A talk with a professional artist about their career. Back Monique Lund Moving Forward Colton Curtis Joe Szekeres Toronto, Ontario, in the late 80s and early 90s saw a slew of first run, first-rate productions with some featuring an all Canadian cast. I liked to get to the theatre early so I could read the artist biographies in the programme to learn more about these talented individuals. One of those names I remember is Monique Lund. She appeared in an amazing production of ‘The Who’s Tommy’ and ‘Cats’ during these years. Again, since I began reviewing, I’ve seen her name in many Stratford Festival productions. She is indeed a talented lady. Monique received her early training on Prince Edward Island and started as a dancer there and moved to Montreal after high school to train with Les Ballets Jazz de Montreal on a full scholarship. She also studied voice at McGill University and acting in Montreal and Toronto before getting hired as a company member in ‘Cats’. The rest is history as they say! She has performed in eleven seasons at Stratford and hit the 90s jackpot doing musicals in Toronto during these golden years while appearing in ‘Cats’, ‘Crazy For You’, ‘Tommy’, ‘Joseph and the Amazing Technicolor Dreamcoat’ (with Donny Osmond), ‘Mamma Mia’ and ‘Lord of the Rings’. Monique has played the role of Donna Sheridan in ‘Mamma Mia’ in the US for two years as well as having played many leads from Vancouver to Halifax. Thank you, Monique, for participating: It appears that after five exceptionally long months, we are slowly, very slowly, emerging to a pre-pandemic lifestyle. Has your daily life and routine along with your immediate family’s life and routine been changed in any manner? Yes, I suppose EVERYTHING has changed in terms of our daily lives. My daughter is 15 and when March Break came and it was announced that the kids would be off for three weeks, that seemed implausible... impossible. And then when someone speculated that the kids wouldn’t be going back at all I couldn’t fathom it. But that’s what happened. And we adapted. I think we actually are a very adaptable species. I try to remember that. In terms of our lives now, I actually feel very lucky to be living in a small town. There aren’t reems of people around and it’s easy to see friends in the park or on a walk around the river. It’s easy to social distance when you have vast space around you. Sometimes I forget that we’re in the middle of a global pandemic and then I go to the grocery store and see everyone in masks and it’s sort of sci fi- esque. But like I said earlier, we adapt. People seem accustomed to it now. I know that masks will continue to be a part of our lives for a very long time and that’s as it should be. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? I did have several contracts that I was supposed to do in 2020 that were cancelled. It really is very sobering to watch your entire year go up in smoke. I feel there was a real tsunami effect..... spring contracts were cancelled which we all expected, then the summer ones evaporated, and the final blow was Christmas contracts being cancelled. I think our community went into mourning. It was shocking. Our employment is precarious at the best of times so to have this happen was incredibly difficult. And I do musicals, so the two things that are banned (and will be for the foreseeable future) are mass indoor gatherings and singing. PERFECT!!! Describe the most challenging element or moment of the isolation period for you. Did this element or moment significantly impact how you and your immediate family are living your lives today? I would say the most difficult moment was not being able to see my family. We’re quite spread out across the country and we always get together on PEI every summer for a reunion. Just knowing that was off the table really made me sad. I miss my parents and my sisters But having said that I feel so lucky that I live with people. My husband and daughter have literally saved my bacon throughout this. I have thought repeatedly of my single friends who have had to socially isolate AND lose their livelihood at the same time. Devastating. We really tried to make the best of it and look at the positives. Being home together, cooking, watching movies and living simply. What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? Since theatres will most likely be shuttered until the spring of 2021, where do you see your interests moving at this time? I have been extremely busy during lockdown. The first month or so I would say I was a bit aimless. I tried not to judge myself for it. Everyone reacted in their own way. But then I had a bit of a reckoning with myself. I had always had these other ventures that were of interest to me. But I’d never had the time to explore them. The upside of being employed pretty regularly in the theatre is that I never really had to do anything else. But suddenly I was faced with a blank page. So I started working toward launching my own jewelry line. I launched about six weeks ago and it’s been successful beyond my wildest dreams. It’s a creative outlet just like theatre is and I realized that that’s a vital and essential component to my innate happiness. I am also studying to become a personal trainer and nutrition coach. My dream is to have my own fitness company in Stratford, Ontario, that caters to women in the prime of their lives (45 +) It’s an incredibly detailed course of study and I’m finding it challenging and wonderful. I want to inspire women to feel great about themselves. At a certain age, haven’t we earned that?? I’m also involved with an incredible theatre company in town called Here for Now Theatre. The artistic producer, Fiona Mongillo, really has made an incredible thing happen. As the situation was unfolding with the pandemic and it became apparent that all contracts would be cancelled, she set to work to find a creative solution in taking advantage of what we COULD do. And that was to do outdoor theatre. She wanted a troubadour experience in which we’re light on our feet and can adapt to the ever-changing situation. So, we’re in the middle of an outdoor theatre festival at the Bruce Hotel in Stratford. We’re doing live theatre! It’s been an incredible experience. My husband Mark Weatherley wrote two of the plays (“Whack! “and “Infinite Possibilities”) and I came on board as a director. It’s been an incredible experience. The audiences are so appreciative. They’re starving for that live experience. We’re doing everything by the book including physically distancing the chairs, sterilizing them between seatings and limiting the numbers. Again, we adapt! The Festival has been so successful that we’ve been extended. So, for me, the pandemic has given me a bit of a kick in the pants to venture into new territory. I think it’s interesting how things have unfolded for me. I guess without the safety net of relying on doing musicals (and I use the term “safety net” very loosely!!) I sort of allowed myself to dream a little and act upon those dreams. I feel extraordinarily lucky. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? In terms of advice for other performing artists right now, I would say be bold and just leap into that unknown. I mean we’re already living in an incredibly uncertain time so maybe now is the time to develop that new skill, to take that course, to try something new. I think as artists we all need that side hustle more than ever. As my husband wrote in his play “When nothing is certain, anything is possible!” I actually really believe that. And for the young’ uns coming up, I would say try to be as well rounded as possible. Develop those skills and passions and hobbies outside of theatre. Hopefully, it will translate into some income so you’re not solely reliant on theatre to pay the bills. I think it can only help you as an artist too! But also we now have the gift of time! So read those books, learn those new songs, have play readings in the park with your friends, phone up an older artist that you’ve always admired, and ask if you can pick their brain. Get creative! There are opportunities to be had if you so choose. But I also feel that to be too focused on our careers can limit and inhibit the scope and breadth we’re capable of as humans. I really feel that it’s important to look at this as an opportunity for growth. The alternative is to view it solely as a negative phenomenon which I think is not terribly helpful. But let’s face it, it’s HARD. I think it’s absolutely ok to go under the covers and cry it out. Just don’t stay there too long! Do you see anything positive stemming from this pandemic? The positives I see are families connecting more, people having more time to just be, people getting back to baking and cooking, people helping each other. If only the financial repercussions for artists were not so dire, I think we’d be happier. It’s really hard to be blissed out when you’re worried about money. It’s a very real quandary. But as I said before, it’s really interesting to see the creative ways people are forging new paths for themselves. But also a lot of brilliant artists are working jobs that they’re not particularly enjoying. It’s tough. But we’re a tough bunch! In your informed opinion, will the Canadian, Broadway, and Californian performing arts scene somehow be changed or impacted on account of the coronavirus? Man, if only I had a crystal ball! I have no idea. I try not to speculate too much because the information keeps changing and none of us have a clue what’s going to happen. All I know is that when I think about assembling together with a big cast for the first day of rehearsal it literally brings tears to my eyes. The joy I have felt over the years working with people in the theatre will stay with me forever. And I am by nature an optimist, so I have to believe we’ll get back there. What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? Have you been participating, or will you participate in any online streaming productions soon? In terms of live streaming, I think it absolutely will be a huge part of our industry moving forward. For me personally, I haven’t done anything, but I’ve certainly watched some content. But you know, I have come to a personal conclusion with it. I would rather watch the opening number of Ragtime at the Tony Awards for example with that huge cast brilliantly staged than something on Zoom. I find I’m looking to the past to get that fix. Watching throngs of performers interacting with each other with joy and abandon and physical proximity thrills me more than anything right now. But I certainly don’t judge those who are pursuing the online avenue!! It actually drives me crazy when we become divisive as artists. We must support each other right now more than ever! To each his own! Live and let live! And of course, if anyone did ask me to do a Zoom performance thing I’d be all over it. What is it about performing you still love given all the change, the confusion, and the drama surrounding our world now? Wow. So, this question has brought me to my knees. I have been a professional stage artist for over 35 years. I have had so many incredible opportunities and have met the most brilliant, funny, kind, compassionate, and exceptional people. I have sung exquisite songs, I have tap-danced on pianos, worn exquisite costumes, witnessed the most vulnerable moments, laughed, cried, bled, despaired, rejoiced, and felt everything in between. My life has been incredibly rich and varied and interesting for having done it. I can’t fathom myself ever giving it up and so, I never will. It’s given me too much joy and happiness and laughter. With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: a. What is your favourite word? Tolerance b. What is your least favourite word? Closed c. What turns you on? Creativity d. What turns you off? Materialism e. What sound or noise do you love? Cardinals f. What sound or noise bothers you? Dentist drill g. What is your favourite curse word? Zounds h. What profession, other than your own, would you have liked to attempt? Pilot i. What profession would you not like to do? Mortician j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Red or white? Thanks.” To learn more about Monique's jewelry line, visit https://www.etsy.com/ca/shop/minniebymoniquelund Previous Next

Where we hope to help young people develop an intrest and a passion for a futrure in theatre. Back Moby, A Whale of a Tale Pirate Life, Toronto Raiza Dela Pena Joe Szekeres I must apologize for the fact this review appears late and the show has closed. Through my own fault and not timing traffic, I missed the opening night performance. I finally saw the last Friday night show; however, life got in the way and I was not able to get the review posted until now. I’m also sorry to say that I never read ‘Moby Dick’ during my undergraduate courses in English Literature, but seeing this production made me want to tackle one of the great works of American literature sometime very soon. ‘Moby: A Whale of a Tale’ takes place in 1840. Captain Ahab (a fearlessly ferocious performance by Amaka Umeh) is onboard the whaling ship The Pequod looking for the great white whale, Moby Dick, who bit off his leg on a previous voyage. Ahab is looking for his revenge against the great mammal. Members of the crew who are hired to travel with Ahab believe they will be hunting for whale blubber which, according to the Programme Notes, was a huge business to make oil to light homes and streetlights at night. Captain Ahab had a different view of how things should run onboard, but only told the crew what his intent was after they had set sail. Three years later, the ship and crew continue to look for Moby at Ahab’s insistence as he has charted carefully the whale’s trail in the water. The audience sat on a floating dock either in Muskoka chairs or on a bench at the back in front of an appropriate dark, mysterious and ominous looking whaling ship of The Pequod. A smaller boat is also used a couple of times to signify plot action occurring next to the Pequod. The audience was told if they didn’t care to sit on the dock, then they could return to chairs on dry land. I certainly hope this ‘Moby’ returns for another engagement next summer as I thoroughly admired this fanciful musical adaptation which accomplished two things for me: a) I was a kid again completely immersed in a wondrous sea-faring story complete with vengeful pirates and rough waters b) the literary adult side within me was also made acutely aware of how a dominant obsession and meticulous revenge to find the great white whale make unforgettable characters of classic fiction. So much to enjoy about this production. Clever song lyrics and tuneful period musical melodies from Alex Millaire and Kaitlin Milroy (Moonfruits) nicely underscored and heightened the tension in some of the key plot moments. Director Alexandra Montagnese maintained a snappily energetic pacing momentum with some entertaining performances. Annie Tuma is a bold Ishmael who becomes entranced with the wild adventure of the lure of the sea in the opening song ‘Can You Hear the Call of the Sea?’. Lena Maripuu’s brave first mate Starbuck impressively stands up at one point to Ahab’s obsessive emotional outbursts. Jamar Adams-Thompson’s delightful Queequeg adds that bit of saucy and unrefined humour which effectively balances the hell-bent intensity of Ahab’s destructive compulsions of Moby. It was lovely to hear the harmonized singing of the performers throughout the performance. ‘Moby: A Whale of a Tale’ adapted from the Herman Melville novel: “Moby Dick” Adapted by Annie Tuma and Lena Maripuu Produced by Annie Tuma Music arrangers and writers Alex Millaire and Kaitlin Milroy known as Moonfruits, Lena Maripuu, and Annie Tuma. Directed by Alexandra Montagnese Costumes by Gabriel Vaillant Cast: Lena Maripuu, Moonfruits, Jamar Adams Thomson, Annie Tuma, Amaka Umeh To learn more about Pirate Life, please visit www.piratelife.ca . Production played on a floating dock at 585 Queens Quay West, Toronto Previous Next

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What makes a comedy work - plot, characters, setting and theme. Back 'Prairie Nurse' by Marie Beath Badian Capitol Theatre, 20 Queen Street, Port Hope Capitol Theatre, 20 Queen Street, Port Hope Joe Szekeres A summertime crowd-pleaser of a play. ‘Prairie Nurse’ addresses an important social issue through humour while never denigrating it. Based on the true story of Badian’s mother's immigration to Canada in the late 1960s, ‘Prairie Nurse’ centres on two Filipino nurses: Indepencia “Penny” (Kryslyne-Mai Ancheta) and Purificacion “Puring” (Yunike Soedarmasato) who have arrived from Manila to work at a small-town Saskatchewan hospital. Penny and Puring never knew each other until they arrived at the airport. They intend to send money home to their families in the Philippines, hoping to bring family members to Canada. The setting is a small Saskatchewan hospital in a rural area in the late 1960s. The characters at this hospital are quite eccentric. Head Nurse Marie Anne (Deborah Drakeford) is tough, no-nonsense, demanding, and resorts to chain smoking when workplace tension is thick. Candy striper Patsy (Ellie Ellwand) is curious, nosy, and involved in everyone's business. Wilf (Aaron MacPherson), the lab technician, plays goalie on the local hockey team and is friends with Patsy's unseen boyfriend, Hank. A heavily Scottish-accented Dr. Miles (Iain Stewart) enjoys hunting and fishing and would rather be doing that instead of his rounds. Charlie (David Ferry) is a helpful and friendly handyman who is a father figure to the new hospital staff. Jackie Chau’s spacious set design fills the entire Capitol Stage and appears right out of the late 1960s with mismatched furniture. The hospital staff needs a good cleaning and fixing up. Pictures are slightly askew on the walls. There is a door stage right which leads to the outside hallway of the hospital. A swinging door just off-stage left centre serves as another entrance and exit. Stage left is a tightly compact kitchen with a stove and mismatched kitchen set. The walls are painted in the typical institutional white. Chau’s costume designs are a terrific throwback to the past, starting with the nurses’ completely white attire. Wilf’s goalie mask made me laugh out loud at his initial entrance. He looked like something right out of a horror flick. Patsy’s candy striper uniform is a wondrous throwback to when these volunteers could be found in hospitals. (Are there candy stripers in hospitals anymore?) Marie Beath Badian’s script contains elements of broad slapstick comedy with the odd touch of farce and seasoned with possible burgeoning romances. For this reason, ‘Prairie Nurse’ is a good choice for the Capitol’s summer season. When done well, broad comedy and slapstick become an audience pleaser. And we need laughter as an audience pleaser right now because our woke world is fraught with overwhelming societal issues. More about a social issue of the plot shortly. Director Megan Watson duly makes sure the pace of this opening night production never veers out of control. Entrances and exits are nicely timed – in other words, when one exits, another must enter immediately. Notes end up in the wrong hands, fisticuffs, shouting and crawling around on the floor. This hard-working ensemble cast commits themselves to the humour. Deborah Drakeford’s crawling on the floor simply made me laugh, as a Head Nurse would never do such a thing. Iain Stewart’s thickly accented Scottish Dr. Miles is a hoot, especially with the various hunting attire in which he accoutres himself. Aaron MacPherson’s Wilf is a boyishly shy technician who comically gets himself tongue-tied when (spoiler alert) he becomes smitten with one of the girls. David Ferry’s Charlie becomes that wise poppa bear for Penny and Puring. Ferry’s beautiful comic timing in the second-act melee is one of the show’s highlights. Ellie Ellwand is a giddy and ditzy Patsy. Kryslyne-Mai Ancheta and Yunike Soedarmasto are charming as the new arrival nurses. Both actors instinctively make Penny and Puring their unique person. Ancheta’s assured Penny is confident (perhaps a bit full of herself) in why she had signed this contract to work at this hospital. Hopefully, she wants to bring her fiancé to Canada. Soedarmasto’s shyly reticent Puring is sweet. Her reaction to people swearing made me smile because I can recall that same reaction from family members many years ago in the 60s. Now to the critical social issue of ‘Prairie Nurse.’ Playwright Badian topically uses contextual humour from the 1960s to poke fun at the arrival of new individuals to a country. It’s the elephant in the room from a 21st-century understanding and might make some uncomfortable. We would never dare say or remark: a) that members of the BIPOC community look different from white people OR b) that members of the BIPOC community look the same. These two statements contain unkind racist tones today. But much of the humour stems from some hospital workers mistaking who Penny and Purring are just by looking at them. Wilf confuses them, leading to madcap zaniness in the second act. Iain Stewart’s comical staring at Penny and Puring silently before he must do something to tell the difference between them brought laughter from me and those sitting around me in the audience. In her Director's Programme Note, Megan Watson discusses how Badian's playful approach effectively captures the experience of newcomers to Canada. She emphasizes the importance of trusting the audience's ability to recognize the human vulnerabilities revealed through this technique. I do too. Final Comments: This Capitol Theatre summer production marks the tenth anniversary of 'Prairie Nurse.’ It is the first instalment of a fifty-year multi-generational trilogy in rural Saskatchewan. Badian's second work, 'The Waltz,’ was performed at Toronto's Factory Theatre this year, and the third, 'The Cottage Guest,’ is currently in development. The Blyth Festival has commissioned all three plays. I never saw the 2013 premiere and just recently saw ‘The Waltz’ this past winter. Ergo, I’ve seen the plays out of order and perhaps may look at the story differently if seen in the order intended. But a recent profile conversation with the playwright led me to some insight about her life that served as a basis for me. Here’s the link to my conversation with Marie Beath: https://www.ourtheatrevoice.com/items/marie-beath-badian%2C-filipino-canadian-playwright See ‘Prairie Nurse.’ It offers terrific summer entertainment. Running time: approximately two hours and 15 minutes with one intermission. The production runs until July 30 at Port Hope’s Capitol Theatre, Mainstage, 20 Queen Street. For tickets, capitoltheatre.com or call 905-885-1071. PRAIRIE NURSE by Marie Beath Badian Directed by Megan Watson Set and Costume Designer: Jackie Chau Lighting Designer: Jareth Li Composer and Sound Designer: Jeff Newberry Stage Manager: Charlene Saroyan Performers: Kryslyne-Mai Ancheta, Deborah Drakeford, Ellie Ellwand, David Ferry, Aaron MacPherson, Yunike Soedarmasto, Iain Stewart. Previous Next

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What makes a comedy work - plot, characters, setting and theme. Back Orphans for the Czar by George F. Walker Now playing at Toronto's Crow's Theatre Now playing at Toronto's Crow's Theatre Dave Rabjohn This sterling cast combines years of experience and new talent It was a full and excited audience that took in the opening night of the world premiere of George F. Walker’s newest work ‘Orphans for the Czar’ at Crow’s Theatre in Toronto. A prolific playwright for decades in Canada, Mr. Walker chose Maxim Gorky’s ‘The Life of a Useless Man’ to suggest this play centering on the evils of class warfare, duplicity, and hypocrisy. Mr. Walker’s talent for mashing the horrific with the comic elevates this story about 1905 Russia and the seeds of revolution. The strength of this production comes certainly from the writing and from a sterling cast of actors that combines years of experience and new talent. Vasley is an orphaned fool who moves to the city to work in his father’s bookstore. Exceptionally performed by veteran Paolo Santalucia, he is furtive in his movements and indecisive at many turns. He grows impressed with the many shades of both the revolutionaries and czarists to the extent that he becomes a double agent which suggests no future. Eric Peterson, an audience favourite in any venue, plays the crude and foul-mouthed father with comic fervor. Other revolutionaries are Yakov (Christopher Allen) and Maya (Shauna Thompson) whose strong characters are more decisive. Vasley is foolishly playing both sides as he interacts with czarist henchmen such as the well-dressed professional Makarov (Patrick McManus) and his dim wit side kick Sasha played with comic abandon by Kyle Gatehouse. The cast is rounded out by the tragic blind girl, Rayisha, played with subtle strength by young newcomer Shayla Brown and the refined book enthusiast Olga, played with elegance by Michelle Mohammed. These two characters define the interaction between classes that fascinates Vasley and drives the plot. Lorenzo Savoini’s set design is a rustic wood planked stage with a high wall suggesting interiors. A lengthy staircase centres the set and is often the centre of the story as characters, at various times, ascend or descend with difficulty and confusion, reflecting the moods and struggles of the characters. Books are the other clear motif on the set. Mr. Walker cleverly weaves the story around the notion of books as instruments of learning, opportunity and hopeful achievement. The books are slept under, used as mini-stools, and thrown about symbolizing the chaos of events. Ming Wong’s costumes clearly, but subtly define the distinct classes. One highlight is Vasley’s long bedraggled coat thread worn to his ankles – it might once have been stylish but years of poverty have taken a toll. Thomas Ryder Payne’s sound design particularly enhanced the horrors of war with bombs and rifle fire. At times it was difficult to hear Miss Brown’s voice, but to her credit, much of the stage left dialogue for some reason was difficult to hear. Veteran director Tanja Jacobs lived up to the challenge of directing a very forceful play and orchestrating a large cast of limitless talent. In a conversation she has with Mr. Walker, they discuss the idea of blending the horrific with the comic. The director suggests that it comes partly from “the resilience of human beings and their capacity for wit.” Mr. Walker’s wit and an extraordinary cast combine for a powerful story and exceptional production. ‘Orphans for the Czar’ by George F. Walker Produced by Crow’s Theatre – Toronto Players – Christopher Allen, Shayla Brown, Kyle Gatehouse, Patrick McManus, Michelle Mohammed, Eric Peterson, Paolo Santalucia, Shauna Thompson Director – Tanja Jacobs Set Design – Lorenzo Savoini Costume Design – Ming Wong Sound Design – Thomas Ryder Payne Production runs through April 17, 2022. Tickets – crowstheatre.com Previous Next

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A talk with a professional artist about their career. Back Damien Atkins "Change is constant and necessary. It’s not always fun, but there has been some worthwhile movement forward..." Credit: Soulpepper Theatre. Pictured: Damien Atkins in rehearsal sitting on bench with Colton Curtis who plays Lord Alfred Douglas Joe Szekeres One of Canada’s accomplished artists, Damien Atkins was raised in St. Albert, Alberta. He is a graduate of the musical theatre program at Grant MacEwan College in Edmonton, Alberta. This month, he will appear as Oscar Wilde in the world premiere of Soulpepper’s ‘De Profundis: Oscar Wilde in Jail.’ I held a telephone conversation with Atkins as he walked to the theatre as the show was now in preview. Adapted by the creative team of Gregory Prest as Director with Original Music and Lyrics by Sarah Wilson and Mike Ross, the production is billed on the Soulpepper website as a musical fantasy based on Oscar Wilde's letter. At the same time, he was incarcerated for ‘gross indecency’ (homosexuality) with his love, Lord Alfred Douglas, for two years at Reading Gaol. Over three months, the letter was written a page a day, collected at the end of each day, and handed over to Wilde on his release from prison. When I asked him what drew him into wanting to learn more about Wilde, Damien paused momentarily. He added that, as a queer person himself, he has a connection to the flamboyant writer and author; however, the spectre of Oscar Wilde was a familiar nightmare of what can happen to a gay person, and Atkins didn’t want to look too far. The troubling factor remains that Oscar fell in love, which destroyed him. He went to jail for being gay, a wrong reason for imprisonment. Prest, Wilson, and Ross delved further throughout the rehearsal process to uncover the extra nuances of understanding Wilde. The creative team had always wanted to write a show for Damien when he received a call to see if he would be interested. Initially, he had no idea the story would be about the author. Atkins quickly adds that he has great confidence in the creative team and calls them brilliant. Audiences must come to see the production because it’s fierce, it’s wild, and it’s unlike anything they have ever seen: “[Gregory, Sarah and Mike] bring mischief and a sense of impishness. It’s a perfect blend of reverence and irreverence. A terrific blend of seriousness and frivolity has been balanced during this time. Their intuition, patience, and sensitivity to the culling of Oscar’s letter have been both fearless and kind…Prest has been unassuming and kind but also mischievous and fearless in his direction and staging.” There’s sensuality, sexuality, pleasure, and wit for audiences to witness. Atkins states the production is a theatrical endeavour unlike anything ever seen. Philosophically, it will lead us to ask if we all really know what happened to Oscar Wilde. The man was a genius, a revolutionary and a hero, but he was also a terrible person at times and, in Atkins’ words, could also be an ‘asshole.’ Nevertheless, ‘De Profundis’ will allow audiences to see Wilde’s tremendous humility in taking responsibility. Wilde does not apologize for his sexuality and renounces it. Instead, he takes responsibility for a bad lot and vows to do better by holding those in charge accountable for the wrong reasons for his imprisonment. When I asked him how he felt about rehearsals and previews, Atkins didn’t say too much except that things were going okay. During that time, his basic tenet was that everyone works as hard as possible. Damien keeps his head down and does not want to evaluate so much. How does he feel about the Canadian theatre landscape and industry changes? “Change is constant and necessary. It’s not always fun, but there has been some worthwhile movement forward that has been worth the hard work. The industry must continue to work on equity, diversity, and inclusivity (EDI). Yes, the pandemic made us aware, but we must continue to do more.” Atkins spoke about the troubling audience reluctance to return to some theatres nationwide. Encouraging people to return remains challenging, which has been a tremendous loss to the industry. Realistically, it’s all a question of money. That money (whether from the provincial, federal, or municipal governments) will also help other sectors. The help from the government is crucial moving forward as theatres continue to deal with changes and adaptations. Damien continues to hope audiences and governments will recognize that dollars are well spent promoting the arts. Once ‘De Profundis’ concludes its run, what’s next for Damien Atkins? At first, he jokingly stated: “A break,” and we laughed briefly. He’s not one to sit around, though. Atkins returns to the Shaw Festival this summer to play Sherlock Holmes for the third time in a new play entitled ‘Sherlock Holmes and the Mystery of the Human Heart. He will also appear in Bernard Shaw’s ‘Candida’. Damien would also like to continue to appear in his solo show “We Are Not Alone.’ I saw the production at Crow’s a couple of years ago. At first glance, the solo piece becomes a look at “mysterious sightings, videos of shapes moving in shadows and inexplicable crop circles. Are these occurrences a sign of otherworldly visitors, or are we being deceived?” Atkins stated the show becomes a comment on how we live together. Can we live peaceably with crazy ideas and notions? Hmmm…’ If “We Are Not Alone’ returns, it might just be worth another look. ‘De Profundis: Oscar Wilde in Jail’ is now in previews. It opens on February 8 and runs to February 18, 2024, in The Young Centre for the Performing Arts, 50 Tank House Lane, in Toronto’s Distillery District. For tickets, youngcentre.ca or call 1-416-866-8666. To learn more about Soulpepper Theatre, visit soulpepper.ca. Previous Next

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

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

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Where we hope to help young people develop an intrest and a passion for a futrure in theatre. Back Soulpepper Theatre Company Present Bad Hats Theatre's 'Alice in Wonderland' adapted by Fiona Sauder Young Centre for the Performing Arts in Toronto's Historic Distillery District The cast. Credit: Dahlia Katz Joe Szekeres A delightfully enjoyable ‘Alice’ and knowing it’s okay to be different while growing curiouser and curiouser about life. What a difference a year can make from the absence of live theatre. Last year, I enjoyed Bad Hats’ streamed production of Fiona Sauder’s adaptation of ‘Alice in Wonderland’ but there was something uniquely different on this opening night at Soulpepper compared to last year’s online presentation. What was that difference? It’s that necessary connection and spark between the actor and the live audience that makes us want to go to the theatre that we can’t get from a computer or television screen. Most of the cast from last year’s production of Bad Hats’ ‘Alice’ has returned for this run and delightfully captured the joy, innocence, sweetness, and excitement of this adapted tale on opening night. Creatively directed with controlled precision and obvious affection for the story by Sue Miner, this boisterous and exuberant nine-member cast confidently tells the story with enthusiastic dedication. At times it’s a tornadic whirlwind of activity from Cameron Carver’s fast-paced choreography and set pieces to roll in and out with actors entering from all corners of the theatre, but that’s part of the fun in wondering what will happen next. The audience sits on both sides of the stage which was a good choice made as it allowed for excellent sight lines. Logan Cracknell’s warm lighting design accentuates the playing space for visual impact. Ming Wong's costumes beautifully re-create sometimes rather simply the essence and joy of wonderment of classic childhood tales. Matt Pilipiak’s White Rabbit costume says so much about the character with so very little. On the outside is the teacher Mr. C. who arrives late to class and is flustered by that fact and needs a few moments to compose himself. Pilipiak is properly dressed as the supposed role model teacher Mr. C; however, when he becomes the White Rabbit, Pilipiak places bunny ears on his head and a bunny poof of a tail on his backside. Vanessa Sears’ stunning ruby red gown as the Red Queen immediately caught my eye upon her first entrance. Landon Doak and Victor Pokinko’s music composition is spot on with cheeky wordplay in the songs ably supported by Rachel O’Brien’s direction. The only thing I found bothersome at times was Andres Castillo Smith’s Sound Systems. There were a few moments in some of the choral numbers where I couldn’t hear all the lyrics and that was a tad disappointing. I’m a stickler for sound design if people and songs can or cannot be heard. There were several children and young people in this opening night audience, and I believe it is prime to ensure they enjoy what they are seeing and hearing. What made this production enjoyable for me was the concept and misconception of time in its understanding and misunderstanding. There are two clocks in the classroom that I didn’t see from my seat and the students wonder which clock they are to look at to decide what is the correct time. We are in a classroom when the story begins, and I also got the sense play adapter Fiona Sauder might perhaps be poking fun at the education system (Ontario’s perhaps?) where the students playfully and intentionally misread the questions asked of them in trying to finish their homework which leads to many amusing anecdotes and comments. The same homework sheet can also be found in the audience programmes. Matt Pilipiak’s frazzled in a tizzy of a teacher Mr. C. is amusingly adorable which makes his connection to the White Rabbit’s being late more believable for me from a childlike perspective. Tess Benger is Alice, the likeable young child protagonist who likes to question why things are the way they are and why they aren’t the way they aren’t supposed to be. Benger is a naturally believable performer who becomes the doe-eyed young child sent off to the corner by Mr. C to finish her homework, and it is from here that she falls down the rabbit hole into Wonderland. I must applaud the simplicity in the manner Miner has staged Alice’s falling through the rabbit hole – very simplistic to stage with props and still intriguing to watch. Even umbrella props become fascinating tools to utilize. Other characters are also quite fun to watch. Fiona Sauder and Landon Doak become entertaining word players as Tweedle Dee and Tweedle Dum and as the Mad Hatter and the March Hare. Vanessa Sears’s Red Queen gorgeously becomes larger than life and fun to watch thanks to Ming Wong’s extraordinary costume design. Aisha Jarvis is an attentive Cheshire Cat who moves about the stage gracefully and incorporates some feline movements as she and Alice talk. Jarvis manages to utilize that grin on her face that made me believe she could be from another world. Supporting players Breton Lalama, Jessica Gallant and Richard Lam contribute grandly to the world of the curiouser and the curiouser whereby we all begin to understand why things are the way they are when we ask questions. Final Comments: In her Director’s Note, Sue Miner reminds us to keep asking questions, small and large, because with curiosity and kindness the world cannot help but be a better place. This exceptional cast of players makes us all glad to be back in the theatre. Oh, and by the way, here’s another idea for a Christmas or holiday gift. Come to the theatre and see ‘Alice in Wonderland’. Running Time: approximately 85 minutes with no intermission. ‘Alice in Wonderland’ runs until January 7, 2023, at the Young Centre for the Performing Arts, 50 Tank House Lane in Toronto’s Historic Distillery District. For tickets, 1-416-866-8666 or visit Soulpepper.ca. To learn more about Bad Hats Theatre, visit badhatstheatre.com. ALICE IN WONDERLAND Adapted by Fiona Sauder Soulpepper Theatre Company Presents Bad Hat’s Theatre production Directed by Sue Miner Associate Director: Fiona Sauder Set Designer: Bad hats Theatre Co-Composers: Landon Doak and Victor Pokinko Dramaturg, Associate Director: Matt Pilipiak Music Director: Rachel O’Brien Choreographer: Cameron Carver Lighting Designer Logan Cracknell Costume Designer: Ming Wong Stage Manager: Tamara Protic Artists: Tess Benger, Landon Doak, Jessica Gallant, Aisha Jarvis Breton Lalama, Richard Lam, Matt Pilipiak, Fiona Sauder, Vanessa Sears Previous Next

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