I could imagine the look of compassion on his face and in his eyes as he spoke to this woman for whom he cared. Another Concluding Thought: ‘Enigmatically puzzling at first, but WOW is Nick Payne’s engrossing ‘Constellations’ good theatre. Playwright Nick Payne and director Connor Briggs dig deeply into the human psyche and an individual’s place and relationship to others and within the cosmos. Icarus Theatre, the little theatre that’s starting out, is one to keep an eye on in future. Looking forward to the next. Running time: approximately 70 minutes with no interval/intermission. ‘Constellations’ runs until August 23 in the Extra Space at Tarragon Theatre, 30 Bridgman Avenue, Toronto. For tickets: https://www.icarustheatre.ca/constellations. ICARUS THEATRE presents ‘Constellations’ by Nick Payne Directed by Connor Briggs Co-Producers: Connor Briggs, Anthony Goncharov, Emily Anne Corcoran Sound Design: Amit Kumar Lighting Design: Lidia Foote Stage Manager: Monique Danielle Performers: Emily Anne Corcoran, Anthony Goncharov Previous Next

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

Back Richard Lee Theatre Conversation in a Covid World Neil Silcox Joe Szekeres Richard Lee is an Award-winning actor, fight director, sound designer and theatre educator, and theatre producer. Always grateful for challenges, Richard embraced his love of all things based in movement, sound and being bossy, which have led him on many interesting journeys. Richard graduated with a BFA from York University’s Theatre Program and has worked extensively in both film and theatre. In his career he’s had the joy of playing many interesting roles. Some highlights include Bruce Lee (Little Dragon – K’now/Theatre Passe Muraille); Rick Wong (Banana Boys – fu-GEN Theatre Company); Sun WuKong (The Forbidden Phoenix – Lorraine Kimsa Theatre for Young People/Citadel Theatre); Falkor (The Neverending Story – Roseneath Theatre) all for which he has received Dora nominations. He has received three Dora Mavor Moore Awards. One for his work in Sound Design in paper series (Cahoots Theatre Company), and the other for performance in Cinderella: A Radical Retelling and Sultans of the Street (Young People’s Theatre). In 2013 he received the infamous Harold Award (In the House of Sarah Stanley), a theatre award bestowed upon one individual to another in to recognize the outstanding and often under-recognized dedication on or off the stage. Beyond the performing arts Richard has spent many years living and training as a Martial Artist. Over this time, he has trained in many varying styles. Richard is a Professor at Humber College and teaches a course in Collective Creation using the Belshaw Method. This method teaches performing and production students to better understand the collective creation process and the skills it requires. He is also a founding member and former General Manager of fu-GEN Asian-Canadian Theatre Company. A company dedicated to the development of professional Asian Canadian theatre artists. He also serves on the boards of The Toronto Arts Council and princess productions, a small independent dance company. Richard is quite passionate about issues of Cultural Diversity as it relates to the Canadian Performing Arts Industry and seeks to actively address and raise awareness of this issue. It was a pleasure to chat with him via Zoom today as he is personable, witty, and passionate. Thank you so much for adding your voice to the conversation, Richard: Richard, next week we’re coming up on the one-year anniversary of shuttered doors to live theatres. How have you, Nina and Eponine been faring during this time? I chatted with Nina in summer of 2020 and am curious to hear how things have gone for all three of you: Thanks for asking. They’re doing very well since you last chatted with Nina. I’m sure Nina told you when you spoke with her that it was a big adjustment in a crazy household experience in terms of everyone all being under the same roof, and things all happening. I’m speaking to you from Eponine’s room right now. The living room becomes my studio, and our bedroom becomes Nina’s office. It’s pretty crazy, but good. It’s been a very interesting year with a lot of different things happening. For the most part, I think for me personally, it’s been a really big time of reflection. But Nina’s busy. She’s still running the Factory Theatre. She’s still making art. I’ve primarily been the House-band as she likes to call it to hold down the fort ensuring meals are made for everybody because everybody is so differently busy. I’m teaching at Humber College. I taught in the fall and teaching and an Introduction to Theatre Course. I was fortunate because this particular class is very easy to convey online in learning about the etiquette of theatre. The class I teach specifically I like to call it “All the things they never teach you in theatre school that you had to learn for yourself.” Funny enough you say it’s coming up to a year. One year ago, I was teaching a separate course for the Production students. It’s a devised piece where they were to construct a piece of theatre and we were right in the middle of doing it when Covid hit, and all the restrictions hit. As tragic as that was, I embraced that challenge so wholeheartedly with all the students that it was a really good precursor how to work online and diving into a platform like Zoom to use breakout rooms, and how do we talk and doing research on ways to engage students to help them learn and make it fun and interesting. Along with your teaching, how have you been spending your time since the theatre industry has been locked up tight as a drum? The short and long of it: I’ve been doing some different workshops in between with various companies and different projects that have been happening. I was assisting Humber College and running their program for a while as the Academic Program Manager. They had a bit of some transition happening and that was worthwhile and interesting in the long-term trajectory of wanting to run a program. Potentially it’s something I could actually do. The first part of the pandemic was hard. As a person who works primarily in theatre, having no live theatre to do was beyond devastating I will honestly say. The first 3 or 4 months in I kept thinking, “Oh my God! Did I make the right life choice?” Not only is it a difficult profession to succeed in because of the excellence required and the hard work and rigour, I’m stuck in this pandemic where the very nature of what I do really limits what I’m able to actually accomplish. On top of that, George Floyd’s death kicked in a very different conversation that, of course, we in the BIPOC community have been having but having everyone else be more aware and have it come to the forefront. I will confess that it really highlighted for me, as a theatre artist that really wants to see diversity and inclusion on our stages and in our theatres, how far we still need to go in some ways. The late Hal Prince described the theatre as an escape for him. Would you say that Covid has been an escape for you, or would you describe this year long absence from the theatre as something else? Oh, Joe, that’s a great question. I’ll answer it in three phases: a) Early Covid, I would call it ‘The Curse of Doubt’. Up until the end of summertime when it was clear that this would be much longer than a few months, I really got down on myself and questioned the very nature of what I was doing, not only as a profession but as a person engaging in the world. Fast forward to the end of December and having changed tack, seeing the broader picture and running a program and making challenges and changes, it was a realization that b) ‘Covid has been a blessing.” It has allowed me to really deeply think about myself and what I engage in, the switch in opportunity made me really appreciate being an artist and how wholly, how fortunate I am in my life to follow my instincts and my impulses and have the option to make a choice in what I want to do. Covid gave me the time and space to pick apart the various aspects of my life. I know this sounds like a philosophical discussion (and Richard and I share a good laugh). That was a blessing I didn’t expect. I’ve taken care of the family. That’s part of my job and who I am right now as Nina is building a community through Factory and her work at PACT. She’s trying to bridge people in the art of theatre making, not only administratively but through her work. It’s incredible the amount of work she does. I’ve learned to really appreciate the work I do not only as an artist but also as the House-band and provide the support to Nina. I have the time to do that. My relationship with my daughter is so meaningful to me and I’m so grateful Covid has allowed me the time to do this because I have the flexibility and the space to do all this. And I have the ability – I can cook, drive etc. c) The third phase is ‘Rebirth’. A year later I’m armed with new knowledge about where I sit in my own place and ‘nerv-xcited’ to try new things and challenge myself to be satisfied. I want to enjoy all the accomplishments I’ve made both large and small. Now what’s the next challenge that excites me. I’ve always wanted to do a video blog about things that I really love. What’s stopping me? I feel like I’m in an age of Renaissance myself. I’ve interviewed a few artists who have said they can’t see theatre as we currently know it not running at full tilt until 2022 with the occasional pockets of it where safety protocols are in place. What are you comments about this? That’s another good question. I’ll answer it very simply. Theatre as we know it/have known it in the live form that we have will not return in probably until 2022. That is a very true thing to say. Even if it comes back earlier, my question: will people (audiences and actors) feel comfortable actually being able to attend and perform? The other side of that coin – yes, I think theatre has pushed through the next stage of its evolution. This is not based on any historical fact whatsoever. As I look at the different art forms that have evolved over the last 100 years: cinema, television, radio, even internet art forms, it has all evolved out of some sense of storytelling, some sense of creative drive and the need to communicate. The next step: a virtual theatre? A virtual internet theatre? Whatever the name, it’s exciting to me. I keep telling my students that I’m excited to see what you will make as theatre. I can teach you about theatre, I have made theatre, but I want to see what you’re going to do whether it’s a virtual form of theatre if that’s what you want to call it, some other word signaling a digital look at theatre. I want to see Zoom theatre; I want to see Twitter theatre. I want to see you take all these different ways we have to communicate and creative whatever form of theatre and twist it on its head and show me your stories and your entertainment in the way you want to tell them. I’ve always struggled with what it means to perform live versus performing in movies. From my perspective, the preparation is still the same as a performer. The difference for me is recognizing the medium that you’re in. When I perform on stage, my conduit is to the audience and the people there and understanding the space and shape I’m in. When I’m performing for film, the conduit is literally this tube that is in front of me and all my performance needs to go there but I can still continue to be engaging elsewhere, but the frame is so different. The same with virtual theatre exists – I’ve had to be selective of Zoom readings and Zoom theatre just because we are reading plays that have not been created for this medium. We’re not using the medium as part of the creation of that tool. When I see a piece of theatre that has been created for that media – ‘Acts of Faith’ or ‘House’ or ‘Ministry of Mundane Mysteries’ (via telephone), all of that has been created specifically with care using the tools of communication they have. It’s very purposeful, very recognizing made for those mediums, those tools, and that’s what makes them so exciting because the story telling is so much clearer there. It’s not pretending to be something substituting for something else. What makes it great is the fact we are on the cusp of engaging something really new and exciting and the world is finally ready to hear it. That’s always exciting. Am I looking forward to getting back to performing in front of people? Hell, yes!!! But I’m also excited to see new things pop up. I had a discussion recently with an Equity actor who said that theatre should not only entertain but, more importantly, it must transform both the actor and the artist. How has Covid transformed you in your understanding of theatre and where it is headed in a post Covid world? I feel like Covid has transformed my tolerance for people who don’t even bother trying to be inclusive. It has less to do with my art than what my personal outlook is. It has made me appreciate my art much more deeply than before and has made me think about the totality of me as a theatre artist. Covid has really me made me impatient for when I see people who I think are unwilling to make the effort to try to open the way they view the world. By that it can be gender issues, being inclusive of Indigenous, Black, Asian folk. It could be inclusive about the way we make theatre or the types of theatre or how we define it. I get really impatient about these issues and go, “Why?” Opera was a new form over 400 years ago that was exciting for people. Television was a new form for people. Every golden age in the way we invent and tell new stories is an exciting innovation. Why would be so indifferent to embrace something that is different? That has the potential to be exciting in a different way. That doesn’t make sense to me. The late Zoe Caldwell spoke how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and how will this influence your work when you return to the theatre? I agree with the definition in principle. I really do. To me, the sense of danger Zoe Caldwell implies is the sense of risk, right? The sense of being able to put yourself out there or the sense of challenging a notion, or a thought. I absolutely agree with that on principle. As a fight director, I’m like No! If it’s dangerous, the audience is going to be pulled out of it. I think therein lies the art we make. That’s the place I think where we feel most alive and most alert and most present is when there is a sense of danger when we are threatened or challenged in a really bold way. We’re living in a pandemic and time where we had a president of the US who was very ignorant of the simplicity of his actions of his own words. The ignorance, to me, the historical significance of that kind of thinking and rhetoric and leadership was dangerous. As a child, I was very oblivious to the world around me. Although I know contentious things did happen (The Cold War, all kinds of internal strife), I don’t think I’ve ever seen so much unrest as I do now between Trumpism and China’s increased boldness at lying to the world. The whole thing all feels very dangerous. That’s the big macro. On a micro level, yes, it’s been challenging to try and understand how we decide theatre and art in the most considerate way with all the things we want to accomplish – by that I mean we’ve made in a particular way up to now. 100% it’s been tried and true as it gets the job done; it’s been a way that we work. But the journey I’ve been on and what I’ve come to appreciate and have been verified on during Covid is that it doesn’t have to be that way. We don’t have to be in a place where we can’t find ways to see how we can communicate with each other, or make art, or rehearsal practice. Who made these rules on how and why we rehearse theatre? They work for someone but don’t work for all. Why is it so hard to consider a change? Let’s just try it. Working a five-hour day might be terrible, but it might be great as it’s equally productive for me as an eight-hour day. A five-hour day allows me a better chance to absorb things I’ve done that day and to live life. The danger I’ve often felt on a micro level – we’re living in a dangerous time where we’re rubbing up against so many ideals on how we engage each other, open to issues of transgenderism, BIPOC issues, to new ways to rehearse, engage, make art and be mindful of it. It’s not about being politically correct, it’s about story telling in the most considerate way because we’re being asked to make that change. I think we can do it. I think we can make that change. New and exciting material that is capable of being broad as it can be and welcoming as it can be, and still be interesting as can be. Great pieces of work do that. They just do and they challenge our sense of reality. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. You’ve made reference during our conversation to how this time of Covid has made you feel sensitive to our Covid world and post pandemic society. Is there anything else you’d like to add? Covid has given us the time and space to realize some of these important issues we’ve been discussing here. Just thinking back to the death of George Floyd – would this momentous time have got the traction it would have were it not for the facet we were sitting around in the midst of a pandemic? Maybe not? I like to talk about things in this idea of a swinging pendulum from complete racism to now where we swing to a pendulum of amazing awareness. At some point, we will swing back to a middle ground where everyone will be aware without having to push into this idea of being ‘too much ignorant’ anymore. Ultimately, it’s opened us all up to possibilities, even people who are resistant to these ideas cannot deny that it’s there now. They just can’t. The sad part to me is for those people who are unable or not ready to embrace inclusion, that they are having to live in a place of fear, as I don’t think that helps. My hope is that people who are resistant or ignorant just take a moment to consider the possibility for themselves to be inclusive. What harm would it do you to say ‘they/them’ in conversation as opposed to ‘he/she’? Simple actions like that, that’s my wish for the world, just to turn it a bit on its head. I just want people to take small steps. It makes us uncomfortable; I get it. It makes it difficult for us to re-learn the way we work and the language we use, and the way we like to deal with people in life but it’s so worth it. I’m not a perfect human being as I’m not going to be as inclusive as I want to be. We’ve come full circle in concluding with Hal Prince’s comment about curiosity and the fact theatre should trigger curiosity in the artist and the audience. Again, you’ve talked about your curiosity earlier but is there anything else you’d like to add? I think I’ve spoken earlier about my curiosity and I don’t want to re-hash too much. One of the biggest blessings has been the re-ignition of ‘what is it that I am actually curious about’? Why am I doing this if not for the insatiable drive to have something itched, to discover something, or to just get it out. I tell this to my students all the time: “We are too poor, too over worked, too tired in this industry for you to be here for anything less than a love of theatre, and a love of making theatre.” Covid has really reminded me of that, and in a certain way it’s reminded me that it’s okay to take my theatre pocket and put it aside and go and play in the podcast world, go and play in the YouTube world and do something different. Because I’m a theatre major, I’m not going to restrict myself to a box. You never have been, even in theatre, so why would you go and do that now? Go and do things you’re interested in. You can connect with Richard at INSTA: @aranthor/ Twitter: @Aranthor/ or at Facebook: /Aranthor Previous Next

Back Sergio Di Zio “As actors, we don’t have that control as the career is going to do what it’s going to do… Stay open. That’s our job as actors; allow whatever happens to come in and ‘act’ on it if required.” Christina Cox Photo. Please visit her Instagram: @christinacoxphoto or her website: www.christinacoxphoto . Joe Szekeres I’m slowly beginning a check-in on theatre artists whom I’ve profiled. Here’s the link to the first I compiled on Sergio Di Zio: https://www.onstageblog.com/profiles/2020/5/14/the-self-isolated-artist-series-toronto-profile-of-sergi-di-zio Fast forward three years from our world ‘being on fire,’ as he called it this past summer. The SAG (Screen Actors’ Guild) Strike was still in full swing at that time, and Sergio shared his thoughts: “It’s so similar again to what the pandemic felt like. Testing was stopped on everybody on site…People were terrified about what the industry would look like…and it didn’t help that there was so much on the internet about things over which there was no control. Would it have been a long or short strike?” Like everyone, Sergio has moved forward personally and professionally on many levels. But he has battle scars like all of us. He still doesn’t know what the industry will look like after all this post-pandemic change and trusts the universe will work its magic in ways he can never understand to keep him active in the business. His father was ill during the pandemic and sadly passed away. Di Zio was also in a long-term relationship, which ended. But he chooses to keep going. Sergio calls himself lucky. He is genial, and he is affable. He seems to avoid negativity and always seems to look for kindness. He does yoga most every day. Daily rituals keep him ready and focused when the work comes. He continued working through the pandemic as an actor and is genuinely grateful for that. He was a guest star in a recent ‘Law and Order Toronto: Criminal Intent’ episode just before Christmas and set to air in the spring. He also appeared in the Christmas Movie “We’re Scrooged” on UPtv. He’s also thankful for the Ontario Christmas movies he has filmed, respectively from last year’s ‘Undercover Holiday’ (Hallmark) and starring roles in ‘Angels and Ornaments’ and ‘Anything but Christmas.’ Di Zio’s words for these faithful viewers: “God Bless Them, Everyone.” He appears in an independent LGBTQ2 film called “This Time,” directed by Robert Vaughn, that will be making festival circuits at the time of this article. This month, Sergio is part of a generation-spanning ensemble in ARC Stage’s production of the Canadian premiere of Joanna Murray-Smith’s ‘Rockabye’ from January 26 – February 11, 2024, at Toronto’s Factory Theatre. Directed by ARC’s Co-Artistic Producer (and Artistic Director of Port Hope’s Capitol Theatre) Rob Kempson, the production is billed on the website as “a satirical and dark portrait of our self-involved, celebrity-obsessed culture.” Di Zio says it’s gold if any actor can work in January because things usually dive in winter. He likes the work ARC has produced over the last while and says: “It makes me smile when I think about ‘Rockabye’ and what the company has accomplished. ARC selects really good material and interesting projects. The part I will play in ‘Rockabye’ is something I am really looking forward to exploring.” Sergio will appear with Megan Follows in the Canadian premiere of ‘Four Minutes Twelve Seconds’ directed by Mark McGrinder and presented by Studio 180 Theatre at Tarragon Extraspace from April 20 to May 12, 2024. Appearing alongside Di Zio and Follows are two rising talents: Jadyn Nasato and Tavaree Daniel-Simms. He also stars in and produces a terrific web series, ‘I Will Bury You,’ that I finally had the chance to watch over the Christmas and holiday season. Its birthing process was fascinating. In a no-budget filmmaking world, Di Zio, Colin Glazer and writer/director Ravi Steve Khajuria created ‘This is Not a Drill,’ a short film that defied its financial constraints. It played in several festivals that garnered much interest for the film’s limited budget and crew. Because of this fervent interest, the three of them continued with another short, ‘You Hired a Hitman,’ which played a few more festivals. Audiences loved how they were diving into this darkly comic series. A third short film was then shot – ‘The Grave Decision’. Following these three shorts filmed over two years and into the pandemic, the team received funding from Ontario Creates and The Canada Media Fund. These funds allowed the opportunity to shoot the five-episode “I Will Bury You Season 2,” which connects to the YouTube link at the bottom of this article—a ten-day shoot with a paid crew over the summer. I recommend ‘binging’ it all in one fell swoop. There were moments of dark humour where I knew I shouldn’t be laughing, but I did. I wanted to see where the story was headed next. Di Zio glowingly spoke about the element of play and the joy of exploring creatively with somebody else while filming the web series. The story follows two brothers (Di Zio and Colin Glazer) who attempt to carry out their late mother’s (Clare Coulter) wishes to bury her ashes in the places she loved…if the brothers can only figure out where those places are. ‘I Will Bury You’ pushes dark comedy and humour to another level as these two brothers aren’t necessarily bad people; they are making very bad decisions that left me in fits of laughter. So far, the series has had over 350K hits. You can subscribe to the ‘I Will Bury You’ link at the bottom of this article. If these numbers increase, there is potential for a third season. The performing arts industry is still in recovery from the last three years. Audiences are slowly returning to the theatre. From my experience, I’ve discovered they want stories they remember to help uplift them. And that’s great. Many audiences are also looking for stories of challenging material that will confront pertinent social issues head-on. These kinds of scripts and stories are the gifts of the performing arts and remain why Di Zio chose to become an actor. But these last three years have also taught him a valuable lesson as an artist: “The goals happen as you go. You can’t re-create a red carpet…it’s letting go and do with what’s actually happening and finding the creative life in all of this.” Our conversation then turned to some terrific summer theatre around the province where whip-smart and knowledgeable Artistic Directors understand the temperament of their respective communities. Does Di Zio have any interest in performing summer theatre? He spoke of frequenting a favourite coffee joint at the corner of Danforth and Broadview and its proprietor, Saverio Cosenza, who sold the business to open ‘Downtown Espresso’ in Huntsville. Cosenza told Di Zio there’s a summer theatre in Huntsville and that the actor has to come to do a show. Although the summer is a busy time for actors for film and television work, Di Zio said he’d consider the drive to Huntsville because he missed the coffee and the hangouts. Might he consider summer theatre?: “As actors, we don’t have that control as the career is going to do what it’s going to do… Stay open. That’s our job as actors; allow whatever happens to come in and ‘act’ on it if required.” Does Sergio have any thoughts regarding writing or directing in the future for film, television, or the theatre? He has. He loves reading and writing and has been journaling since he was sixteen. He was finishing Alan Rickman’s biography and found it fascinating as it delves into the actor’s notes about returning from rehearsals with questions and comments about the day on set or in the theatre. Sergio grew up with stories. He ponders the responsibility of putting pen to paper to tell the story of the last few years of his late father’s life. Di Zio proudly stated that his grandmother was one of his best friends. When he was younger, he would sit and listen to his grandmother tell stories about her holding Sergio’s mother's hand and running when the Allies bombed small Italian towns because the Germans were hiding munitions in these small villages. Sharing these stories is important because it’s part of who we are. Writing intrigues Sergio, but it’s hard when one has chosen to be an actor. The process of writing requires attention. Sergio has found he’ll start to write, and then he gets a big job because he’s creatively open as an actor to take on that task. The writing then goes to the side while he works on a film or a television series. Periodically, Sergio will post online the final product of a cooked meal. I asked him if he had further thoughts and considered a YouTube cooking series for novices like me who want to impress others. He laughed uproariously and added: “No thoughts. If you want to watch somebody screwing it up more than ever, then sure. Cooking is new to me…my partner loved cooking, and I learned by cooking with him. The pride came from learning together. When I found myself alone again, I felt I had to learn how to cook for myself; otherwise, it’s going to be takeout all the time. Cooking has been a good process of learning how to do, and it’s been good.” As we concluded our conversation from the summer, I told Sergio I was headed to New York City the next day to review Lucie Arnaz Luckinbill’s “I Got the Job: Songs from My Musical Past.” He appeared rather excited for me and thought it was awesome that I would write my first Broadway nightclub review at 54 Below. Sergio had listened to a podcast about the life of Lucie’s parents and her younger brother, Desi, and how life transformed them into the individuals they are. I’m surmising that he also grew up watching all the Lucy series when he was a kid. Di Zio said he was to have gone to New York City in the fall for an acting seminar. When he heard Arnaz-Luckinbill was already in town, he wondered if she might make another appearance. If she did, Sergio would undoubtedly be there. And as for that acting seminar in New York City, Sergio, it’s great that you never stop studying and honing your craft. He’s back at classes on Monday night in Toronto, and that’s never changed. For him, studying and learning is not a one-off, nor does he ever intend to stop. If you did make your Broadway debut, that would be fantastic. Canadians and Ontarians know you’re one of us. And I know you’ll never forget where you came from. To follow Sergio on ‘X’ and Instagram (and see pictures of his cooking): @elisasboy72. To recap Sergio’s stage appearances and web-series: ROCKABYE (An ARC presentation at Factory Theatre). Tickets are now available: https://www.factorytheatre.ca/shows/rockabye/#tickets FOUR MINUTES TWELVE SECONDS. (A Studio 180 Theatre presentation at Tarragon Theatre’s Extraspace.) Tickets are now available: https://tarragontheatre.com/plays/current-season/upcoming/4-minutes-12-seconds/ I WILL BURY YOU. To watch and subscribe, go here: https://www.youtube.com/@iwillburyyou Previous Next

Back 'The Diviners' based on Margaret Laurence's novel with text by Vern Thiessen with Yvette Nolan WORLD PREMIERE Now on stage until October 2 at the Tom Patterson Theatre, Stratford Credit: David Hou. Pictured: Irene Poole as Morag Gunn with members of the ensemble Geoffrey Coulter, actor, director, adjudicator, arts educator “Another divine world-premiere tops Stratford’s exceptional season of new works and remarkable adaptations.” Stratford has had a memorable season of world premieres of original Canadian plays as well as fresh adaptations of literary classics. Some productions make bold statements, while others invite more reserved introspections on their respective themes, but they ALL speak to us about relationships and the human condition in some of the most thought-provoking and meaningful ways. The last of these productions to open is the world premiere of “The Diviners” adapted for the stage by Vern Thiessen and Yvette Nolan from iconic author Margaret Laurence’s classic autobiographical 1974 Canadian novel. Through creative and minimalist staging, co-directors Krista Jackson and Geneviève Pelletier use the metaphor of the coursing river to track the past, present and future of protagonist Morag Gunn as she struggles to finish her latest novel. Set in a cabin in 1972 small-town Ontario, Morag (Irene Poole) combats her writer’s block with large bottles of one hundred proof. After a fight with her adult daughter, Pique (Julie Lumsden), who flees in a fit of rage, neighbour Royland (Anthony Santiago) arrives and attempts to soothe her nerves with a fish he caught from the river. His act of giving is just the catalyst Morag needs to start writing as she’s set adrift in a flood of memories – of her traumatic childhood, her formative years being raised by foster father, Christie (Jonathan Goad), her years at university, her first boyfriend, her failed marriage to Professor Brooke Skelton (Dan Chameroy). Morag has an indomitable but ultimately unhappy spirit. She later conceives Pique with ex-boyfriend Jules and continues her life as a single mother. Indigenous narratives are brought beautifully to the fore in this tale of one person’s journey to reconcile her past, present and future. There’s an almost spiritual overtone to Morag’s efforts to reclaim who and what she is. Her struggles are myriad – as a woman in a man’s world of the seventies, a mother without a husband, a woman facing head-on her Métis heritage. It isn’t often you see a non-musical with a cast of 22 and a choreographer on the artistic team. Is this a play or a musical? Well, it’s definitely a play but the traditional Indigenous music and dance keep us framed in its message of national reconciliation. Even more striking about this production is the bare stage, which serves as the canvas for the colours of Morag’s life to be revealed. There’s virtually no set, save for a split four-tiered bleacher affair at one end of the thrust stage and a small square table that pops up and down from the floor at the other. I’m still wondering about the significance of the junk yard suspended high above the stage like some kind of modern art installation. Detritus of all kinds weaves its way like a meandering river. Perhaps an homage to Morag’s adopted father Christie, a garbage man and the symbol of consistency in her complicated life? As Jackson and Pelletier say in their program notes, “At the heart of the narrative lies the river, a metaphor symbolizing the moving course of life.” Jackson and Pelletier provide only sketches of where and what time we are; it’s our imaginations that fill in the gaps, the way they would when reading a favourite novel. Their ability to move us backward and forward in Morag’s timeline with mere blocking, a few lighting changes and the talents of their remarkable cast are simplhy extraordinary. These two are character-driven directors who do full justice to Laurence’s detailed descriptions of Morag’s feelings of love and remorse, although I did find the gratuitous on-stage sex scenes between Morag and Jules does little to enhance our understanding of their love. The show moves quickly, and the cast more than rises to the occasion. The excellent ensemble acts like a Greek chorus—chanting, dancing, playing violin, guitar, and bagpipes as we travel back and forth through Morag’s life. Several play smaller roles, but all are fully engaged and invested in the narrative. Leading this exceptional cast is the luminous Irene Poole as Morag Gunn. Hers is a tour-de-force performance, captivating and authentic as the complex protagonist. She’s onstage almost the entire show, virtually every scene. Her physicality is exceptional as she seamlessly switches between child, teen and adult as the colours of her life unfold. A performance not to be missed! Julie Lumsden does triple duty as Morag’s daughter Pique, Young Pique and Scots Morag. Incredible versatility and honesty in each role. Her chemistry with Poole is heartwarming and thoroughly convincing. As Christie, Morag’s hard-working foster father with a heart of gold, Jonathan Goad is solid and unrecognizably crusty. With a thick Scottish accent (at times difficult to understand when he lets his volume drop), he channels Robert Shaw’s Quint character from the movie Jaws. As Jules, Morag’s former Métis boyfriend and father to Pique, Jesse Gervais strums guitar and sings Métis folk songs with conviction. He also has a fine comedic sense. Sadly, his chemistry with Poole doesn’t quite hit the heights the script calls for. Josue Laboucane and Caleigh Crow deliver fine performances as Jules’s father, Lazarus, and sister, Piquette, respectively. Cameron Carver creates intensity with his inspired choreography. He enhances the narrative by focusing the movement to reflect the emotion and intention of each scene. His dance is integral, particularly the follow up and in-sync movements in the incredible sequence with the pages of Morag’s novel spewing from her typewriter. Visually stunning! As mentioned, Bretta Gerecke's lighting and set design are stark overall. Warm amber lighting separates Morag’s present from her shadow-filled past and future. We always know where we are in time and space. The bleachers are nicely utilized as a front porch, school classroom, and university lecture hall, while the single pop-up desk always brings us home to Morag’s cottage in the present. So much is achieved with so little!! Jeff Chief’s 70s costumes are spot on. My partner commented that she had a denim skirt just like the one Morag wears in Act 2. Traditional Indigenous regalia is also featured in flashbacks and dream sequences. Andrina Turenne’s moving original music fuses contemporary, ethereal and Indigenous beats with spoken word to startling effect. At its heart, “The Diviners” is about a mother reconnecting with her daughter and wondering how to write her own happy ending with the people she cares about. Weaved throughout is the history of the Métis and Indigenous peoples in Manitoba. But it’s Laurence’s original overarching themes of reconciliation between cultures that make this play so important, so relevant, for today’s audiences! Running time: Approx. 2 hours, 25 minutes with one intermission/interval. The production runs until October 2 at the Tom Patterson Theatre, Stratford For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca The Stratford Festival Presents “The Diviners” based on the novel by Margaret Laurence with text by Vern Thiessen with Yvette Nolan Directed by Krista Jackson with Geneviève Pelletier Choreographer – Cameron Carver Set and Lighting Designer – Bretta Gerecke Costume Designer – Jeff Chief Composer – Andrina Turenne Sound Designer – MJ Dandeneau Performers: Irene Poole, Christopher Allen, Gabriel Antonacci, Dan Chameroy, Caleigh Crow, Allison Edwards-Crewe, Jesse Gervais, Jonathan Goad, Josue Laboucane, Julie Lumsden, Anthony Santiago, Tyrone Savage, Sara Topham and other Canadian artists in the ensemble. Previous Next

Back Christel Bartelse Canadian Chat --- Joe Szekeres As we slowly emerge from this worldwide pandemic, it has been fascinating to discover how many artists have found themselves on new paths moving forward and heading into a future unknown to all of us at this time. Actor, storyteller, writer, creator and teacher Christel Bartelse’s profile shows she has prepared herself to head into this unknown future but she appears to be equipped with what the future might or can possibly bring to her. Christel discovered theatrical clowning at the age of 21 and honed her skills with some of the top instructors, including Mike Kennard, John Turner (Mump and Smoot), Sue Morrison, Philippe Gaulier, Francing Cote, Andy Massingham, and Caroline Dreaming. She got her start in comedy with the physical comedy duo, The Burnt Marshmallows (Canadian Comedy Award Nominees). She has also created and written six award-winning solo shows (Chaotica, ONEymoon, Significant Me, All KIDding Aside, The Surprise and Encore!), which have toured across Canada, the U.S. and the U.K. Christel is currently promoting her online Comedy School called Comedy Coop (Home for Hilarious Chix). She is one of the co-founders and an instructor of Physical Comedy. Comedy Coop is a unique training ground for women (including female identifying/non-binary students) to explore their passion for comedy and get their comedic voices heard. This school is the first of its kind in Canada. For more information, please visit www.comedycoop.ca . We conducted our conversation via email. Thank you so much for the conversation, Christel: Since we’ve just celebrated Thanksgiving, tell me about some of the teachers and mentors in your life for whom you are thankful and who brought you to this point in your life as a performing artist. I’m very grateful for my early drama teachers - Dorothy Leitch in Kitchener at the Beckett School and Mrs. Catherine Carlson, my drama teacher, at Grand River Collegiate. Both these women were great teachers who believed in me and fueled my passion in acting. I’m also grateful to Andy Massingham, who is now a great friend and colleague. I looked up to him in my early days because he is a great physical theatre/comedy performer, teacher and it’s been a delight to work with him over the years on some shows. I believe everyone you me teaches you something in some way. I’m trying to think positively that we have, fingers crossed, moved forward in our dealing with Covid. How have you been able to move forward from these last 18 eighteen months on a personal level? How have you been changed or transformed on a personal level? Now that we’re moving towards all restrictions lifted, it really feels like we’re moving on. The one positive about Covid is that it really forced me to slow down and take some time to reflect. As an artist, and educator, I was always on the go, always busy, so it was nice to just take a pause and reflect on it all. However, I have been teaching a lot over the last 18 months and it was a great challenge to figure out how to teach physical comedy and clowning over Zoom. And I really made it work. It taught me, when faced with a challenge, you find a solution. My husband and I also lived out in the country for a long time with my parents, and I am grateful for all that time I had with them when so many couldn’t see their loved ones. But we did miss the energy of the city. Now that things are open, it has been exciting to go out again, see friends, go to restaurants, go to shows and perform again. We do love all the stuff the city has to offer and realized how much we missed it. The buzz of the city and people is wonderful. I did a lot of things during the pandemic because I hate being bored. I was actually very busy, so I’m taking more time to applaud what I did, rather than chronically beat myself up, which I’m very good at. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? Just before Covid hit, I was re-writing and re-working my solo show ONEymoon. I had performed it on and off for several years but wanted to give it a full revamp. I was headed to Brighton, and London, UK with the show in May of 2020. That was all cancelled when Covid hit and I lost my mojo for working on the show. I felt so uninspired to work on something I didn’t know when I would get to do again. That was hard because I always had such a drive to create. But, at the same time, I continued my Storytelling Show online and the silver lining was that I met artists from all over the World I normally wouldn’t have had the chance to meet. I also started my online comedy school for women, Comedy Coop, with my colleagues because we figured online classes in some capacities are here to stay. I want to help people and bring laughter and joy to those who I can, especially when the World feels so dark. In your opinion, do you see the global landscape of the professional Canadian live theatre scene changing at all as a result of these last 18 months? I think very slowly it’s starting to come back. You are able to go and see a play, and that’s exciting. But it for sure has changed. Can we ever sit in a packed theatre again and feel fully relaxed? Who knows? Also, I think theatre companies/productions had to get more creative with virtual shows, pre-filmed productions, and I think some of that will stay - I hope it does in a way since it expands the potential audience for a show beyond geographies. So many people lost work, and some moved on. I think it will be interesting to see the content that is created as well, after we’ve all been through this. What excites/intrigues/fascinates/interests you post Covid? I’m excited to get back to creating and performing again; in this new “normal” I hope to be able to tour and travel again, and excited to return to festivals from years past. I’m excited to go and see shows and movies again in a theatre. I’m also excited that so many huge Global issues were brought to the forefront and people are taking more care, paying attention, and listening. So, I'm interested to watch the type of work that will be created. The innovation that came from this time. But I’m intrigued to see what will happen. It still feels like everyday there is new information. Can we get over to the other side? What disappoints/unnerves/upsets you post Covid? It’s still disappointing to see people who don’t take the pandemic seriously or are selfish in their views. They don’t care about others, only themselves. That people are still so mean to others. I’m still unnerved with the uncertainty of the future. It’s hard to plan anything when you don’t know what will happen in a month from now. Fingers crossed we continue to get through this, but no one knows, especially when you see places such as the UK going in the wrong direction again. Where do you, the artist, see yourself going next? For a long time, I’ve been wanting a big change. I still don't know what that means, but the pandemic has taught us you can work from anywhere. Self tapes have allowed this. Classes online etc. So, I'm looking to maybe try out my craft in a new place? I’m also excited to work on a new Solo show. It’s been a few years since I’ve created one and I’m itching to do this. I’m excited to continue building this online comedy school. I believe it has so much potential. And I’m excited to be back doing “live” storytelling and comedy shows again. Where do you, the person, see yourself going next? On a wild adventure. I just need to get over my fear and take a leap of faith. And also see what travel looks like, post pandemic. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I give credit to the late James Lipton and ‘Inside the Actors’ Studio’ for this format of questions. If you could say one thing to one of your mentors or favourite teachers who encouraged you to get to this point as an artist, what would it be? “Thank you. I appreciate you more than you know.” As a teacher myself, I know how little teachers get thanked. So just a simple thank you for all you did, goes a long way. If you could say something to any of the naysayers in your career who didn’t think you would make it as an artist, what would that be? “I’m glad I didn’t listen to you. But thank you for pushing me harder.” When someone thinks I can’t do something, I’ll go out of my way to prove that I can. What’s your favourite swear word? Fucking Fuck! What is a word you love to hear yourself say? Ridiculous. What is a word you don’t like to hear yourself say? Can’t. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? Slow down and trust it will all work out. With the professional life experience you’ve gained over the years, what would you now tell the upcoming you from years ago who was just in the throes of beginning a career as a performing artist? Keep going, work hard, believe in yourself and when a door slams in your face, it will only make you work harder. Oh, and also, don’t try to do 500 things all at once. Focus on one thing at a time. (even though I haven’t learned this as my older self yet, ha) What is one thing you still wish to accomplish both personally and professionally? Personally, there are so many places I’d still love to travel to. I’ve been grateful for my travels so far, but 2 years without it, I’m dying to get on a Plane. First stop would be Italy. Professionally, although my first love is live theatre, storytelling and comedy, I really would love to do more film/tv. I’m hungry for this. And love being on set. Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. I’d love to go back to my 20’s when I was doing a ton of improv and sketch comedy. I would want to revisit this because there were so many incredible people around who were all just starting out, and we were all having the best time. This was well before anyone had phones, or social media, so we were all just so present with each other, and it really was word of mouth to get people to come and see you. Would you do it all again if given the same opportunities? Being in the Arts, as unpredictable and wild as it is, I wouldn't change it. I have amazing stories to tell, I have met so many incredibly talented people and I’ve been able to see and tour the World while doing what I love. And wow, have I laughed which keeps you vibrant and young. As far as teaching goes, I have loved watching myself evolve and learn, not only from myself but all my fabulous students. Previous Next

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

Back 1939 by Jani Lauzon and Kaitlyn Riordan TORONTO PREMIERE Now on stage until October 12 at Canadian Stage's Berkeley Street Theatre, 26 Berkeley Street, Toronto. Dahlia Katz Joe Szekeres “1939 remains a genuine ensemble actor piece. Jani Lauzon directs again with a quietly subdued but firm resilience to build on the journey of reconciliation. The company becomes team players (both on and offstage) who feed the spirit of the play.” It is vital to revisit stories that have a lasting influence on Canadians. Co-playwrights Jani Lauzon and Kaitlyn Riordan’s ‘1939’ is one such tale. Its impact on the atrocities experienced by many who experienced, survived, and did not survive the Residential school crisis continues to be felt moving forward. Initially produced for its world premiere at the Stratford Festival in 2022, this Toronto premiere is a joint production by Canadian Stage and Belfry Theatre in association with the Festival. Seeing ‘1939’ back then raised questions that came to the forefront when I saw the Canadian Stage opening night. It’s good when the power of theatre provokes questions and stimulates the audience's intellect, especially when revisiting a time that continues to affect Canadians. One may not always have answers or may view things differently, but this is all part of the power and range of live theatre. Jani Lauzon directs the Toronto production again with a quietly subdued but firm resilience that feeds the play's spirit. None of the school atrocities is played out on stage. Lauzon and Riordan’s script effectively reminds those issues are there, especially in some of the ‘comments’ made by Welsh school-teacher Sian Ap Dafydd (Catherine Fitch) and Father Callum Williams (Nathan Howe). You’ll notice the apostrophes around the word ‘comments.’ Future audiences must hear them uttered to understand the implications of the words. We are at an Anglican church-run fictional Residential school in Northern Ontario in 1939. Madge Macbeth (Amanda Lisman) arrives to let the administration know it has been selected for an upcoming visit by King George VI and Queen Elizabeth (the Queen Mother in later years). Father Callum Williams will be the school liaison for the upcoming royal visit. Although he is only enthusiastic about hockey, it has been agreed that the royal couple will be entertained with a student performance of Shakespeare’s ‘All’s Well That Ends Well’ to be directed by Dafydd. I shuddered again as Dafydd does everything she can to impose an outdated and unfamiliar style of learning to become ‘good little Canadians’ on her Indigenous students. She even uses a recording of English actress Ellen Terry to demonstrate how to ‘speak properly’ with big round vowel sounds. As students Susan Blackbird (Brefny Caribou), Evelyne Rice (Merewyn Comeau), Joseph Summers (Richard Comeau), Beth Summers (Grace Lamarche) and Jean Delorme (John Wamsley) rehearse and prepare initially quite comical, they begin to note just how similar the situations of the characters in Shakespeare’s play parallel their own lives. When they see this connection, they want to make the play their own instead of trying to be something they are not. Some top-notch production elements remain intact in this Toronto staging and produce some striking visual moments. Designer Joanna Yu incorporates her Festival set on the Berkeley Theatre stage, and it was lovely to see it continue here. Three slate chalkboards are angled for maximum sightline viewing. The students will write words, thoughts, or one-line sentences while the adults enter later and erase what has been written. Makes quite an impactful visual statement. Near the end of the play, I held my breath again as Nathan Howe’s Father Williams tries to erase the petroglyphs but couldn’t. Visually sound and imposing, it certainly leaves an indelible mark. I can still picture Howe the next day as I write this article. Designer Louise Guinand returns from the Stratford production with her smartly focused and subdued lighting. Wayne Kelso continues his terrific Stratford sound design, as does Asa Benally’s appropriate costume selection of the era. The script's humour helps to soften some of the difficult reminders of the tragic era of Canadian history related to Residential schools. Father Williams' nervousness about speaking in front of his superiors (the bishop and the royal family) leads to comedic relief due to his intestinal issues and escaping flatulence, which brings much-needed laughter. Additionally, the students' reactions to the rehearsal process continue to bring smiles, and it was heartening to hear laughter all around me. During the talkback circle following the opening night performance, Lauzon spoke about how she looks for actors who are team players who will feed the spirit of the play. ‘1939’ remains a genuine ensemble actor piece. This eight-member cast wholly represents a committed team of artists who feed the spirit of this play by telling the story with humanity, grace and dignity. As the Christian adult role models, Nathan Howe and Catherine Fitch beautifully capture the insecurities of Father Williams and Sian Ap Dafydd in preparing the Bard’s play for the royal couple's arrival. John Wamsley returns from the Stratford production to play half-breed Jean Delorme. Wamsley’s reading of a letter aloud from his mother tugs at the heartstrings. Brefny Caribou’s Susan Blackbird frighteningly continues to be that one grim reminder of the violence inflicted on some of the students. The horrible gash on Caribou’s back looks painfully raw, yet her Caribou’s Susan is strong-willed. Merewyn Comeau’s Evelyne Rice also continues that resiliency in the face of punishment that she will not allow the “Indian to be killed in her.” Grace Lamarche and Richard Comeau (returning from the Stratford production in this role) excellently capture the hesitancy and fear that brother and sister would have personally felt since they are not allowed to be placed together. Final Thoughts: In her Director’s Programme Note, Jani Lauzon writes how her appreciation of Canadian Stage and Belfry Theatre reminds her of why doing work like ‘1939’ is essential. Both companies recognize the importance of this story as it becomes a glimpse inside a system intent on breaking the spirits of Indigenous children. During a struggling and trying rehearsal of ‘All’s Well That Ends Well,’ Sian Ap Dafydd tries to compose herself and says: “I am not dramatic. I am sensitive.” These lines might be seen as poking fun against theatre actors who are often seen as sensitive in the real world. There’s more in the understanding of these two lines. I’ll flip them around. “I am sensitive because I am not dramatic.” Lauzon calls the play an offering instead to continue our sensitivity to listen and to hear what occurred as part of reconciliation. Following each performance, a circle will be formed where audience members can stay to hear, listen, and speak about what they have just seen on stage. I’d advise you to stay and listen to what’s said. I learned more again. I have so much more to learn. Running time: approximately one hour and 40 minutes with one interval/intermission. ‘1939’ runs until October 12 at Canadian Stage’s Berkeley Street Theatre, 26 Berkeley Street, Toronto. For tickets: (416) 368-3110 or visit canadianstage.com. CANADIAN STAGE and BELFRY THEATRE’s joint production in association with THE STRATFORD FESTIVAL present: 1939 by Jani Lauzon and Kaitlyn Riordan Directed by Jani Lauzon Set Designer: Joanna Yu Costume Designer: Asa Benally Lighting Designer: Louise Guinand Sound Design and Composition: Wayne Kelso Performers: Brefny Caribou, Merewyn Comeau, Richard Comeau, Catherine Fitch, Nathan Howe, Grace Lamarche, Amanda Lisman, John Wamsley. Previous Next

Back 'Witness for the Prosecution' by Agatha Christie Now on stage at The Royal George Theatre, Niagara on the Lake until October 13. Courtesy of The Shaw Festival website Geoffrey Coulter, actor, director, adjudicator, arts educator “The Shaw Festival bears witness to this fine film noir take on Agatha Christie’s courtroom whodunit, firmly planting tongue-in-cheek – and it’s terrific.” Agatha Christie’s plays are well known for their wordy dialogue, intricate plots, spurned lovers, murder, betrayal and double-cross. Most of her work was produced for mid-twentieth-century audiences with all the sentiments and attitudes of a bygone era. “Witness for the Prosecution” was a departure from her standard narrative of suspects congregating in an old home and acting all suspicious. Here, Christie adapted a 1925 short story, and the full-length version premiered in London in 1953. She had two other plays running simultaneously, “The Mousetrap” and “Spider’s Web,” making her the only female playwright to have three plays running simultaneously in the West End. A feat unbeaten to this day. Of course, “Witness” is chock full of dated stereotypes and melodramatic overtones. The Shaw Festival’s production brilliantly embraces the campiness, presenting this version as a film-noir homage to Billy Wilder’s 1957 classic big-screen thriller starring then-Hollywood heavyweights Charles Laughton, Tyrone Power and Marlene Dietrich. When I say brilliant, I mean that for half of the first act, you’re not sure whether to take things seriously or whether the laughs are intended. This is where director Alistair Newton adroitly gives his audiences the wink-wink, nudge-nudge. I’ll admit it confused me at first. Several scenes weren’t played as a send-up. The courtroom scenes are high drama. But then I realized that this smattering of melodrama signals that we can’t take this all too seriously, so why bother? His cast is serious about not taking themselves too seriously! The affable Leonard Vole (Andrew Lawrie) is being tried for the murder of a wealthy woman, and legendary lawyer Sir Wilfrid Robarts (Patrick Galligan) has chosen to represent him. Unfortunately, Leonard's alibi depends on the testimony of his aloof and sultry wife, Romaine (Marla McLean). Yes, Leonard has the motive, but did he do it? A series of puzzling revelations unfold. As the curtain rises, we’re in Robarts’ legal chambers, where EVERYTHING is, well, in black and white. Karyn McCallum’s striking monochromatic walls, furniture, props, and paintings make us feel like we’re in a 1950s movie. Ingenious! Even the fireplace flickers colourlessly. The same inspired grey-scale design is seen in the grandiose courtroom at the top of Act 2, garnering audience gasps and whispers. Judith Bowden’s spot-on 50’s costume design complements this monochromatic design with everyone wearing similar shades of grey, black and gauzy white. Only Romaine’s form-fitting ensembles pop with primary colours. As a further nod to the movie, sound and music designer Lyon Smith punctuates critical scenes with authentic jazzy, modernist music scores from the fifties. When sultry Romaine slinks on and offstage, she’s accompanied by smoky sax music and melodic vamps. Siobhán Sleath flawlessly recreates the era's film mood lighting. Her high-contrast positioning of light fixtures and extensive use of shadows and projections prove she’s aced the style of German expressionism that influenced an entire genre of filmmaking. But it’s Newton’s direction and dedicated cast that seriously sell the campy double-crosses and plot twists. Everyone is convincingly British – and European - with consistent and authentic accents, mostly. Many play multiple roles. As the meek Leonard Vole, Andrew Lawrie is thoroughly believable in his naivete. Still, his speedy and monotone (and sometimes quiet) line delivery in Act One bordered on tedious, though he did have beautiful moments in the courtroom scene in Act Three. As his wife Romaine, Marla McLean is having a grand time as the sultry femme fatale, strutting like a Paris fashion model, pausing for a wink or two to the audience. What a joy to see Shaw veterans doling out their considerable talents. Fiona Byrne has remarkable comedic subtlety as the busybody secretary Greta and Shawn Wright is more than up to the challenge of his dual roles of legal assistant Carter and pompous Judge Wainwright. Patrick Galligan as Leonard’s lawyer, Wilfred Roberts, and Graeme Somerville as prosecutor Myers shine in act two’s courtroom scene as they deftly trade melodramatic barbs and zingers. These gentlemen are exceptional, their dialogue and timing so well-rehearsed it seems like the first time they’ve spoken them. Kristopher Bowman makes a stoic solicitor as Mr. Mayhew, while Martin Happer swaggers on and off stage as the self-absorbed Inspector Hearne (looking every bit an American private dick sporting a floppy fedora and oversized trenchcoat). Lawrence Libor has much fun playing a side-kick detective, policeman and nerdy Thomas Clegg. Cheryl Mullings as Dr. Wyatt/Mrs. Barton testifies with a short speaking part, which deserved more expressive delivery, while Ryann Myers, as the Courtroom Clerk/The Other Woman, spoke far too quickly, rendering her almost unintelligible. Monica Parks shared this same lack of clarity as housekeeper Janet MacKenzie. Her thick, muddled accent made her nearly impossible to understand—a note to voice and dialect coach Jeffrey Simlett. This show is great fun, and thanks to director Newton’s light-hearted treatment, we forgive the cringe-worthy, misogynistic lines like, “Ungrateful beast, women!” and “If you were a woman, Miss Plimsoll, I would strike you.” He knows the show is dated and wants you to know it, too. He’s conceived a genius approach to making this aging classic accessible – and highly enjoyable - to a modern audience. Advertising for the 1957 movie version and this play pleads with audiences not to reveal the “shocking” ending. Today, it doesn’t have the shock it once had. It's more like smiling satisfaction. At the sold-out performance I attended, audiences were thrilled and rewarded the company with a standing ovation. If anyone can accuse Shaw of providing an entertaining, highly stylized and brilliantly imagined interpretation of a dusty Christie classic, I’d say guilty as charged! Running time: Running time, approx. 3 hours with two 15-minute intermissions. The production runs until October 13 at the Royal George Theatre, 85 Queen St, 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 Agatha Christie’s “Witness for the Prosecution” Directed by Alistair Newton Set and Projections designed by Karyn McCallum Costumes designed by Judith Bowden Lighting designed by Siobhán Sleath Original Music and Sound designed by Lyon Smith Movement Direction by Alexis Milligan Performers: Kristopher Bowman, Fiona Byrne, Patrick Galligan, Martin Happer, Andrew Lawrie, Lynn Laywine, Larence Libor, Marla McLean, Cheryl Mullings, Ryann Myers, Monica Parks, Graeme Somerville, Shawn Wright Previous Next

Back Charles Dickens' 'A Christmas Carol' adapted and written by Justin Haigh Presented by Three Ships Collective and Soup Can Theatre, now onstage at Toronto's historic Campbell House Laura Dittman Dave Rabjohn “An engaging story which helps to define Christmas.” From the Three Ships Collective and Soup Can Theatre, and now in its fifth year, ‘A Christmas Carol’ continues to charm sold out Toronto audiences. This Dickens classic is an immersive promenade through the historic Campbell Museum. The venue is both a delight and a disadvantage. The intimacy of the small rooms and low ceilings seems to plant us in Victorian England. The audience moves from room to room through the various scenes in the very company of the actors. We sit with them in their kitchens and bedrooms and lean on their furniture. The disadvantage is simply that audience size has to be quite restricted leaving many theatre goers without this unique experience. Watch early for 2024 tickets! Justin Haigh’s adaptation maintains Dickens striking tale of greed and redemption through a Christmas prism. Some distinct additions are made to further personalize the well known story. A fine example is the meek Bob Cratchit boldly trying to hide a foreclosure note to avoid a Christmas tragedy. Alecia Pagnotta’s musical direction also adds colour to the story with both sombre violin pieces (Manon Ens-Lapointe) and some rousing choral pieces. The multi-talented cast is a combination of veterans from previous productions and newcomers. In Dickens’ novel, Jacob Marley’s ghost is a short-lived character in the early part of the story, however, his influence controls the narrative and Scrooge’s awakening. It is an ingenious twist to use Marley as the host and the guide as we move from room to room. Played by Nicholas Eddie, Marley is a statuesque force – Eddie is both a powerful presence, but also a strangely calm and comfortable guide. With eerie chains and regal height, his eyes can’t help but look down upon us – again with a touch of both menace and warmth. An extraordinary performance. Thomas Gough, as Scrooge, delivers a performance that must range through seething anger, distrust, and final humility. His meanness is often controlled and sometimes brash and wild. As he moves from desperate avarice to his final self-effacement, his voice softens – sometimes to the disadvantage of the audience when we strain to hear his mournful pleas for forgiveness. Justine Christensen is remarkable as Scrooge’s young love interest. Her quiet scene with young Ebeneezer is heartbreaking especially when juxtaposed with Ebeneezer’s descent into lonely avarice. Younger performers brighten the cast with both zeal and talent. Chloe Bradt plays both Martha Cratchit and the ever- popular Gus – the Goose-Fetching Lad. Alyzia Ines Fabregui is equally appealing as Tiny Tim Cratchit – she is paired with Ava Marquis alternating performances. As with Dickens original novel, all three ghosts are varied and distinct. This is accomplished by Manon Ens-Lapointe as Christmas past and Jonnie Lombard as the excitable Christmas present and the ominous Christmas future. Sare Thorpe’s fine direction is further remarkable as they navigate the production in a non-traditional venue. However, special credit is deserved as we were notified post-performance of an actor’s mid-performance illness where Thorpe quickly threw on a wig, stepped in and finished the job. Dickens engaging novel helps to define Christmas. This production both reminds us of his genius and finds new ways for us to enjoy the remarkable story. Even though the production is sold out for the rest of the run, you can sign up on a standby list for a given performance: soupcantheatre@gmail.com . Even if no additional tickets become available this year, people who sign up for the wait list will also be notified about next year's production. ‘A Christmas Carol’ Charles Dickens, Adaptation – Justin Haigh List of cast members see: christmascarolto.com Director: Sare Thorpe Stage manager: Scotia Cox Music director: Alecia Pagnotta Previous Next

Back 'Romeo & Juliet' by William Shakespeare Presented by Unchained Theatre at the Assembly Theatre, Toronto. The production has now closed. Credit: Pola Rodriguez and courtesy of Jack Burrill Guest writer: Olivia (Eun-Jung) Jon "Shakespeare’s iconic lovers are given a fresh new vibe and Toronto takes centre stage in this reimagined tale." There are few who have not been exposed to this tragedy of star-crossed lovers (the expression itself comes from this play). Director, Jack Burrill, pulls double duty (Burrill is also on stage as Capulet). For the most part, this show moves with great energy and with wonderful urgency and the fight sequences are remarkable (Fight Choreographer Sheldon Williams is a name to watch). This young company with Morgan Bojie (Producer) and Reuben Stewart (Production Manager) carries real potential and some innovative staging created unforgettable moments. Case in point, the balcony scene, traditionally played on two levels, is ingeniously blocked and lit without losing a beat of the intimacy and the heightened romanticism. Congratulations to Annika Flores (the lighting technician) and Burrill for providing such a fantastic moment in that theatre space. Also, the masks by Teodoro and Esther Dragonieri added to the elegance and impact of Romeo and Juliet’s first meeting. As for the performances, the cast is up to the task and carry the show vibrantly. A highlight is Reuben Stewart as the Nurse and Escalus. Stewart imbues the characters with impeccable comedic timing and naturalism. The actors are at all times engaged and committed to their performances. That being said, there were a number of times that the text was rushed that it derailed the pacing and nuance and relationship was lost. A number of the monologues and dialogue between the lovers would be enhanced by allowing the text to settle and sit with the audience. I found there were some crucial moments in the story that would truly resonate if the actors gave themselves the time and space to simply breathe and speak. This would engage the audience far more effectively. There is added text, and though thought provoking and intelligent, set in moments where Shakespeare pundits would question its placement. This does not deter from the fact that it does add a layer of realism and brings the play into a local point of reference. Overall, I applaud Burrill and his team for taking the risk. Unfortunately, at the time of writing, “Romeo and Juliet” played its final show on August 24 but I encourage theatre audiences to look out for this talented and dedicated group. It was indeed worth the trip to the Assembly Theatre to see this classic yet reinvented love story. Assembly Theatre 1479 Queen St. W. Running time: 180 minutes. Director: Jack Burrill Production Manager: Reuben Stewart Producer: Morgan Bojie Cast: Alison Adams, Morgan Bojie, Brody Burrill, Jack Burrill, Alessandra Cavllini, Erick Hernandez, Rose Montano, James Ryan, Lenin Segovia, Cianna Stevens, Reuben Stewart, Sheldon Williams. Previous Next

Back The Antipodes by Annie Baker Toronto's Coal Mine Theatre Toronto's Coal Mine Theatre Joe Szekeres Thank you, Coal Mine Theatre, for the tremendously impressive welcome back gift When I interviewed both Ted Dykstra and Diana Bentley, Coal Mine Chief Engineers, via email for the pandemic Profile series I was compiling (thank you both once again for it), I looked back at their article this morning and found a thought Ted had written: “Theatre to me is meant to be experienced in a room full of people. Theatrical performances are meant to take place in front of people. This raises the stakes, makes it so much more exciting.” What a welcome back gift Coal Mine has given not only to me but to all of us with Annie Baker’s ‘The Antipodes.’ The kinetic energy felt in that room was palpably electric. The stakes for the production certainly were raised for me just in feeling this energy which for some reason I could sense I would not be disappointed at all. And I wasn’t disappointed in the least. Not at all. So damn good!!!! If you haven’t got tickets for this one yet, please, please go online and secure seats. This stimulating and thrilling nine-person ensemble cast are in the board room of an unknown organization. At one point, there is mention of a beach house nearby so I thought the story might have been set in Los Angeles. Eight members (and an effervescent PR assistant who pops in and out periodically) are discussing some unknown problem about storylines so once again I wondered if these eight members are writers of a television show. There appears to be no purpose as to why these characters have been hired and gathered to complete what Joshua Browne, as sock footed Dave, keeps calling ‘the best job he’s ever held.’ Browne becomes that board room jerk one just wants to punch sometime because he’s trying to ‘kiss ass’ the boss while proving to the others how his hardened life from long ago does not affect the guy he has become today. They each take their places around the meticulously clean looking and well-organized rectangular board room desk centre stage with carefully placed props of writing pads, pens, and pencils at hand, and begin to hash out stories, the first ice breaker being how each of the eight members in that room lost their virginity. And I was then introduced to some of the most bizarre, ludicrous, wacko and nightmarish tales I have ever heard in my life. To hear every single one of them narrated by a high-grade premium cast and directed with an incisively, sharp edged acerbic vision by Ted Dykstra made for an incredible welcome back that will remain with me for a long time. As I write this review, I can still recall a clearly vivid picture in my mind how that board room looked at the top of the show and its sorry state at the end. Nick Blais’s strongly accentuated lighting design is put to terrific use especially as the storm approaches and the lights begin to flicker. Andy Trithardt’s sound design nicely underscores moments of an impending storm that occurs outdoors and within the room. A perfect example of that old literary term we remember from high school English classes – pathetic fallacy. Overhead the board room table is a futuristic odd looking lighting fixture. Downstage left is an exercise ball that is moved around. There is a white board on each wall directly across from one another with red and grey stripes. The red stripes to me appear like lightning bolts. Upstage off centre stage and right are mirrors which will reflect the explosive dynamite action about to unfold. What I found effective in the set from my audience perspective were the angled sliding doors to open and close off the action when Sandy disappears to take a phone call or Sarah magically appears to announce lunch will be on the way shortly. Underneath the mirror stage right were boxes of the soft drink Bubbly that are periodically opened. Underneath the mirror stage right were two garbage cans. Baker’s boffo script becomes a series of story vignettes which this confident ensemble tackles with great aplomb and gusto. The intrigue builds with team leader Sandy (slick work by Ari Cohen) then asking those present not to hold back in discussion of anything. Sandy is the kind of boss everyone wants to work for – Cohen wears a ball cap, comfortable looking jeans, running shoes, a very casual look about him. He’s the kind of boss you don’t want to piss off because he says he doesn’t like firing anyone. It’s just the way Cohen quietly but confidently says, “Don’t be an asshole” and you take him at his word and don’t question that call. At times, the plot and male characters’ brashly sounding misogyny does make for some highly uncomfortable moments (and fodder for dismissal from some other jobs in the world). As lone female of the group, Eleanor, Sarah Dodd’s understated performance beautifully rounds out who she becomes as her story builds to unravel about how she sees herself from her probiotic pills she takes to the Granny Smith green apples she eats up to sharing with others the childhood stuff she had accumulated near the end of the play. As perky PR assistant Sarah to Ari Cohen’s Sandy, Kelsey Verzotti’s perfectly timed humorous scenes reminded me of the passage of time and wondering just how long these board members have remained in that room to flesh and carve out whatever story they are trying to concoct. Yet underneath it all, I got the impression Sarah might be trying to conceal something from the others and Verzotti emanated that in her sometimes-peppy demeanour. Murray Furrow as Danny M1 offers a prime example in defining an antipode to Simon Bracken’s Danny M2. Furrow’s Danny is furiously bombastic and loud-mouthed while Bracken’s Danny unsettlingly tells a story about working at a job with chickens. Colin A Doyle’s Josh becomes that stark, harsh reminder of not being paid for work, or not having the proper protocol access to enter the building in what earlier has been deemed the best job those people in this room are likely ever to hold. As Brian and Adam, Joseph Zita and Nadeem Phillip respectively and truthfully embody that employee geekiness in note taking every single moment of a meeting versus the individual in the room who feels he must be heard and listened to because his ideas are important. Final Comments: Passive-aggressiveness never looked or sounded so fine as it did at this opening night performance of Coal Mine’s ‘The Antipodes’ with this top-of-the-line cast. A must see. Get tickets. Covid protocols in place at Coal Mine and I felt very safe. Running time approximately one hour and 55 minutes with no intermission THE ANTIPODES by Annie Baker Directed by Ted Dykstra Apprentice Director: Anat Kriger Set and Lighting Design: Nick Blais Costume Design: Andy Trithardt Head of Props: Kayla Chaterji Stage Management: Hannah MacMillan The Cast: Simon Bracken, Joshua Browne, Ari Cohen, Sarah Dodd, Colin A. Doyle, Murray Furrow, Joseph Zita, Nadeem Phillip, Kelsey Verzotti. Performances run to May 15 at the Coal Mine Theatre, 1454 Danforth Avenue, Toronto. For tickets, visit www.coalminetheatre.com . Performance times are Tuesday – Saturday evening at 7:30 pm and Sundays at 2:00 pm. Previous Next

Back 'A Public Reading Of An Unproduced Screenplay About the Death of Walt Disney' by Lucas Hnath An Outside the March and Soulpepper Theatre Production now onstage in the Baillie Theatre, Young Centre for the Performing Arts Dahlia Katz. Pictured: Diego Matamoros as Walt Disney Joe Szekeres “Playwright Lucas Hnath dismantles the wholesome image of American animation icon Walt Disney in a sometimes biting and acerbic script. Diego Matamoros delivers an extraordinary Voice Choice award-winning performance.” The darkly humorous ‘A Public Reading’ challenges the conventional perception of Walt Disney as a universal father figure, a notion that particularly resonates with the baby boomer generation. As someone born near the end of this era, I find this revelation quite thought-provoking. One thing is for sure – this Outside the March and Soulpepper production remains compelling and engaging throughout. When I saw Outside the March and Soulpepper’s publicity announcement for the show, the play's title confused me initially. I thought it was a staged reading. I smiled when I saw some reminders on the two theatres' social media pages that this is a full production, not a staged reading. Outside the March and Soulpepper have smartly staged ‘A Public Reading’ in a theatre-in-the-round setting on the Baillie Theatre Stage in the Young Centre for the Performing Arts. Hnath’s story unfolds in a corporate office, perhaps Walt’s. There’s a Mickey Mouse phone, a standing ashtray and a bar cart along the circular perimeter. A large conference table containing varied office supplies is placed on a circular riser. Technical Director James McCoy incorporates a slow-rotating circular stage upon which the conference table sits. This was a terrific idea to allow the audience to witness the story unfold from various perspectives at the table. With his uncanny resemblance to Disney, Diego Matamoros delivers a compelling and extraordinary performance. Sporting a yellow bow tie and clothing reminiscent of the sixties, Walt breaks the fourth wall to engage with the audience. Matamoros’s Walt, who has written a screenplay about himself and his life, is both intriguing and a tad egotistical, adding depth to the character. The screenplay also deals with a city that Walt wants to build. There are hints that this city he speaks of is the Orlando Disney World we know today. Throughout this intermission-less story, questions upon questions upon questions are revealed. Why does Walt’s Daughter hate him so much? Why can’t this city be built any quicker? Will Walt continue to control his empire from the grave after he’s gone? Anahita Dehbonehie’s Set, Nick Blais’s Lighting, and Niloufar Ziaee’s Costume Designs boldly capture the visual look of the 1960s. Sound Designer Heidi Chan solidly captures the sounds from a film studio. There’s so much to take in before the show begins, so leave a few minutes to marvel and appreciate the work that has gone into this re-creation. Again, credit goes to James McCoy for finding the ‘Steamboat Willie’ cartoon projected on a screen as the audience enters. The 1958 nature documentary ‘White Wilderness’, which involved the Disney company filming the lemmings going into the sea, is also shown upon exiting the auditorium at the end. It’s controversial because rumours again swelled that the company filmmakers were involved in animal cruelty. You can also YouTube the film. It takes a few moments to adjust to following Hnath’s script as there are several selections of lengthy dialogue and monologues. Script directions are read quite a bit during the show. I was initially puzzled about why Hnath selects this narrative form for his script. Even Director Mitchell Cushman’s programme note is written in a style akin to Hnath’s performed format. Upon further thinking, I find this format presentation rather clever in a twofold sense. First, audiences know, appreciate, and love the Disney legend and its founder for the stories told through animation and film. The stories had to be planned through storyboards, scripts, and screenplays. What better way to showcase and highlight Disney’s remarkable influence than using a script format where the actors read directions? Second, it's also poignantly sad that Disney’s family life perhaps did not live up to his public image. Hnath finely underscores that fact when Walt’s wife and Daughter are never given specific names. Walt is upset that the latter has not bestowed his name on any of his grandsons. This opening night performance strongly suggests why that did not happen. Mitchell Cushman directs with sensitivity and class. His splendid cast rises to the ultimate heights to make their director proud. Katherine Cullen (Walt’s Daughter) and Tony Ofori (Walt’s son-in-law, Ron) have a challenging task for about 20-25 minutes from the top of the show. When they enter and sit at the table, they say nothing but follow along as the script is read and are keenly and intently focused on the action when either Walt, Ron, or both speak. When the couple is introduced within the script, Cullen and Ofori often become the brutal brunt of Walt’s tirades. The look of anger in Cullen’s eyes when she finally confronts her father about why his grandsons will not bear his name is palpably blunt. Anand Rajaram is genuine in his onstage work as Walt’s put-upon and often-shamed brother, Roy. One example occurs when Roy has to take the fall for the labour dispute when the animators want to form a union. Walt can’t understand why they would like to do this. His cry of: “Aren’t we all a family?” signifies even more the possible animosity or fear of a crumbling and falling empire he so diligently wants to build. Diego Matamoros gives an award-winning Voice Choice performance which I hope will be recognized by the Toronto Theatre Critics and the Doras. He never once ventures into overacting or histrionics and allows the moment to speak for itself. For example, it’s known that Walt died from lung cancer and that he had a horrible cough. Matamoros develops a cough that gradually becomes worse and worse to hear each time. When the first spot of blood appears on the handkerchief, it’s shocking indeed and a grim reminder that death might just come quicker to those who abuse their bodies with smoking. Diego’s Walt is often brusque, spiteful, and hurtful. He’s also quite funny in a tragic sense. When Walt calls his wife on the phone, Matamoros mimes, writing the numbers in the air as a reminder of the telephone number that he has difficulty recalling. It’s quick, but this comic moment breaks the dramatic intensity from a few seconds earlier. And Another Thought: I grew up in the 60s watching the ‘Wonderful World of Disney’ and ‘Wonderful World of Colour’ on Sunday evenings. Seeing ‘A Public Reading’ doesn’t change those familial memories of watching the show. Far from it. Instead, Hnath’s play becomes the following reminder. Even those like Walt Disney who held themselves in high regard and esteem are still just as mortal as those who sat around the television set on Sunday night relaxing before school Monday morning. This performance is a must see. Nab tickets now because word will get out just how outstanding ‘A Public Reading’ is. Running time: approximately one hour and 50 minutes with no intermission. ‘A Public Reading of An Unproduced Screenplay about the Death of Walt Disney’ runs until May 12 at the Young Centre for the Performing Arts on the Baillie Theatre Stage, 50 Tank House Lane. For tickets, soulpepper.ca, youngcentre.ca or call (416) 866-8666 OUTSIDE THE MARCH and SOULPEPPER THEATRE Company Present: A PUBLIC READING OF AN UNPRODUCED SCREENPLAY ABOUT THE DEATH OF WALT DISNEY by Lucas Hnath Directed by Mitchell Cushman Set Designer: Anahita Dehbonehie Lighting Designer: Nick Blais Sound Designer: Heidi Chan Costume Designer: Niloufar Ziaee Production Manager: Tori Morrison Technical Director: James McCoy Stage Manager: Jeff Soucy Performers: Katherine Cullen, Tony Ofori, Diego Matamoros, And Rajaram Previous Next

Back Kim Blackwell, Managing Artistic Director 4th Line Theatre “The theatre has been in my blood and belly since I was a little kid.” Courtesy of 4th Line Theatre. Joe Szekeres A recent check-in with 4th Line Managing Artistic Director Kim Blackwell shows the lady still adores the theatre. To read my first online conversation with her, go here: https://www.onstageblog.com/profiles/2020/5/11/the-self-isolated-artist-series-torontopeterborough-ontario-profile-of-kim-blackwell. 2024 marks Kim's 30th season with 4th Line, where she has directed 28 productions and 15 world premieres. The lady seems to have no intention of slowing down in her love of the theatre. In September 2016, Blackwell was inducted into Peterborough’s Pathway of Fame. In 2020, she received Toronto theatre critic Lynn Slotkin’s Jon Kaplan Mensch Award. Kim has recently joined the Playwright’s Guild of Canada and is working on her first solo, full-length play for 4th Line, ‘The Lost Souls.’ When she answered questions for her first profile check-in back in 2020, Kim stated the following about the effects of the worldwide pandemic on the Canadian theatre scene: “[It] will reaffirm that we all love the relationship between art and audiences which is at the core of our art practice. And we will be much more sensitive to that innate relationship when we can be together again.” I’m happy to report that 4th Line’s relationship with audiences has been strengthened thanks to some terrific shows on the playbill and fine on-stage work by local and professional performing artists since we’ve all returned from Covid. This week, Beverley Cooper’s ‘Jim Watts: Girl Reporter’ opens in preview on July 30 and 31, with opening night set for August 1. Directed by Blackwell, the twenty-eight-ensemble cast tells the story, billed as a fascinating exploration, of the experience of trailblazing youth who illegally flocked to Spain to fight fascism, attempting to stop its march across Europe in the mid-1930s. Jean ‘Jim’ Watts was the only woman to join Canada’s battalion in Spain, the Mackenzie-Papineaus. Recently, I attended the media call for ‘Jim Watts’ and spoke with her. What is it about the theatre that keeps her intrigued and motivated? “Well, it’s been in my blood and belly since I was a little kid.” She said she diverted a couple of times over the years; however, from when she was twenty-five, she was out at 4th Line. She says she doesn’t want to do anything else. Does writing for film or television interest her at all? “They’re not of interest to me. This medium [the theatre] and this connection between art and audience, which is at the heart of the work we do here, is so special and so transformative. I really do see how our work changes people’s lives and changes the world. I see it almost on a daily basis.” Blackwell referred to the most recent ‘Onion Skins and Peach Fuzz: The Farmerettes,’ which concluded its run recently. What touched Kim’s heart was seeing those ladies who were Farmerettes and their families come out and see actors tell their story. That’s pretty extraordinary for people. With a smile, Kim proudly stated that 4th Line has been doing just that for thirty-two years. And I truly hope the company continues doing it for another thirty-two years (and beyond). From what I understand, 4th Line audiences continue growing. Blackwell says 70% of the company’s audiences are from 50 kilometres away— Millbrook, Peterborough, Oshawa, Port Hope, Bowmanville, Belleville, and Lindsay are only several examples. 12% of the audience comes from the Greater Toronto area. What she once again proudly states about the 4th Line: “Our audiences are local, loyal, and love to see the stories in this area they didn’t know about.” As the opening night approaches for ‘Jim Watts,’ what message is Blackwell hoping audiences will take away from the production as a director? Kim says playwright Beverley Cooper's play raises an interesting question: “Can one person make a difference?” Are we all struggling with that question right now? Are we, as humans, with so much change going on around us, making a difference? “It’s all so big,” Blackwell emphasizes. “The problems are so big. There’s division. Can people actually dig in and make a difference?” Kim then opened up and said she feels this way in her own life. She, her husband, and her daughter moved back to Peterborough in 2020, and she immediately joined various city Boards. She wants to make a difference within her community. Jean Watts, the central character in the play, and the young men who went over to fight in Spain all wanted to make a difference. They were trying to effect change. ‘Jean Watts’ is a hero’s journey primarily focusing on Jean Watts, who goes by the nickname Jim. In her belly, Jean is a privileged girl from North Toronto who wants to make a difference. She wants her life to matter and to mean something. She finds herself going from Toronto to Madrid and the battlefields of Spain (what Kim says was a dress rehearsal for World War 2). The play then concludes in Peterborough in the early 1960s. Kim then made a comment that intrigued me: “Democracy is fragile. It’s not a guarantee, and if we see what’s happening in other parts of Europe and south of our border, there is a will to see a few people have a lot of power and say.” As we concluded our conversation, Blackwell said, ‘Jim Watts’ poses many big questions. But there are moments of humour, music, and romance. There will be live animals and a beautiful set that has a revolve. Is the theatre dying? “I hope it’s not dying. If people come out, it’s not going to die.” ‘Jim Watts: Girl Reporter’ opens in previews on July 30 and 31, with opening night on August 1. The production runs to August 24 at 4th Line Theatre, 779 Zion Line, Millbrook. For tickets, visit 4thlinetheatre.on.ca or call (705) 932-4445. Previous Next

Back Michael Therriault Looking Ahead David Cooper. Joe Szekeres First time I saw Michael Therriault on stage was in the Canadian production of ‘The Producers’ as Leopold Bloom. He won a Dora for this performance. While he was performing in a production of ‘Fiddler on the Roof’ in New York, Michael received word that he had been cast as Gollum in the Toronto premiere of ‘The Lord of the Rings: The Musical’ and he won a second Dora for his performance. Therriault also reprised his role in the West End production. Therriault also portrayed Tommy Douglas in the Canadian Broadcasting Corporation’s (CBC) TV Special: ‘Prairie Grant: The Tommy Douglas Story’ for which he was nominated for a Gemini Award for Best Performance by an Actor in a Leading Role in a Dramatic Program or Mini-Series. Michael attended Oakville’s Sheridan College and graduated with his degree in Music Theatre Performance. He was also a member of the inaugural Stratford Festival’s Birmingham Conservatory for Classical Theatre. We conducted our conversation via email. Thank you, Merci, for the conversation, Michael: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. I think I’ve learned that I am a bit more resilient than I had imagined. When Covid began, I was quite anxious about how life would be with this new virus. The idea of spending months this way, let alone a year, seemed terrifying. But we’ve all adapted to this strange way of living and I find that really surprising and strangely encouraging. I also think, when things get back to normal, I will be even more aware of how precious time with friends and family is. I think we all will be. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? I’ve been inspired by theatre’s resourcefulness and ability to adapt. The Factory Theatre here in Toronto did some amazing live-streamed shows that still had the thrill of a one-time event that I hadn’t imagined possible on Zoom. The Old Vic in London has been doing similar things as well. Both The Shaw and Stratford Festivals are planning outdoor experiences that sound exciting. Also, it’s been fun seeing colleagues’ creativity expressing itself in new and surprising ways: A lighting designer has turned to photography; a sound designer is renovating boats for example. As a professional artist, what are you missing the most about the live theatre industry? I miss the community aspect: meeting every day to create together and be inspired by each other. I miss the thrill of first days, celebrating openings and closings as a company and the late night “aha!” moments you have when you are rehearsing. As I read about the passing of colleagues during this time, I particularly miss our tradition of getting together in a theatre for a celebration of life and collectively thanking our passed colleague with a standing ovation. It’s a very moving gesture that always reminds me how fortunate I am to be a part of this community. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? I think many of us will be even more aware of how special it is to being in a room full of people to share an experience together. Describe one element you hope has changed concerning the live theatre industry. This past year has had society investigate some big social issues that will no doubt have a positive impact on live theatre going forward. I think our productions will become even more inclusive, diverse, and compassionate. Explain what specifically you believe you must still accomplish within the industry. I really just hope to keep learning. As I’ve gotten older, I’ve found that some of the joy I had as a young actor can occasionally get shadowed by fear: fear of being bad, of getting it wrong, of being found out. I’d like to continue to work to put joy and fearlessness in the forefront. I’ve always thought that the ‘it factor” that people talk about is really just people working joyfully. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre and as an audience member observing the theatre. When we gather again, we may feel the need to explore this experience we’re having in the stories we present on stage. That makes a lot of sense. But I also think we will be relieved to explore other stories as well. The collective need to “move on” will be just as great. As an artist, what specifically is it about your work that you want future audiences to remember about you? I’d like to be thought of as inventive, creative, fearless (I’m working on that) but most important joyful. The work I’ve done that I am most proud of was filled with joy. It felt like flying. And I think finding more joy in life is always a good idea. Previous Next

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