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 Ahmed Moneka Canadian Chat --- Joe Szekeres Iraqi artist Ahmed Moneka has been described as “a cultural force to be reckoned with” as he is working towards his Canadian citizenship. His background on how he arrived in Canada fascinated me and I wanted to learn more about him. And I hadn’t even spoken to him as of yet. Ahmed arrived in Canada on September 10, 2015, and left Iraq for 10 days. He was invited to the Toronto International Film Festival to screen the movie in which he both co-wrote and appeared. The movie was about homosexual rights in Iraq, and there was a wave of events regarding the issue in 2011 in Baghdad. When the film was screened in 2015, Ahmed received threats from the militia in Baghdad and was forced to stay in Canada in order to save his life. Moneka has collaborated with many professional companies including the Canadian Opera Company, Tarragon Theatre, Aga Khan Museum, Tafelmusik, Driftwood Theatre Group, Toronto Jazz Festival, Koerner Hall, Modern Times Stage, Jabari Dance Theatre, Toronto Laboratory Theatre, Theatre Centre, and TRIA Theatre. He is one of the founders of the band Moskitto Bar and is the creator and leader of Moneka Arabic Jazz – a 2019 Stingray Rising Stars Winner at the Toronto Jazz Festival. And he has also learned English in his association with these fine institutions. Ahmed next appears in Crow’s Theatre production of ‘Bengal Tiger at the Baghdad Zoo’ which hopefully opens January 26. There are some fine artists in the production with him and I am sincerely hoping to get to see the production live. Ahmed and I conducted our conversation via Zoom. Thank you so much, Ahmed, for taking the time and sharing your voice: From glancing at your personal web page, I can see your love of the arts of music and theatre has indeed flourished as you have collaborated with many fine Canadian performing arts institutions. Please describe one element or one moment in your life where you instinctively just knew that your path forward would be as an artist. To be honest, I studied theatre in Baghdad for nine years and had an amazing career there. The plan when I came to Toronto was to stay for a short period of time with TIFF. I then had the opportunity to stay so I had to figure out my life. The adjustment with the English language was a huge portion of my life throughout six years. I wanted to see ‘Blood Weddings’ by Lorca directed by Soheil Parsa through Modern Times Stage. This production was amazing. I’m very familiar with Lorca’s work. I went to speak with Soheil with my broken, limited English. I told Soheil how much I loved the production, the transitions. It was amazing. Soheil asked me if I know theatre, and I said that I did know theatre. I told him I’m a newcomer here and that I would love to be in a rehearsal hall. Soheil said to come over as there was a workshop for ‘Waiting for Godot’. I didn’t have any money for the workshop. Soheil asked me where I was from. When I told him I was from Iraq, he said he was from Iran and to come to the workshop of Godot for a free welcome. This was my first workshop in Canada with Modern Times Stage. After the two-day workshop of ‘Godot’, Soheil hired me after that. It was this moment where I believed that I could have a career here in Canada as a theatre artist. I shifted the gear with music as well as it was a huge part of my healing experiences and circumstances, and it was my hope to continue music in sharing my culture with the Toronto community. Do you have a particular preference either of music or theatre to share your narrative voice or do you find as an artist there is a gelling of the two? To be honest, Canada taught me how to be a musician. I learned music from my family. We sang and danced for our rituals, but here in Canada for the first three years, music was a big hope for me. Music was the only language I knew how to share with people. But I’m a theatre artist. I love acting. I love theatre. I love artists. I love that complicated process of theatre. Now I feel like I’m being able to express myself and act in English, and now I consider both music and theatre very close to my heart. I’m hooked. Both music and theatre are powerful ways of delivering stories as a narrative. Would you name one teacher and one mentor for whom you are thankful as an artist, and how these individuals influenced your life as a performing artist. One teacher who has influenced me is d.b. young. I was part of the Soulpepper Academy and d.b. young was with us every Monday of the seven months we were studying. She’s awesome in the way she opened us up and built us up with confidence, especially within me and my ability to push myself towards a theatre career by being honest and real about it. That helped me a lot as an immigrant to be able to trust myself again, be confident again in what I believe and what I love by being a part of the Canadian theatre scene and being part of my new home here in Toronto. As a mentor, my friend, Zac, but also in theatre specifically Jeremy Smith (from Driftwood Theatre). I was connected with Jeremy through an amazing opportunity through the Toronto Arts Council mentorship program for newcomers and refugees. It was a bridge between a newcomer artist and an established artist in Canada. It was a good potential because there was money paid for this entire process. Jeremy was my guide. He introduced me to a lot of people, and we had many meetings where I met many people, going and seeing different shows and meeting individuals there. I also became an Artist in Residence through Driftwood, and they were working on ‘Othello’ that year. As an Iraqi/Arabic, I did some research on the jealousy and what Shakespeare would have meant by the jealousy in the play. My involvement was paid for. When I finished my residency, Jeremy asked me to accompany the group on tour in Southern Ontario. It was beautiful for me as it gave me an opportunity to see southern Ontario and to connect with Ontarians everywhere. I also got to connect with Jeremy and his family. I was very lucky as I felt safe with Jeremy as I was learning English while I was involved with something that I loved – the theatre. Jeremy and I are also in collaboration on future endeavours. The global pandemic has certainly changed our view of the world we once knew. How have you been able to move forward as an artist during these tumultuous times? To be honest, it has been very tough, very tough. But as an Iraqi artist, I believe that art has a purpose and a mission more than action. I have faced many obstacles back home in Baghdad and that made me flexible and adjustable to any circumstances that faced me. I’ve played a lot of music; we’ve played in the park and open venues to create something in order to keep surviving. Toronto is a very expensive city, and I’m a father now. I have a daughter with my wife and my family just came over last year. I receive so much from my family in my push and desire to grow as an artist, as a father, as a son, as a brother, as a husband. At the same time, it’s been very tough financially in that would I have to quit making art and do something else. I don’t want to quit art. I want to keep going. I’ve been writing some theatre pieces, working on an album and also I’ve been thinking about creating a television show about my life here in Toronto and Canada combined with the music scene to shine Toronto. Toronto is a beautiful city with everyone here harmonized here in love and peace. I’ve been taking advantage of sending emails and having interviews, so I want to thank you, Joseph, for this opportunity to connect with others. Theatrically, I’m connected more now than I was before the pandemic hit. I’ve applied for a lot of auditions. I’m getting work. I just finished Soulpepper Academy. After I finish Bengal Tiger at Crow’s, I’m performing next in Orphan Song at Tarragon Theatre. I’m pushing and trying to figure things out, but it’s disappointing to see how the government treats theatre artists. There’s not enough financial support. There’s not enough acknowledgement and recognition towards arts and culture because that is dynamic to the hope of the city. We need to consider art as something important in terms of what’s happening now. Although I haven’t seen ‘Bengal Tiger at the Baghdad Zoo’, the plot intrigues me and I am quite curious about it. There are two parts to this question: Please share what it is about ‘Bengal Tiger’ that attracted you to the piece as an artist. ‘Bengal Tiger’ is about Iraq and takes places in Baghdad in 2000. I was in Baghdad in 2000. I witnessed the war. I heard the bombs; I saw the destruction and how the war destroyed the city. This was my second war as I also witnessed the Gulf War. War is disgusting. I hate war. I hate guns. I hate money that goes to war. ‘ ‘Bengal Tiger’ talks about the war, talks about the disease of war from different perspective which is wonderfully written between the dictatorship of Saddam and the pressure towards the Iraqis and the Americans when they came when the city was destroyed and took the city out and allowed the chaos to happen. I play Musa, an Iraqi translator, who used to work as a gardener creating a topiary. The ghost of Uday Hussein who once employed Musa murdered Musa’s sister, Hadia. Through the journey there is a gold gun that Tom, a soldier, took when he killed Uday. Uday tells Musa he must use the gold gun as “leverage” against the Americans. While working as Uday’s gardener, Musa created a beautiful topiary garden that has since been destroyed by the war. The topiary garden, also the site of Hadia’s murder, becomes a gathering place for ghosts. There’s trauma, there’s ghost haunting, there’s the killing of the tiger. There is a crazy, psychedelic spiritual world. The play talks about Iraqi society are victims between Saddam’s dictatorship and the American invasion of Iraq. There are so many character arcs in the play that drew me to the play. I feel it is part of my journey through the play to share this story of the Iraqi people, their voice and to show that Iraqis are not terrorists, not involved in any terrorism even in 9/11. The Iraqi people were tired of Saddam and opened the door to the Americans; there was hope of the dream to Iraq being connected to allies and open to the western world. Unfortunately, none of this happened. What message do you hope audiences will come away upon seeing ‘Bengal Tiger’? I hope they will believe that Iraqi people are not bad people. The Iraqi people are good people. That is why I said yes to this script and being involved with it. And also I’m so glad to say that I am the first Iraqi involved with this production of ‘Bengal Tiger’. Robin Williams played the tiger in the Broadway production. To be honest, this Toronto cast is incredibly talented…there is zero production rehearsing in Toronto right now and we continue to rehearse with safety protocols in place. But in taking these safety protocols to heart, we are also taking the risk to hope to do this show in public. We are refusing to film it or do it online. We are rehearsing the show with the hope of performing it live beginning January 27. We will be ready to go by then. Everyone is on top of their work. Audiences will be blown away because it’s really amazing this production is a masterpiece – there’s conflict, there’s trauma, there’s love, there’s comedy. There are all the elements of theatre. Yes, there are moments where you will feel uncomfortable and will make you question certain things. There will be moments where you are on the edge of your seat sitting forward and absorbing as much as you can of the action and the characters. I’m helping members of the cast with the accent and so is my sister. I’m so eager and excited to have this show open to the public and to share this story with everyone, and let audiences then decide how they will respond to what is presented before them. Someone once told me the life of an actor and artist is not all sunshine and autographs, but a life of ups and downs personally and professionally. In light of the sometimes-precarious world and life of the actor/artist: What intrigues Ahmed Moneka? Exactly. You said it. We are like a lottery and that intrigues me. We audition. We show up fully on our game. This is the case with the artist. We must be prepared all the time and decide how we want to be involved and with which projects do we want to be involved. We have to believe in ourselves, and listen, listen, listen to any potential opportunity that could come I will create my own opportunity if none is created for me. What frustrates Ahmed Moneka? Sometimes it’s the system that frustrates me. There’s rules of work here that I sometimes think are lame. For example, three weeks of rehearsal is not enough time to shine. I know there’s tech, there’s preview, but the rehearsal is the most fun thing at least for me. In rehearsal you try, you try, you try until you find it. We need to create a star system here in Canada. We need to believe in our own artists here in Canada much like there is the belief in the artists of Hollywood and New York City. Toronto is so unique and there are so amazing artists. I want to listen to them and hear them. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I credit the late James Lipton and “Inside the Actors’ Studio’ for this idea: If you could say one thing to one of your mentors and teachers who encouraged you to get to this point as an artist, what would it be? “Thank you so much for trusting.” 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? “Look at me now.” What’s your favourite swear word? Fuck! It’s amazing. What is a word you love to hear yourself say? “Love” and I have a sentence I always say: “Love is the main reason for a creative future.” What is a word you don’t like to hear yourself say? Hate unto others. With whom would you like to have dinner and discuss the current state of the live Canadian performing arts scene? Justin Trudeau What would you tell your younger personal self with the knowledge and wisdom that some life experience has now given you? Oh, my, this is going to bring me to tears. I would say thank you for choosing hope and life and peace. With the professional life experience you’ve gained, what would you now tell the upcoming Ahmed Moneka from years ago who was just in the throes of beginning a career as a performing artist? Thank you so much for resisting and for telling your father, “No, I want to do theatre instead of cinema.” What is one thing you still wish to accomplish both personally and professionally? Personally, I want to be a wonderful husband and good father and good son, brother and friend. I want to be a good human in listening to everyone around me. Professionally, I would really like to enter the television and film industry. Name one moment in your professional career that you wish you could re-visit again for a short while. Being in the same room with Wajdi Mouawad. I worked with him in the Canadian Opera Company. It’s crazy how he’s convincing. He’s like a little boy but he is so talented and so humble. I want to learn more from him. To learn more about Ahmed Moneka, please visit his page: www.ahmedmoneka.com . To learn more about Crow’s Theatre, visit www.crowstheatre.com . Previous Next

Back Room Now onstage at Toronto's Princess of Wales Theatre Dahlia Katz Joe Szekeres, Canadian Theatre Critics' Association This ‘Room’s’ emotional gut punch is still strongly evident for the most part at the Princess of Wales After seeing the emotionally jaw dropping ‘Room’ at London, Ontario’s Grand Theatre several weeks ago, I was making the sign of the cross and hoping I would receive another invitation to look at it once again. I’ll include the link to the Grand Theatre piece I had written at the end of this article. Thank you to Mirvish for extending an invitation to return and see this extraordinary cast perform this almost near emotionally gut punching production which, despite its traumatic and possibly triggering storyline, remains triumphantly wonderful. Kidnapped as a teenage girl, Ma (memorable work by Alexis Gordon) has been locked inside a purpose-built room in her captor’s garden for seven years. Her five-year-old son, Jack (played at this performance by the up-and-coming Lucien Duncan-Reid) has no concept of the world outside what he calls ‘Room’ and happily exists being there with the help of Ma, her games, and his vivid imagination where Rug, TV, Lamp, Plant, Bathtub, Table, Sink and Wardrobe are his only friends. The young Jack knows of the world through watching it on television but doesn’t grasp that it is possible for him to experience the world directly. Ma makes an intense decision for she and her son to escape and face their biggest challenge to date: to learn to exist and be outside Room and to reconnect with the world she once knew over seven years ago. When I saw the show at The Grand, there was so much to examine about the play regarding the plot, the characters, and the theatricality of the presentation. To watch the stage adaptation again with fresh eyes in knowing the plot has made me pay closer attention to important elements and fully appreciate them even more. One example is the extraordinarily fascinating performance by Brandon Michael Arrington as SuperJack. For those who have read ‘Room’, SuperJack does not appear in the novel. In her Playwright’s Programme Note, Emma Donoghue states: “Adding SuperJack was a pragmatic device to avoid making our very young actors deliver long monologues, but [his addition] turned out to be a rich way of showing what superpowered ever-questioning minds can inhabit little bodies.” Arrington’s inherent richness as an actor was powerfully reflected on this opening night, and most splendidly during the second act especially in his emotionally tortured musical solo. He and the adorable Lucien Duncan-Reid’s top-flight synchronicity in the gelling of child movement throughout the first act was a wonderful sight to behold and hear. It is in the second act where we see Arrington’s impressive work as an actor when he breaks the fourth wall and speaks to the audience compellingly. Alexis Gordon’s triumphant performance as Ma continues to remain consistently compelling throughout as she so fearlessly revealed at The Grand. Her vocal solo at the end of Act One involving her son continues to soar past the rafters of the POW and still drew a tear from my eye. Ms. Gordon never one ventured over the top into histrionic shouting and crying in so many dramatic moments as she soundly remained in believable emotional control and always remained bravely aware in the present moment. From my seat in the house, I could just feel a credible and assured maternal connection she has made with the young Duncan-Reid through the passionately stirring gamut of feelings. Marvelous! Supporting players continue to remain in superfine form. Ashley Wright is a weasly, terrifying and creepy Old Nick. As Ma’s parents who are experiencing familial and tense discord themselves, Tracey Ferencz’s Grandma soulfully searches within herself to do what’s best for Jack while Stewart Arnott’s Grandpa restores faith that one can truly change his vision of seeing things especially when the life of a child is at stake through no fault of his own. In her brief appearances as the police officer, television interviewer and Popcorn Server, Shannon Taylor serves as a stark warning of those individuals who may think they are doing their best to help understand the effects of trauma but in fact are only continuing the problem. The sickeningly claustrophobic sound, look and feel of the ‘Room’ where Ma and Jack have struggled to live prevails and looms on the Princess of Wales stage. I had the perfect vantage point from my seat where I could see and study it carefully so once again attention must be paid to Bonnie Beecher’s subtle lighting design and John Gzowski’s distinct sound designs. Projection Designer Andrzej Goulding black silhouetted scrim with simple child drawings on stage right and stage left are clear reminders of the importance of knowing this story is told from a child’s perspective. The eerily humming and buzzing noise of what sounds like fluorescent lighting has been gorgeously captured audibly in the auditorium. That marvelous choice to incorporate music and song for character development was an excellent choice so a huge credit of acknowledgment continues to be extended to Cora Bissett and Kathryn Joseph. I continued to glean so much about the characters from listening to the lyrics and hearing the music surrounding the plot action on stage. At the Grand, I spoke how Gavin Whitworth’s music direction sometimes overpowered the singers and I couldn’t clearly hear some of the song lyrics. That didn’t occur at all this time as I could clearly hear the words. However, one component near the end of the play left both my guest and I feeling just a bit disappointed. In the Grand production, there was a final onstage tableau in Act Two with Arrington, Duncan-Reid, and Alexis Gordon that remained embedded in my mind even as I wrote the article the next day. I don’t want to give that moment away, but a very important plot component was missing from the Toronto production where that final tableau did not punch gut me hard as it did at the Grand. Just a slight quibble, that’s all. Final Comments: This primo ‘Room’ cast deserves to be visited and experienced firsthand. Room is an unforgettable experience and reminder of the power of resiliency in extremely trying circumstances. Covid Protocols in effect at the theatre. Running Time: approximately 2 hours and 30 minutes with one intermission ‘Room’ runs to May 8 at Toronto’s Princess of Wales Theatre, 300 King Street West. For tickets visit www.mirvish.com or call 1-800-461-3333. My review of The Grand Theatre production: https://insidelookingin60.wixsite.com/mysite/post/review-room-now-onstage-at-london-ontario-s-grand-theatre ROOM by Emma Donoghue, adapted for the stage by Emma Donoghue In a co-production with the Grand Theatre, London, Ontario, and Covent Garden Productions, UK With songs by Cora Bissett and Kathryn Joseph Directed by Cora Bissett Set and Costumes: Lily Arnold Lighting Design: Bonnie Beecher Movement Coach: Linda Garneau Projection Design: Andrzej J. Goulding Sound Design: John Gzowski Fight & Intimacy Director: Siobhan Richarson Associate Director: Megan Watson Performers: Stewart Arnott, Brandon Michael Arrington, Levi Dombokah, Lucien Duncan-Reid, Tracey Ferencz, Alexis Gordon, Shannon Taylor, Ashley Wright. Starr Domingue, Thom Marriott, Christopher Parker, Alix Sideris Previous Next

Back 'Sense and Sensibility' by Jane Austen with adaptation by Kate Hamill Presented by the Saint John Theatre Company, Saint John, New Brunswick Andrew Finlay Aaron Kropf Saint John Theatre Company’s latest offering was Kate Hamill’s adaptation of Jane Austen’s Sense and Sensibility. Presented on the Imperial theatre stage, this production headed by Sandra Bell is not your run-of-the-mill Austen. It’s a quick and snappy take on a classic. Under Bell’s direction, the company aptly moves from scene to scene and character to character. I have to confess that Sense and Sensibility is the Austin novel I’ve never read. Because I wasn’t familiar with the source material, I feel like I was a little behind from the start of the show. This isn’t the fault of the team behind this production; rather it sits squarely on the shoulder of adapter Kate Hamill. This issue could have been easily corrected by making better use of the gossips at the top of the show. That aside this Sense and Sensibility is truly a delight. The Dashwood sisters were masterfully portrayed by Emily Bartlett (Elinor), Pippa Wennberg (Marianne), and Madison Lucas (Margaret). Each was both charming and relatable, and spit out the dialogue clearly and with mind-numbing speed. The love interests of the elder sisters were just as charming in the hands of Winluck Wong (Edward Ferrars), Peter Boyce (John Willoughby), and Dewayne Keating (Colonel Brandon). The cast is well-rounded with several supporting characters. CC Humphries needs to be highlighted because not only did he take on several characters but did so by also manipulating his voice. Thus making each of his characters (Sir John Middleton, Doctor, and Thomas Palmer) visually and audibly distinct. One of the challenges the script presented was jumping from one location to the next with only a few lines of dialogue between scene changes. The use of a few chairs, tables, a bench, door frames, and windows (all of which were on wheels) made these jumps from one scene to the next seamless. The only issue was the sound created by castors on the tables, chairs, and bench. The company couldn’t deliver their lines while they zipped from one spot to the next for the noise caused by the castors. That aside the use of these simple set pieces was put to great use and made each location distinct. Sense and Sensibility was a delightful night at the theatre and a gem as part of the Saint John Theatre Company’s season. It is a production that is distinct from Austin’s original work but still conveys her sense of charm and class. The production has now closed. Previous Next

Back 'Love, Loss and What I Wore' by Nora & Delia Ephron Production staged by The Borelians of Port Perry at Town Hall 1873 Scott Murdoch Joe Szekeres Smart, savvy, and saucy performances delivered by a technically solid ensemble I’ve never seen this play before, but I’ve heard of its title. ‘Love, Loss and What I Wore’ is akin to A. R. Gurney’s ‘Love Letters’ where the original casts just read from the script, and it was up to the audience to imagine the story playing out in front. This form known as ‘Reader’s Theatre’ would allow for casts to come and go as very little rehearsal time would be needed. In a slow return to the Durham Community Theatre Scene still in Covid throes, director Helen Coughlin and her cast made the choice not to read the scripts but to memorize them. Was this a good choice? More about that decision shortly. Love, Loss and What I Wore’ is a series of monologues by Nora and Delia Ephron and is based on the book of the same title by Ilene Beckerman. The story is a series of monologues focusing on the lives of five women and the clothing they wore at certain times in their lives. There are a few moments where the script shows its age. For example, there is a reference to the singer Madonna’s ‘Vogue’ which the ladies do at one point. But just because the play might be showing its age doesn’t make it any less relevant. What’s that adage? With age comes experience and, for me, that’s a mystique about ladies that can also be seen as a sexy quality. For some reason, women have this inherent instinct they remember what they had worn or what someone might have worn or not. Don’t get me wrong as this is not meant to be ‘mansplaining’ anything. Women just have this unique instinct that men don’t care about at all which I find fascinating about womanhood. The Borelians made some interesting choices for ‘Love’. This is a story about women and what transpires in their lives and in their connections to what they had worn at certain times. Can males find anything to connect with in this script at all? Recently, I had a conversation with the Producer of this show, Carolyn Goff, who is also a performer in the play and believes men can connect with the story. Good storytelling is not gender-biased. Recently the Port Perry theatre company sponsored an online contest where the production was billed as a night out with your best girlfriends. Why would men want to come to the theatre knowing this is a girls’ night out? This might appear that men might not get the story. Off I went to the opening and see if I could make a connection with the show. I also counted 14 men in the audience. If they do read this article, I hope they will comment as I would like to know what they thought. My thoughts – go and see it, guys and yes, ladies make sure you get a ticket. These are all smart, savvy, and saucy ladies who tell a good story. The second choice made by director Helen Coughlin and the cast was to go against the grain and memorize the monologues instead of reading them. Was this a good choice to make? I had no problem with it at all. It worked soundly for me in the Town Hall. From designer Shelley Martin’s neatly attractive and tidy set where every item had its proper place to Amy Caughlin’s fastidious digital designs, the production clips along at a natural sounding pace. Nothing appeared to be rushed or forced. Under Helen Coughlin’s subtle yet controlled direction, these five ladies inherently just knew when to hold for laughter or when to make those appropriate pauses for comic or dramatic effect. They sharply make the most of their time on stage as I saw distinct characterizations of many different personalities. At the top of the show, we are introduced to Gingy (Amy Caughlin) whom I thought becomes the central narrator of the story. She is sketching various clothing designs from her wardrobe that sparked personal memories for her. From there, the various ladies step forward and begin to tell their stories in their voices about events and what they wore. Some are downright hilarious, others poignant, some sad and others troubling. Amy Caughlin corralled my focus immediately at the top of the show. Her consistently calm and in control knowing smile on her face and the twinkling glean in her eye suggested she and these ladies are here to tell you some good stories and tales. And they dutifully delivered. Although the ladies play several distinct characters, I’ll only refer to one here. Go and see how they handle the others. Lara Stokes’ sharp comic sense of timing is pitch-perfect as she talks about shoes. Carolyn Goff also displays keen timing not only on why she hates her purse but also in the tough girl image she shows us about halfway through. Annette Stokes’ story as a breast cancer survivor becomes funny, touching and very poignant, especially for those of us in the audience who have been affected by the disease in any way. Joanne Norman’s frantic search to find the right thing to wear (when she says she has nothing to wear while surrounded by a mound of clothes) is enjoyable. Final Comments: As the Durham Region community theatre scene slowly returns, ‘Love, Loss and What I Wore’ was an appropriate choice to showcase the Borelians are back in business. Lovely to see the tight ensemble work on stage. Running Time: approximately 95 minutes with no intermission. ‘Love, Loss and What I Wore’ runs October 21 and 22 at 8 pm AND October 22 at 2 pm. All performances take place at Town Hall Theatre, 302 Queen Street, Port Perry. For tickets visit www.townhalltheatre.ca . ‘Love, Loss and What I Wore’ by Nora and Delia Ephron, Based on the book by Ilene Beckerman Presented by Borelians Community Theatre. Director: Helen Coughlin Producer: Carolyn Goff Stage Manager: Brenda DeJong Set Designer: Shelley Martin Lighting Designer: Joanne Norman Sound Designer: Michael Serres Digital Designer: Amy Caughlin Cast: Amy Caughlin, Lara Stokes, Annette Stokes, Carolyn Goff, Joanne Norman, Brenda DeJong Previous Next

Back Canadian Stage DREAM IN HIGH PARK presents 'HAMLET' by William Shakespeare Now on stage until September 1 at Toronto's High Park, 1873 Bloor Street West Credit: Dahlia Katz and with permission of Canadian Stage. Guest writer Louis Train “A sassy, wise and witty HAMLET with a sharp as rapier performance by Qasim Khan in the title role.” When you think of Hamlet, does the word ‘sassy’ come to mind? If not, you probably haven’t seen the wise and witty production mounted by Canadian Stage for this year’s Dream in High Park. They have taken the source material and pared off at least 1000 lines, scraped off much of the melodrama and polished what was left into a work of theatre that is recognisable as one of the masterpieces of the Western canon, yet much leaner and lighter. It is Diet Hamlet, with extra fizz. Qasim Khan leads this innovative new production as that melancholy Dane, only not so melancholy. Khan explores and exaggerates Hamlet’s infamous wit, playing him not as a moody teenager, but as your friend who’s too clever for his own good. His ‘To be or not to be’ is sublime, but it is his back and forths with castmates that set this Hamlet apart. His wit is as sharp as rapier dipped in poison, and much more fun. ‘Fun’ is a good word for this production overall. If I recall my grade 12 English correctly, Rosencrantz (Amelia Sargisson) and Guildenstern (Christo Graham) were not particularly major characters, but here they are, simply beaming charm, in more than half the scenes of the show. Even Polonius, a figure I typically think of as dull and patronising, is played by Sam Khalilieh with a bright and slightly menacing charisma. This Hamlet is no pure comedy, however. Everyone who should gets stabbed gets stabbed; the fight scenes are tight, and the deaths as dramatic as you’d want them to be. If watching Raquel Duffy as Gertrude die slowly of poison while you sit on the ground surrounded by darkened trees and probable raccoons isn’t on your summer 2024 bucket list, what is? In years past, Canadian Stage mounted both a comedy and a tragedy for Dream in High Park; this year, we get only Hamlet. It could be argued, by someone bolder and more articulate than I, that this production is pulling double duty as both a tragedy and a comedy; that, by removing some of the slog and playing up the humour, Jessica Carmichael has directed a work of theatre that is thought-provoking and entertaining to all. What a piece of work it is. A side-note: This production runs over two hours without an intermission. Production runs until September 1 at Toronto' High Park Ampitheatre, 1873 Bloor Street West. For tickets: canadianstage.com or call (416) 368-3110. Canadian Stage presents ‘HAMLET’ by William Shakespeare Director: Jessica Carmichael Set and Costume Designer: Joshua Quinlan Lighting Designer: Logan Raju Cracknell Sound Designer: Christopher Ross-Ewart Fight Director: Anita Nittoly Stage Manager: Anna R. Kaltenbach With Prince Amponsah Raquel Duffy Christo Graham Stephen Jackman-Torkoff Sam Khalilieh Qasim Khan Breton Lalama Beck Lloyd Diego Matamoros Dan Mousseau Amelia Sargisson James Dallas Smith Previous Next

Back Nabil Traboulsi Self Isolated Artist Emily Lambert Joe Szekeres Just before the pandemic shut everything down, I had the chance to attend a terrific production of Ella Hickson’s ‘Oil’ at ARC. I had never heard of ARC theatre before but was seeing many online advertisements for the play that piqued my interest. I was pleased to have written a profile of Bahareh Yaraghi, one of the artists from this production. As I was thinking about other artists whom I’d like to invite for an interview, I remember that Nabil Traboulsi also gave a memorable performance that evening. I was pleased when I had contacted him and he agreed. Nabil has received solid training as an actor according to his biography from his website. He has performed in New York, Toronto and Brussels. He is fluent in English, French and Arabic so I will have to practice my knowledge of the French language with him sometime. I see he has also performed at Theatre Francais de Toronto so I will have to attend a performance there as well. We conducted our interview via email: 1. It has been the almost three-month mark since we’ve all been in isolation? How have you been doing? How has your immediate family been doing during this time? I’ve been doing well given the circumstances. I mostly feel gratitude for being here in Canada where there has been some support provided to help us through this difficult period. There have been things that could’ve been more successful bug as a whole I believe we are doing well. Of course, some days are more difficult than others and it’s a time to be especially kind to ourselves and each other, but I live with my partner and we keep each other happy. My parents live in Beirut, Lebanon (which is where I grew up). I have two brothers living in Berlin and Dubai and they are all safe and healthy. We talk regularly. 2. As a performer, what has been the most difficult and challenging for you professionally and personally? We make our living by being around people, collaborating with other artists, and putting on shows for live audiences, so it’s been hard to have that taken away so abruptly, but it’s what needs to be done to get to a place where it’s safe to get together again. Looking ahead has also been a source of anxiety because it feels like theatres won’t be able to open safely for awhile. 3. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I was in performances for ARC’s production of ‘Oil’ by Ella Hickson when the world came to a standstill. Thankfully, we were able to have two weeks of performances and we only had to cancel the last of our three-week run. I’m so grateful that we were able to share this very important play with our audiences and I wish the people who were planning on seeing it during the last week had been able to do so. Who knows, maybe a remount in the future? My heart goes out to all the artists who were involved in shows but weren’t able to share their work with their communities. I know that theatres are working hard to incorporate these plays in future seasons so I have high hopes. 4. What have you been doing to keep yourself busy during this time? I’ve been doing a lot of things that I usually do or want to do but didn’t have enough time for because of work. It’s been lovely to just be able to spend some time with my partner, Margaret, and sip a cup of tea in the backyard. We’re both actors so she’s been organizing weekly play readings on Zoom which has been a great way to discover new plays or revisit familiar ones so it’s a different experience from reading it alone. We also go for daily walks and I try to exercise as much as possible. I quickly notice that when I’m not active, I tend to feel ‘smaller’ and more prone to having a bad day. And then more of the common pastimes that a lot of us have resorted to: cooking, reading, watching films and tv shows, podcasts, tuning into Zoom readings and/or live interviews and panels. Music has been a part of my life since I was a teenager and it’s been an important creative outlet. Oh, and I seem to have developed an interest in birds, which is something I never thought I would be into. They’re fascinating and incredibly unique and watching them makes me think of characters and acting. This makes it sound like I’m accomplishing a thousand things a day so I want to clarify that there has also been A LOT of just sitting on the couch mindlessly browsing the internet or social media and some very unproductive days. 5. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty? I’m trying my best to take it one day at a time and take in what’s happening around me. The actor in me is always and forever will be a student of human behaviour so I think it’s a good time to check in and see how I feel on a regular basis, but also to tune in and watch other people around me. 6. Do you see anything positive stemming from Covid 19? Yes, I see a lot of positives. The status quo we were operating under before the pandemic hit was bad. The dominating capitalist and consumerist paradigm that we’ve developed over the past 50 + years is wreaking havoc on the planet and our ability to live in a fair society. I think it’s interesting that from a purely biological perspective, a virus has spread to curtail humans’ need (?) to drill for oil, pollute the planet and produce mass quantities of useless products. It feels like a self-regulation of sorts and it should be a wake up call going forward. The success of societies should be gauged by how the most vulnerable people are faring, and not by how many billionaires we produce or how much value we’ve created for shareholders and large corporations around the globe. I sincerely hope that on a macro scale, we will adjust in a way that is appropriate, before irreversible damage is done. The only thing is that this has allowed us to stop and reflect on what truly matters in our lives. Even our industry can be a bit of a rat race, where we’re all trying to book the next job. I think a lot of people have been able to take a deep breath and feel like they have time to rest and organize their thoughts. Nevertheless, it’s important to recognize that even this is a privilege and that a lot of vulnerable people don’t have that luxury and have to hustle even harder to make ends meet during the pandemic. 7. Do you think Covid 19 will have some lasting impact on the Canadian/North American performing arts scene? On a practical level, I think all industries worldwide will be impacted. It will take some time to recover economically as a country and a lot of our theatres depend on public funding. Overall spending is going to decrease which means less tax dollars for governments, in addition to the burden of making up for the crucial emergency benefits that were created and helped so many of us stay afloat, will make the recovery difficult but not impossible. However, we’ve been putting on plays and telling stories for millennia so the core of what we do as artists doesn’t change and the core of how we experience art as an audience doesn’t change. It’s deeply ingrained in our DNA and our culture, and that is a comforting thought. We are resilient and we will adapt to the circumstances. 8. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I love it! I’ve watched a lot of performances online and it’s been a blessing. Live readings are even better. However, I don’t think this will replace live theatre in any way, shape or form. Theatre needs an audience to exist and nothing can replace that. If I wanted to experience something through my screen, I’m more likely to watch a movie or TV show because that was created for that medium specifically, and so it will be crafted more successfully than say, a video recording of a play. This is a temporary situation and we will be back in our theatres when it is safe to do so. You can’t replace the live experience of the theatre the same way you can’t equate watching a concert online with being there. 9. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? The connection with my fellow actors and creatives. The community around it. The pleasure of being in front of a live audience. The joy of crafting a performance and finding the nuances and subtleties, and most importantly, understanding the human story that is being told. Those are some of the reasons why I love being an actor and they exist independently of Covid. 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? Pamplemousse 2. What is your least favourite word? NO 3. What turns you on? The idea that all humans are connected through biology but also through our stories and myths, no matter when and where. 4. What turns you off? Negativity 5. What sound or noise do you love? Birds chirp in the morning. 6. What sound or noise bothers you? The air show. 7. What is your favourite curse word? COCK AND BALLS ! 8. Other than your own, what other career profession could you see yourself doing? Musician or investigative journalist 9. What career choice could you not see yourself doing? Soldier 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Come on in, man, they’re waiting for you.” To learn more about Nabil, visit his website: http://www.nabiltraboulsi.com . 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 'Prophecy Fog' by Jani Lauzon A Paper Canoe Projects Production in association with Coal Mine Theatre Dahlia Katz Dave Rabjohn “The strength of this production comes from Lauzon’s efficiently calm narrative.” Central to the production of “Prophecy Fog” is creator Jani Lauzon’s question: ‘can a site still be sacred if it has been desecrated?’ This, and other indigenous and environmental issues are effectively raised in the one woman play recently opened at Coal Mine Theatre in Toronto. The DNA of this production comes from The Theatre Centre’s Tracey Wright Global Archive which encouraged artists to travel to locations and communities around the globe seeking new artistic platforms. Jani Lauzon’s travels took her to the Mojav desert in California to visit the sacred Giant Rock – infamously turned into a graffiti ladened tourist slum. The story of this adventure with her daughter Tara Sky is included with other ancient stories and considerations woven into an immersive evening about family respect, human interaction with the earth and sky, and wistful memory. The catch phrase ‘an intimate space’ does not do this set justice. It begins with a small red circular carpet, then ringed with successions of stones, then ringed with two rows of audience and above ringed with a circular screen. The audience is virtually part of the set. Lauzon moves in and out of the various rings pulling the audience together along with her storytelling. “Stones are Mother Earth’s skin” she relates as she interacts with the various stones from large blocks to tiny pebbles. She introduces some as almost puppet-like with cute shapes or metaphysical stories. The stones are also a part of the rhythm of the play – as Lauzon tumbles the stones on the stage, they bounce with a harsh echoing sound enhancing the drums in the background. Thus, we are introduced to the Great Stone (Giant Rock). Lauzon folds herself into the shape of a rock and overhead images display the desecration of the space and a comical interview with a man who apparently visited a nearby landing of alien creatures. This further indicts man’s indignities to Mother Earth. The strength of this production comes from Lauzon’s efficiently calm narrative. She does not lecture with bravado – she weaves stories with soothing precision. No raging anger here – her voice and demeanour of placid serenity dignifies her messages and gives them more integrity. Interactions with her influential elders and family members, including her daughter, are a part of the fuller circle of her life and her interaction with the physical and spiritual worlds. Overhead images by the design team of Melissa Joakim and Tim Lindsay offer an effective documentary feel to the stories of her relationships. Two pieces of inventive stage craft stand out. Lauzon hands out rocks for different members of the audience to hold and reach up. The pattern of the rocks resembles the outline of Ursa Major. A final scene is created by seemingly innocuous pebbles spread about the stage. As lights dim, they create a sea of stars surrounding our narrator – Earth and sky reaching out to each other. ‘Prophecy Fog’ by Jani Lauzon Performer: Jani Lauzon Director: Franco Boni Design: Melissa Joakim, Tim Lindsay Stage management: A.J. Morra, Jen Newnham Production runs through : December 10, 2023. Tickets : coalminetheatre.com Previous Next BACK TO TOP

Back Jake Epstein Will Soon Be The 'Boy Falls From the Sky' at The Royal Alexandra Theatre Looking Ahead Luke Fontana Joe Szekeres On his day off from final week of technical rehearsals for his upcoming one-man solo show ‘Boy Falls From the Sky’ (which had been postponed twice on account of Covid), Jake Epstein told me during our conversation that, once we were finished the Zoom call, he had stuff to do like laundry and clean his place. I laughed because once I had finished speaking to him, I had the exact same tasks to do. Performing artists also have the daily routines we all have. What an enjoyable conversation I had with Jake this afternoon. He’s excitedly thrilled and feeling good for the opening of ‘Boy Falls From the Sky’. He says that working on the show has been one of the joys of his life in getting to turn this period he buried and didn’t talk with anyone into a show that is joyful and fun. ‘Boy’ is a show on Jake’s own terms as it celebrates the good and bad, and the absurdity of show business. and on his own terms He had a normal life growing up in Toronto. One of the highlights he remembers were the yearly treks to New York City he took with his mother, father, and older sister (artist Gabi) to see Broadway shows. Epstein appeared for six seasons on ‘Degrassi: The Next Generation’ before he pursued further studies at Montréal’s National Theatre School. He had applied to Ryerson (X) University and was accepted but wanted to attend school in Québec because there is a prestige as only twelve students are accepted. It was also a chance to move away from the comfort of home and try something new. Epstein also knew several of the Montréal faculty at that time who were and are remarkable artists: Marti Maraden, Alisa Palmer, Ted Dykstra, Kate Hennig, so that sealed the deal for him. Jake’s dream was to perform on Broadway. When I asked him what advice he might give to the young people in theatre school now or who are considering a career in the performing arts? “Life isn’t a fairy-tale. It’s not linear. Some of the best moments and career successes in my life have been complicated. A career in performing and show business is wonderful to get to entertain others and I count my lucky stars everyday I get to do what I love. But after doing it for a long time, I hit a wall and had a hard time talking about the reality of the business. It is complicated. That quote you mentioned, Joe, from Lucie Arnaz: “It’s not all sunshine and autographs…I would put that on my wall. I’m not out to scare young performers because it’s one of the greatest jobs in the world plus it’s also one of the hardest jobs too. You have to be a hustler and have to be ready to take the good with the bad.” Personally, how have he and his immediate family been faring: “Knock on wood, everyone is doing okay right now. My sister had a mild case, but she is recovering so very thankful. My parents are doing okay. My wife, (actress) Vanessa Smythe, and I have had each other’s backs.” Like all the artists whom I’ve interviewed for this Profile series, Jake has experienced his share of ups and downs when everything vanished and there was that initial state of panic and wondering if theatre was ever going to be a thing again. Jake and Vanessa were in the stages of purchasing a house so he wasn’t sure if he would be able to make mortgage payments when his work for a year simply vanished. He got a part time job as a transcriptionist. How did the part time job fare? “I was pretty bad at it. I was horrible at it, actually. I was transcribing people from all over the world in different dialects. I was very lucky when I got a film job getting to film a season of ‘The Umbrella Academy’ which is coming out on Netflix, so this work allowed me to quit the transcriptionist job thankfully.” Epstein notes the preciousness and vitality of live theatre. It’s not a given in the world and it’s very special when it’s allowed to happen, and it becomes a big deal for all of us to see it in our third year of Covid waves. He appreciates very much the opportunity to perform ‘Boy Falls from the Sky’ even more. The Mirvish website states the following about Jake’s upcoming solo show directed by Robert McQueen: “[dreams]… don’t always go as planned. Through a series of entertaining and soul-baring stories and songs, ranging from touring the US, to surviving ‘Spider-Man’, to withstanding steroid shots and Broadway boos, Epstein shares the rejection, stage fright and heartbreak behind a seemingly successful career in this showbiz tell-all.” ‘Boy Falls From the Sky’ began as a cabaret where it was a series of songs interwoven with some stories. Jake says he is a huge fan of Robert McQueen’s (director of the Toronto run of FUN HOME through Mirvish). Jake also recalled going to see ‘Life After’ a show McQueen developed at the Fringe which then went into further development with Toronto’s Musical Stage Company. Epstein credits McQueen in taking what was very much a cabaret with ‘Boy Falls From the Sky’ and transformed it into a solo show with some various characters, some scenes and stories. For Jake, yes, it’s still a cabaret. But he also calls ‘Boy’ a stand-up comedy show, a solo show and a musical show. Without spoiling the show, all I’m going to say is there are at least two big Broadway names whom Jake mentions - and what they said to him made me laugh out loud. Plus, there is also someone with whom Jake worked who is now making world headlines. You’ll have to see the show to personally experience the comedy of the moment. Epstein also mentions a few other individuals in ‘Boy’ whom he calls inspirational. When I asked him who are some of those who now inspire Jake in his work and personal life, he paused and considered first before he mentioned Tom Hanks (who saw Epstein’s work in the touring company of ‘Green Day’) and Mark Ruffalo. Jake also mentioned Canadian singer/song writer Hawksley Workman, his favourite performer to see. Jake also looks to his older sister and artist Gabi Epstein (who appeared in the Stratford Festival production of LITTLE SHOP OF HORRORS) for inspiration in his life. Jake finally got the opportunity to originate a Broadway role – he played Gerry Goffin, singer/songwriter husband to Carole King in BEAUTIFUL: THE CAROLE KING MUSICAL. Epstein recalls the first time Carole came to watch and to speak with the original Broadway cast in rehearsals. The first thing she said: “Who’s playing Gerry?” At this point, the look on Jake’s face on camera said it all to me. Part of ‘Boy’ also recalls his time in ‘Beautiful’ and how he responded to Carole’s wish, so you’ll have to come see the show to find out what happened. Epstein recalls how amazing and wonderful it was to be part of ‘Beautiful’, to tell Carole’s story, and to play Gerry Goffin, an iconic singer and songwriter himself. Jake called himself a weird kid because he grew up listening to folk music and not listening to the music he ‘should’ have been listening to in his room. The Beatles, James Taylor, Paul Simon – that was Jake’s music. What are some specific themes or messages he hopes audiences will walk away with at the conclusion of ‘Boy Falls from the Sky’? First and foremost, for Jake, the show has to be fun and a piece of entertainment especially right now given the state of our world with the sixth wave of Covid and the horrible events going on in Ukraine. People want to come to the theatre to be entertained and to be moved. Performing ‘Boy’ has taught him how to let go of the expectations of how life goes. Jake built up this whole narrative that he was going to make it on Broadway, and he will have the world by the tail. That’s not how the reality of how life goes. Jake has learned when you let go of the expectations, all of a sudden there’s space to see beyond a disappointment and to appreciate life more, to appreciate both the good and the not so good. That, for Epstein, is the heart of ‘Boy Falls from the Sky’. ‘Boy Falls From the Sky’ runs April 19 – May 29 at Toronto’s Royal Alexandra Theatre, 260 King Street West, Toronto. For tickets, visit www.mirvish.com or call 1-800-461-3333. Previous Next

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

Back 'Snow White' adapted by Greg Banks Now playing on the Ada Slaight Stage at Toronto's Young People's Theatre Dahlia Katz. Ken Hall and Amanda Cordner Joe Szekeres This adaptation of ‘Snow White’ is a charming holiday gift to young people in your life and introduces them to the wonder of the theatre. This adaptation of ‘Snow White’ is so charming in its unique adaptation. It’s being presented as the true story of what really happened to the central character. The online programme and advertising recommend the production for everyone from the ages of 6 – 106. And what makes it uniquely charming and different? For one, this ‘Snow White’ is performed by two actors who will play all the characters including the wicked Queen and the dwarfs. Four actors will rotate performances. At this performance, Amanda Cordner played Snow White while Ken Hall played (Four) including all the dwarfs. Young People’s Theatre Artistic Director Herbie Barnes who welcomed us on opening night will play Four in the other cast along with JD Leslie as Snow White. Barnes’s suggestion – we should return to see the other cast. The other difference that is first noticeable? The production does not adhere to the traditional playing of Snow White. Cordner and Lesley are BIPOC performers. More about Cordner’s work shortly. What is fascinating about this adaptation first is the pop-up storybook motif director Aurora Browne incorporated into her vision for the piece. Brandon Kleiman’s pretty set design of healthy-looking trees, a suggestion of a leafy meadow and a tree stump almost appear three-dimensional from my seat in the house. There looked to be fruit attached to some of the branches of the trees. Siobhán Sleath’s tepid lighting design at the pre-show setting faintly suggests the coolness of the forest. Raha Javanar’s ear-pleasing musical interlude at the pre-show setting kept repeating as the audience entered. This helped to focus my attention on what was about to transpire within this forest. Interestingly and mercifully, Greg Banks’ adaptation is not going to be another Disneyfied version of the story. Not at all. With Disney’s virginal damsel in distress, his ‘Snow White’ is delicate as fine bone china. One wrong move and the object shatters into pieces with no hope of being put back together. There appears to be this sense of continued dread and fear in the film version which reflects the suspense and intensity that Snow White could be destroyed or shattered at any given moment. I didn’t find that sense of dread and fear in Banks’s adaptation. None whatsoever. Instead, his ‘Snow White’ utilizes physical comedy bits of shtick to tell the story and confront the issues surrounding it in a modern vernacular manner that meets them head-on. Snow This directness appeals to the twenty-first-century young person. Amanda Cordner is not the submissive and passively meek-sounding damsel from the Disney film. There are some suggestions of violent moments that occur in the forest, but they are neatly countered with bits of comic physical shtick. Here, Cordner sometimes speaks in what I call the street-smart sense. For example, throughout my 33-year career as an educator, I can recall many students of diverse backgrounds telling “‘You know what I’m sayin’” if they were explaining something to me. Cordner soundly incorporates this street-smart vernacular quite a bit throughout her performance which soundly adds to this new understanding of ‘Snow White’ that she is a survivor, especially after she is forced out of her home by her stepmother the wicked queen. Ken Hall appropriately and soundly plays off Cordner’s realistic street-smart sense in his roles of the seven dwarfs. I’ll admit I was puzzled as to why he is called Four since we all know the dwarves have their own names. Well, I’m surmising, at least for me, numbers as names remove any form of connection we can make to that person. Instead, numbers indicate specificity, and we can then be objective regarding numbers instead of feeling subjective. For Hall, then, his task is to show us the emotions and thoughts of his six comrades which he successfully accomplishes in spades. What I found quite interesting is Snow White’s decision not to go off with her Prince Charming who awakens her with a kiss. The physical bit of shtick between Cordner and Hall is well worth the wait. Instead, Cordner’s Snow White realizes the importance of staying with the dwarfs as she recognizes how much they have cared for her. I’ve been having conversations recently with others regarding ‘relationship-building’. Greg Banks’ adaptation recognizes the importance of relationship building in the twenty-first century. Final Comments: Some grand changes at Young People’s Theatre in the physical space of the lobby and the main theatre itself. Nothing has changed though regarding the power and influence of the theatre on young people. ‘Snow White’ attests the story can be adapted to reflect current and updated issues. Introduce the young person in your life this Christmas and holiday season with ‘Snow White’. Running Time: approximately 85 minutes with no intermission. ‘Snow White’ runs until January 7, 2023, on the Ada Slaight Stage at Young People’s Theatre, 165 Front Street East, Toronto. For tickets call the Box Office (416)-866-2222 or visit youngpeoplestheatre.org for more information. SNOW WHITE Originally commissioned and produced by Children’s Theatre Company Adapted by Greg Banks Directed by Aurora Browne Music Composed by Victor Zupanc Set Designer: Brandon Kleiman Costume Designer: Laura Gardner Lighting Designer: Siobhán Sleath Sound Designer: Emily Porter Music Director: Raha Javanfar Stage Manager: Katerina Sokyrko The Cast: Herbie Barnes, Amanda Cordner, Ken Hall, JD Leslie (Cast members rotate daily) 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 'The Last Epistle of Tightrope Time' by Walter Borden Now onstage at Tarragon Theatre Stoo Metz. Taken from Tarragon's Facebook page Joe Szekeres A fine lesson in storytelling from a highly respected performing artist I spoke with Walter Borden a few weeks ago when the production was in its final rehearsal stages before the Toronto premiere at Tarragon. He stated that ‘Epistle’ reminds him of Maya Angelou’s: “We are more alike than unalike.” Because we are like this, the human spirit has resiliency and insurgency. I still think about this response because it’s so simple on the surface, but it’s also so complex. This complexity about the human spirit in Borden’s ‘The Last Epistle of Tightrope Time’ is one I find both a struggle and a fascination to understand. It’s a struggle because what comes clear to me about this Toronto production is my realization of how difficult it must have been to be both black and gay in 1970 Nova Scotia. It’s also fascinating because Borden and Director Peter Hinton-Davis treat the complex show material as brand new to them in Toronto. Along with the show’s creative team, they want to revisit the material again. It’s fascinating to me that artists will not remain complacent in their careers. This story is not Walter Borden’s. His indomitable task is sharing a solo story featuring ten characters exploring homosexuality from a Black perspective that remains simple and complex. For example, there are moments where the text’s rather simple but blunt language makes me feel highly uncomfortable. At one point, Borden directly mocks black music artists who wear lots of bling and refer to their women as ‘ho’s’. To hear that latter term has always bothered me, no matter the context. There is another moment when Borden describes a woman who uses sex to make a living when she speaks to a welfare officer. How wonderfully cagey and ironic when we learn the child of this woman grows up and becomes successful in life. Once again, the complexity of how this woman was treated made me ill at ease. Nevertheless, good theatre should make us question, feel ill at ease, and uncomfortable. And that it does thanks to the strongly inspired production under Peter Hinton-Davis’s direction, Andy Moro’s set, costume and projection design and Adrienne Danrich O’Neill’s sound design. Walter told me in his interview how this gifted artistic team confirmed that Peter could see the layers of meaning in the text the first time he read it. The other strength of the production is Walter Borden’s illuminating performance. He brings these ten characters to life sometimes whimsically and other times in a matter-of-fact manner. At the top of the show, Walter enters from the back of the auditorium in a parking lot attendant’s uniform which is rather clever. There is a parking lot booth centre stage. To me, it appears that a parking lot attendant would meet and see all kinds of people. Borden becomes these characters with a graceful fluidity that is seamless in transition. I could clearly hear every word enunciated which is a bonus in seeing these characters come to life. Again, when he first appears as the parking lot attendant, Walter enters from the back of the auditorium like a senior citizen with hunched shoulders, carrying his lunch box, and turning on the operatic music which blares from his booth. When he speaks about the ‘ho’s’ Borden wears the bling on his fingers which immediately captured my eye because they’re dazzling. Costumes and props have been placed on the stage which assist Walter in becoming the various characters. Pay close attention to the moment when Walter pulls out the quilt and lovingly places it on the stage for the audience to admire. The lighting seamlessly makes the colours dazzle. However, it’s not the colours Borden wants us to admire. Instead, he makes a comment about the stitching involved in the making of the quilt that is of utmost importance. Again, fascinating. Final Comments: A joy to watch one of Canada’s finest artists at work on the stage. Running time: approximately 90 minutes with no intermission The production runs until October 15 at Tarragon Theatre, 30 Bridgman Avenue, Toronto. For tickets, call the Box Office at (416) 531-1827 or visit tarragontheatre.com for more information. A Tarragon Theatre/NAC presentation of the NAC/Neptune Theatre production The Toronto Premiere of ‘The Last Epistle of Tightrope Time’ Written and Performed by Walter Borden Directed by Peter Hinton-Davis Set, Costume, Lighting and Projection Designer: Andy Moro Sound Designer and Composer: Adrienne Danrich O’Neill Sound Coordinator: Lyon Smith Stage Manager: Fiona Jones Previous Next BACK TO TOP

Back 'The Waltz' by Marie Beath Badian A Factory World Premiere production in partnership with Blyth Festival. Now onstage at Factory Theatre A Factory World Premiere production in partnership with Blyth Festival. Now onstage at Factory Theatre Joe Szekeres An especially select coming-of-age story performed by committed artists who give natural and believable performances. To leave a theatre at the end of a performance feeling uplifted and hopeful is wonderful. This is the reason to see the world premiere of Marie Beath Badian’s ‘The Waltz’. At times, her script is ordinary mundane conversation while at others there’s a sense of poetry and pictures captured by Director Nina Lee Aquino’s subtle direction. The Playwright’s Note on the Programme card reads ‘The Waltz’ is a sequel to Badian’s ‘Prairie Nurse’. I didn’t see it, but it did not detract me from following the plot. At one point, I think there may have been a prior reference as the character Romeo refers to something that occurred about ten years ago. Doesn’t matter. I don’t think you will need to have seen ‘Nurse’ to enjoy this lovely coming-of-age story. Every inch of the Factory Theatre stage is used to its fullest thanks to Jackie Chau’s fetchingly designed set. I’ve never visited Saskatchewan (and I learned how to pronounce the province’s name correctly after 55 years), so I can only imagine this is what the outdoors of a remote cabin in the prairies resembled. As I watched both actors look out over the audience and imagine they were staring into the Saskatchewan sky, Michelle Ramsay’s ultra-fine soft lighting on the actors’ faces revealed their wonder at the sight, and I believed they were looking outward. Centre stage is a swing and what appears to be a porch suggesting the outside of a remote cabin. There are various objects in glass jars stages left and right. From my seat, I couldn’t make out what they were so after the performance I took a quick jaunt down to see - various Canadiana objects from 1993. It is August 1993. Approximately five minutes before the performance begins, Bea Klassan (Ericka Leobrera) enters the stage wearing a Nirvana t-shirt, cut-off shorts, boots and what looks to be a plaid shirt wrapped around her waist. She reads intently for these few minutes, leading me to believe that perhaps Bea is an avid reader. As the story progresses, we discover she is. Romeo Alvarez (Anthony Perpuse) drives across the country from Scarborough to British Columbia to attend university. He makes a pit stop in Saskatchewan to connect with some of his mother’s old friends. Romeo is not keen on doing this but he obliges his mother’s wishes. Perpuse enters from the back of the auditorium laden with many bags, suitcases and valises to the door of this remote cabin where his mother instructed him to stop and visit. When Romeo stops and meets Bea for the first time, she remains on her guard about him. At one point, she brings out a crossbow to scare him off. Romeo somehow manages to get Bea to put the crossbow away. What follows in the various conversations between the two focuses on their parents and how they feel about them what their hopes and dreams are and what has perhaps disappointed them over the years. We begin to see Bea allow her guard down as Romeo and the two begin to connect ever so slowly. Bea learns that Romeo has instructed dance to senior citizens and has taught the Laendler. This is the dance between Maria and Captain Von Trapp in 'The Sound of Music' where the two begin to realize they are interested in each other. And yes, both dance the Laendler at the end, awkwardly, but it’s not meant to be polished. They connected realistically, and that’s the joy of watching ‘The Waltz’. Nina Lee Aquino weaves a poignant compassionate interaction between two very different individuals who clashed at the beginning. I found it clever how a boombox and its music appealingly underscores the growing attraction between the two people. Purpose and Leobrera are likeable and engaging, and I got caught up in wanting to know more about these two characters. Ericka Bea is quick-tempered, irascible and snappish. There’s a boyish naivete in Anthony Perpuse’s Romeo. Although his parents argue all the time, Romeo wants to be the dutiful son until he realizes he has to stand on his own two feet to establish his own identity and thus the reason for wanting to continue his post-secondary education in British Columbia. Watching the wall break down between Leobrera and Perpuse grows quite charming and also quite funny, especially through beer chugging. At least twice Ramsay focuses a spotlight on the two of them, underscoring the growing interest between them even though Bea and Romeo would not be so quick to admit it. Final Comments: ‘The Waltz’ is a lovely, touching story of the awkwardness of young people (and even those my age) in their connection to each other. Ericka Leobrera and Anthony Perpuse remain committed to letting us see real people and their interest in each other. Running Time: approximately 70 minutes with no intermission. ‘The Waltz’ runs until November 13 at Factory Theatre in the Main Space, 125 Bathurst Street, Toronto. For tickets, call (416) 504-9971 or visit factorytheatre.ca. The Waltz by Marie Beath Badian A Factory World Premiere production in partnership with Blyth Festival Directed by Nina Lee Aquino Set and Costumes: Jackie Chau Lighting Designer: Michelle Ramsay Sound Designer: Lyon Smith Choreographer: Andrea Mapili Stage Manager: Tamara Prolic Performers: Ericka Leobrera as Bea Klassan and Anthony Perpuse as Romeo Alvarez Previous Next

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

Back 'Living with Shakespeare' by Jeremy Smith and Steven Gallagher. Presented by Driftwood Theatre Now onstage at various park locales until August 27. Credit: Dahlia Katz. Pictured: Jeremy Smith Joe Szekeres A fitting and dignified conclusion to Driftwood Theatre’s Bard’s Bus Tour. But I’m going to miss this annual summer tradition tremendously. ‘Living with Shakespeare,’ The Final Bard’s Bus Tour marks the closing annual summer tradition of a thirty-five-year friendship with the Bard and thirty years of touring. For thirty years, Driftwood Theatre Artistic Director Jeremy Smith has worked unceasingly to bring the highest quality of Shakespeare productions, notably and sometimes on a shoestring budget and with great creativity and imagination. There were a couple of exceptions. In 2020, when the world changed due to Covid, Driftwood did not schedule any summer shows. Instead, Jeremy spent that downtime with his two daughters while his wife, Tabitha, worked. The following summer, 2021, he presented the ‘Motorcycle Monologues,’ where Shakespeare still figured but was not the central focus of the production. ‘Living with Shakespeare’ celebrates Driftwood’s place in the Ontario theatrical canon for over a quarter of a century. Driftwood isn’t going anywhere, but audiences have come to a change for the theatre company as we advance into 2023. As Director Steven Gallagher states in his programme note: ‘Living with Shakespeare’ is the culmination of [Jeremy’s] amazing legacy, and with it, [he] reveals the joys and challenges he has faced over these thirty years. It’s a very personal project and Jeremy has poured his heart and soul into it.” And he does so in a graceful, classy, and witty manner. At the top of the show, Jeremy motors onto the stage wearing the same costume he wore when he played ‘Puck’ in Driftwood’s production of ‘A Midsummer Night’s Dream.’ When he removes that clothing, he sports red sneakers, jeans, a white t-shirt with a hand-drawn picture of Yoda (with the words JUST DO underneath) and a short-sleeved checked t-shirt. He looks comfortable and unpretentious as he shares his story with us. Smith’s elementary school education was in the French language, not French immersion. When he started Grade 9 at an English high school in his hometown of Oshawa, his English language skills were probably at a Grade 5 level. A first encounter with ‘The Merchant of Venice’ did not bode well either. At that time, his teacher showed the class how to draw a large circle on the blackboard by standing beside it and extending his arm. The study of the play seemed to be secondary. It was a high school trip to the Ontario Shakespeare Mecca to see a production of ‘Hamlet’ with Stratford actor Colm Feore in the title role when Jeremy finally saw how the words of Shakespeare can genuinely live and flourish in modern times. Smith hilariously mimics Feore's entrance first and then the moment he stops the student matinee performance. Pennies were being thrown on the stage, a hazard for everyone involved. (I wonder where the teachers were, but that’s something else). Thus began Jeremy’s journey with the Bard. He enrolled in the Drama program at Queen’s University. In his third year of undergraduate, he thought of the idea of a touring Shakespeare summer production that would begin in Oshawa. He telephoned his father and told him what he wanted to do. It was another humourous moment when he told his father that he wouldn’t be earning money that summer but would probably spend much of it to get his dream going. Jeremy has a solid and loving relationship with his parents. His father, a chartered accountant, dove into his son’s idea. Jeremy’s mother also became part of the process. His parents have stood by their son and his dream. The basis for the friendship began when Smith was in high school but was solidified during his undergraduate years. The show’s programme contains the names of all those connected with the tour and summer shows for thirty years. Make sure you go through it carefully because it’s enlightening to see the names of many who now grace the stages of regional Canadian theatres and festivals. Smith and Steven Gallagher’s tautly written script becomes a fitting and dignified conclusion to the Bard’s Bus Tour. Gallagher directs the production with tremendous care. As the French say, Jeremy remains 'un raconteur vivant' (a lively storyteller). He shares personal details of his life and how Shakespeare has influenced him. He delivers heartfelt and meaningful monologues from several of Shakespeare’s famous plays. Smith doesn’t just recite them. He understands what he says and conveys the moment's meaning with deliberate refinement and clear purpose. He then connects some of these texts to moments from his personal life. For example, he recounts tenderly his marriage proposal to his wife, Tabitha, who was an actor in one of the summer shows. He proudly tells when his daughters finally saw him perform one summer. Tom Lillington provides lovely musical accompaniment throughout the 80-minute interval-less show. He also periodically becomes a silent comical partner to Smith, and their timing is seamless. Attention has also been paid to detail in Production Designer Carlyn Rahusaar Routledge’s design. In her programme bio, she writes that she has always admired personal storytelling as it is a peek into how someone’s brain works. She captures finely the workings of how Jeremy’s brain works. There is a sense of orderliness amid the piles and piles of books and reference materials around the stage. A comfortable-looking green easy chair (probably in the Smith family for years) sits centre stage atop a large copy of ‘The Complete Works of William Shakespeare’ text that aficionados of the Bard know. The book’s title on the spine is not entirely written, but the connection is obvious. Various props are discreetly hidden among the set pieces. I don’t want to give away any spoilers as to where some of them are, as this also becomes part of the enjoyment of the play. Final Comments: It has been an honour and treat to see many of the Bard’s Bus Tours over the last thirty years. When Jeremy told me he wanted to start a professional Shakespeare summer touring company years ago, I didn’t think it would work. Did he prove me wrong! And I will continue to admit it. Please go and see ‘Living with Shakespeare.’ A memorable evening at the theatre and fittingly performed with dignity. Yet I’m going to miss ‘The Bard’s Bus Tour.’ Running time: approximately 80 minutes with no interval. ‘Living with Shakespeare’ THE FINAL BARD’S BUS TOUR runs until August 27 at various locales throughout Ontario. Check driftwoodtheatre.com for information on where the tour stops. ‘LIVING WITH SHAKESPEARE’ THE FINAL BARD’S BUS TOUR by Jeremy Smith and Steven Gallagher Directed by Steven Gallagher and Featuring Jeremy Smith Dramaturg: Caitie Graham Musical Director: Tom Lillington Production Designer: Carlyn Rahusaar Routledge Lighting Designer: Connor Price-Kelleher Stage Manager: Sandi Becker Previous Next BACK TO TOP

Back 'Life of Pi' based on the novel by Yann Martel. Adapted by Lolita Chakrabarti Now on stage until October 6 at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto. Credit: Johan Persson Pictured: Akash Keer and Divesh Subaskaran Joe Szekeres ‘A fantastical story of survival. ‘Life of Pi’ is performed and directed with a dazzling and exceptional theatrical style and flair. A gift for Toronto audiences to experience the professional debut of Divesh Subaskaran as the protagonist.” ‘Life of Pi’ is the story of 17-year-old vegetarian “Piscine” Pi (Divesh Subaskaran), who has been adrift at sea for over 200 days. He and his family flee India on account of political unrest. To begin a new life in Canada, they travel by cargo ship carrying zoo animals. Disaster strikes when the ship is caught in a violent storm. Disaster continues to hit this family as Pi is separated from them and thrown into a lifeboat with only a box for supplies and some of the zoo animals. Pi recounts this story from a hospital room to Japanese investigator Mrs. Okamoto (Lilian Tsang), who has difficulty believing the young man's account. Max Webster's exceptional direction, along with his design team, creates a captivating story that never fails to impress. Tim Hatley's beautiful set and colorful costumes are greatly complemented by the gorgeous lighting design of Tim Lutkin and Tim Deiling. This superbly showcases the stunning puppetry work of designers Nick Barnes and Finn Caldwell. The puppets here are anything but 'Disneyesque'; they exude a sense of wildness, magic, and ferocity. Andrzej Goulding’s remarkable video designs have become a feast for the eyes. At one point, when it begins to rain, Goulding’s extraordinary design combined with Carolyn Downing’s first-rate sound design makes it appear as if it is doing so on the stage. It’s astonishing when that moment occurs. The mesmerizing sight of rippling waves, the sudden appearance of fish, and the graceful swim of a turtle are truly breathtaking. It's like entering a whole new world that could be overwhelming for someone inexperienced or young. Although it's a bit hard to believe that someone could survive at sea for over 200 days on a small lifeboat, I really enjoyed watching and investing time in seeing how the main character survives and adapts to this new world with great style. While the supporting cast lends credible work to this fanciful storytelling, this ‘Life of Pi’ marks Divesh Subaskaran’s professional debut as a theatre artist. What a gift for Toronto audiences to experience this young man’s work. Subaskaran becomes a believable 17-year-old. His Pi remains youthful, innocent, and inquisitive. He leaps and bounds and encircles the boat, watching and waiting. Pi remains determined to tell the Japanese investigator the ‘truth’ about what happened to him. There is a natural and believable quality about Divesh that he consistently maintains throughout the two-hour and 10-minute running time. His scenes with his family and the relationships he developed with them are plausible, yet there remains a sadness, especially when we find out what happens to Pi’s family. I was mesmerized, engrossed and utterly fascinated watching the puppeteers give and breathe life into Richard Parker, the Bengal tiger. I get it – we shouldn’t focus on the performers; we should watch Subaskaran’s work with the puppet. However, this ‘Life of Pi’ firmly solidifies puppetry as a veritable and truthful art form that can hit close to the human heart. The deserving standing ovation at the end certainly recognizes that. A Final Thought: I have not yet read Yann Martell’s novel or watched the film. After seeing the live production, I know I must find time to do both. Near the beginning of the play, Pi mentions his belief in God. In the hospital room, he asks the investigator whether she believes. I won’t spoil what the investigator says. I hoped the Christian connection in the stage play could have been more assertive and direct. As I re-read that last sentence, I now wonder if that connection will be made when I read the book and see the film. In any event, I recommend a trip to ‘Life of Pi’, especially to see the wonders of stagecraft come alive for audiences and to be introduced to newcomer artist: Divesh Subaskaran. Now, two questions emerge that my guest asked me: which of these two stories does the investigator prefer? And which of these stories do we, the audience, prefer? Running time: approximately two hours and ten minutes with one intermission. ‘Life of Pi’ runs through October 6 at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. MIRVISH PRODUCTIONS presents Simon Friend in association with Playing Field and Tulchin/Bartner the Sheffield Theatres production of ‘LIFE OF PI’ based on the novel by Yann Martel Adapted by Lolita Chakrabarti Directed by Max Webster Set and Costume Designs: Tim Hatley Puppet Designers: Nick Barnes and Finn Caldwell Video Design: Andrzej Goulding Lighting Design: Tim Lutkin and Tim Deiling Sound Design: Carolyn Downing Performers: Divesh Subaskaran, Kazeem Tosin Amore, Antony Antunes, Bhawna Bhawsar, Ameet Chana, Fred Davis, Daisy Franks, Akash Heer, Katie Kennedy-Rose, Aizah Khan, Chand Martinez, Mohit Mathur, Mark Matthews, Goldy Notay, Riya Rajeev, Kate Rowsell, Lilian Tsang, Peter Twose, Vinesh Veerasami. Previous Next

Back 'In Dreams, A New Musical' Music by Roy Orbison and Book by David West Read Now onstage at Toronto's CAA Ed Mirvish Theatre Credit: Pamela Raith. Featured: Lena Hall as Kenna Joe Szekeres A touching jukebox musical which becomes more than just a ‘feel good’ show. This Broadway-bound inspirational ‘In Dreams’ goes one step further. The production confronts a mortality issue that I’m sure we’ve all personally encountered in some manner. Thankfully, the creative team does not allow that to damper the enjoyment of the songs. Instead, the show becomes an important reminder for audiences to be thankful and appreciate music and for those who provide their unique gift to all of us. How appropriate this ‘In Dreams’ is for the Canadian Thanksgiving season. Using the songs of musician Roy Orbison, the story follows Kenna (Lena Hall), the former lead singer of country rock band Heartbreak Rodeo. Upon receiving news that will change her life forever, she discovers a Mexican family restaurant run by Oscar (Manuel Pacific), his expectant wife, Nicole (Nasim Ramírez), effeminate cook, Tom (Leon Craig) and assisted by Oscar’s grandmother, Ana Sofia (Alma Cuervo). The restaurant caters to those individuals who wish to celebrate their memorial service in the way they would like to be honoured and respected. Kenna likes what’s happening at the restaurant, so she hosts her memorial party there. She wants to enjoy it while she is still alive and reconnect with old friends who were members of her band: drummer Ramsey (Oliver Tompsett), Jane (Sian Reese-Williams) and her husband, Donovan (Noël Sullivan). Set and Lighting designers Arnulfo Maldonado and Howard Hudson capture that traditional Spanish flair of the restaurant setting of neon lighting and what I’ll call blinking old-fashioned Christmas tree lights. This specific eatery ain’t no greasy spoon dive, that’s for sure. Fay Fullerton’s costume designs perfectly reflect the individual characters. Kenna’s jet-black tight concert outfit at the top of the show screams a country rock feel. Director (Luke Sheppard) and Book Writer (David West Read) were responsible for the Toronto, and now New York hit ‘& Juliet’, which premiered last year at Mirvish. They have teamed once again with several highly creative individuals to create ‘In Dreams,’ which appears to be another audience pleaser. No disagreement from me there. There are moments throughout the show where I could feel a big ol’ smile slide across my face (underneath my mask). I looked around and saw others sitting around me, moving their heads, keeping time to Orbison’s songs. Judging from my experience and what I saw, this production will undoubtedly do just that. Luke Sheppard’s subtly controlled direction allows for the maximum impact of character development, and Catherine Jayes’ terrific sounding orchestrations under Patrick Hurley’s solid musical direction. Fabian Aloise’s electric choreography remains sharp and clean. The show’s pacing and set changes remain remarkably fluid throughout. Several vocal numbers are outstanding. Mere words cannot describe the heavenly bliss of the pure clarity and audibility of the vocals. ‘You Got It’ is only one example where I put my pen down from writing notes and just sat back to watch and enjoy. Lena Hall delivers an electrifying performance as Kenna, and her poignant rendition of ‘Crying’ blows the roof off the Mirvish theatre. On a personal note, this show rendition of the song sent the proverbial shivers down my spine. As a cancer survivor and someone who lost a younger sibling to the disease, the lyrics just struck a nerve within my being and made my eyes well. Additionally, the song also becomes a showstopper. While Hall’s glorious sounding vocals soar past the rafters, this moment truthfully reveals how Kenna never got over the feelings she still has for her drummer and now Uber cab driver, Ramsey. Oliver Tompsett nails that proverbial bad-boy image as Ramsey in his performance. The sexual chemistry between him and Hall smoulders hotly. Their first encounter in the room where Kenna is asleep is rather funny. Ultimately, as the play continues, their attraction’s hidden intensity between them simmers and heightens in each passing moment. The moving sub-plots allow the audience to empathize with some supporting characters. As expectant parents, Oscar and Nicole, Manuel Pacific and Nasim Ramírez realistically show how having a child alters the relationship between husband and wife. Pacific believably reveals an emotional intensity as he has continually dealt with losing his parents, while Nicole feels Oscar has shut her out of his life. Their rendition of ‘Love Hurts’ remains powerful. The relationship between band members Jane and her husband, Donovan, becomes comic relief. Sian Reese-Williams and Noël Sullivan are a riot. When they enter the restaurant, the couple amusingly proclaims to be away from their children for two days and wants to enjoy every second, especially when they announce they will have sex. Another important theme of ‘In Dreams’ is friendship and how it might develop into something further. The subplot of Oscar’s grandmother, Ana Sofia and restaurant frequenter, George, is lovely to watch. Alma Cuervo and Richard Trinder are sweetly bashful around each other initially. However, their showstopping rendition of ‘Oh, Pretty Woman’ evidently reveals that one is never too young to experience the heights of burgeoning feelings for one another. It’s quite the musical number, and again, I just sat back and watched two artists having fun with each other on stage. I also wanted to acknowledge Cuervo’s astounding vocal work in ‘Blue Bayou’ and ‘Only the Lonely.’ In the leadup to this song, Kenna reveals the devastating news she has received about her health to Ana Sofia, who listens at first with tender compassion. What a perfect choice to conclude this ‘moment’ with these two songs. Again, I closed my eyes momentarily to hear Cuervo reach for the high notes in both pieces. She doesn’t disappoint. At all. Not forgetting that love can strike anywhere and anytime for anyone, restaurant cook Tom (Leon Craig) and Police Officer Lee (Mark Peachey) begin to develop feelings for each other during the last few minutes of the play, and the intensity of their relationship burns during the remix finale of ‘You Got It.’ Final Comments: ‘In Dreams’ is an absolute joy to experience. Give yourselves a treat. Go and see it. Running time: approximately 2 hours and 20 minutes with one intermission. ‘In Dreams’ runs until November 12 at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. DAVID MIRVISH AND JOHN SACHS for Eclipse Live and Sony Music present IN DREAMS, A NEW MUSICAL Music by Roy Orbison and Book by David West Read Directed by Luke Sheppard Musical Director: Patrick Hurley with Orchestrations by Catherine Jayes Choreographer: Fabian Aloise Set Design: Arnulfo Maldonado Costume Designer: Fay Fullerton Sound Designer: Tom Marshall Lighting Designer: Howard Hudson Video Designer: George Reeve Performers: Lena Hall, Oliver Tompsett, Sian Reese-Williams. Noël Sullivan, Manuel Pacific, Nasim Ramírez, Alma Cuervo, Richard Trinder, Leon Craig, Hannah Ducharme, Mark Peachey, Fabiola Occasion, Ache Hernandez Previous Next

Back 'Touch' A World Premiere by Lighthouse Immersive Space Dahlia Katz Joe Szekeres Please note that I hold neither formal training nor education in dance, choreography, and movement. I will comment on the production’s theatricality. Even though I have no formal background in dance and movement doesn’t hold me back from saying if a production is good. ‘Touch’ is more than just good. ‘Touch’ becomes a sensual, intimate, and electric connection of relationship between two sinewy artists who transfer that same kinetic life force of breath and energy to me as I watched this production, riveted to my seat. The show information I received stated: “TOUCH explores our experience of human contact during this moment in time when human touch has taken on complicated, sometimes frightening implications.” This part of the statement is true, but I also wanted to point out those tender moments of internal passion these marvelous dancers exuded were exquisitely intensified, not only through their seamless entwining bodies but also through their finely tuned breath control. Director and Choreographer Guillaume Côté gorgeously stages and weaves the dancers in this live production through specifically stylized movement. What a wise decision and choice he and designer Thomas Payette made to utilize the possibilities of projecting mapping technology which makes all the images employed become movement generated and created by what the dancers did. It was fascinating to watch the shapes and the lighting cues of these immersive projections, absolutely fascinating. I did not want to take my eyes off the performers, not for one second. The programme stated there are two casts and I most certainly understand why as these marvelous theatrical choreographed moments of strength and stamina by Côté would require the artists to rest their bodies. I’ve never seen any productions before in Gallery 2 at 1 Yonge Street. We have entered what appears to be a warehouse industrial space with three massive pillars in the middle. There was sand around the middle pillar. On entering the room, we were told that during the performance we were not to enter any part of the playing area lit in red. It is 360 degrees/theatre in the round setting with comfortable plush seating. The chairs swivelled which would allow us to view the performance from any angle we wished. Antoine Bédard’s ethereal underscored preshow music set a tone of the unexpected for me. Simon Rossiter’s preshow lighting design fascinated me as certain corners and parts of the room caught my attention and I just wanted to look at the section and listen to Mr. Bedard’s music. At the performance I saw, artists Carleen Zouboules and Evan Webb expertly remain in complete control all the time. Their beautifully timed movement through the audience and their finely tuned synchronicity with Mr. Payette’s projection designs presented a haunting and metaphysical relationship of two people who will always appear to be pre-destined to be together. Final Thoughts: Coming out of a long eighteen-month theatrical pause, it is shows like ‘Touch’ that we need to see to re-charge our love and appreciation of the performing arts. This ‘Touch’ radiates with alluring appeal to all senses. Running Time: 45 minutes ‘Touch’ runs through to November 7, 2021, in the Lighthouse Artspace, 1 Yonge St (main entrance off Yonge just north of Queen’s Quay) For point of reference, it is the Toronto Star building. For further information and/or to purchase tickets online, visit www.artbylighthouse.com . TOUCH from Danse Côté in association with Lighthouse Immersive Artspace A new work by Guillaume Côté and Thomas Payette Cast 1: Evan Webb and Carleen Zouboules Cast 2: Larkin Miller and Natasha Poon Woo Producer: Etienne Lavigne, Anymotion Productions Choreography and direction: Guillaume Côté Original concept: Guillaume Côté and Thomas Payette/Mirari Projections and multimedia design: Thomas Payette/Mirari Original Score: Antoine Bédard Lighting Designer: Simon Rossiter Costume design: Krista Dowson Stage Manager: Kellie Foley Previous Next

Back Elena Belyea "Anything can happen, which means everything is possible." Courtesy of the artist Joe Szekeres Elena Belyea is the Artistic Director of Tiny Bear Jaws, an agile, femme and queer-run cross-Canadian theatre company. Founded in 2015, Tiny Bear Jaws produces innovative, provocative, and engaging new works. It is committed to exploring the creative possibilities that exist exclusively in live performance. Tiny Bear Jaws creates theatre that’s transgressive in content and form. Past shows: Miss Katelyn’s Grade Threes Prepare for the Inevitable; Everyone We Know Will Be There: A House Party in One Act; Cleave; The Worst Thing I Could Be (Is Happy); I Don’t Even Miss You; and This Won’t Hurt, I Promise. Recently, I had the opportunity to email performer Elena Belyer questions about their artistic work and background. Belyea opens at Toronto’s Factory Theatre this week in ‘I Don’t Even Miss You.’ The show runs at Factory Theatre from October 31 to November 10 in the Studio Theatre. It then travels to One Yellow Rabbit’s High-Performance Rodeo in Calgary (co-presented by Verb Theatre as part of their 2024/2025 season). According to the Factory Theatre website, the story centres around non-binary computer programmer Basil who wakes to a new world and devastating loss. Using live music, dance, and video, I Don’t Even Miss You is a bold exploration of grief, love, artificial intelligence, and legacy that asks how gender, identity, and family can exist without anyone to perceive them. Belyea completed undergraduate work in Drama and Creative Writing at the University of Alberta before attending the Playwriting program at the National Theatre School of Canada. What is it about the performing arts that continues to keep Elena focused and interested? Whenever Elena watches or performs a play, one of their favourite parts is the knowledge that a particular moment or scene may or will never happen quite the same ever again, even if it’s a recording or coming back to watch something the night after. For Elena: “Something happens.... we’ll experience it together, then it’s gone forever. I find this really exciting. Before I step onstage, no one, not me, not the audience, knows for sure what will happen. We have an idea, but nothing is guaranteed. Anything could happen, which means everything is possible.” In profiling the artist, I also like to ask who in their own lives has either influenced or mentored them up to this point. Belyea was pleased to share the names of some mentors: Michael Kennard, Christine Stewart, Derek Walcott, Tedi Tafel, Haley McGee, Karen Hines, and Adam Lazarus. They also named artists whose work and writing they are inspired by right now: Makambe Simamba, Young Jean Lee, Anne Carson, Kae Tempest, Sophie, and Nick Cave. I’ll review the Sunday matinee performance. on November 3. The press release for the show calls the production ‘dystopian pop.’ I was intrigued by this label and wanted to know more from Elena about it. They shared the concept of the show. Protagonist Basil exists in a fictitious world where everyone else on Earth has disappeared – hence the word ‘dystopian.’ Basil creates and is now performing an autobiographical play about their life. After a thwarted attempt to star in a musical during their teen years, Basil decides the only way to summarize accurately their chronology is through narration, self-recorded videos, dance, and (pop) songs. Audiences can expect synthesizers galore, boy band motifs, choreographed melodrama, and an electric ukulele from the performance. Whenever Elena starts writing a play, a series of questions comes to mind rather than messages. I find this interesting myself—questions instead of comments. What are some of the questions Elena asks of audiences in ‘I Don’t Even Miss You?’: “What is a legacy? Can love, identity, and family exist with no one to perceive them? Is it possible to develop technology that could replace human connection? What are the physical, psychological, and spiritual impacts of loneliness? How does Basil’s transness inform the play’s content and form? “ Some heady questions, indeed. I’m always a fan of audience talkbacks about these kinds of questions. There is a talkback with the audience on November 3. I like to stay for these as I learn more about the show and the artist. Elena clarified that ‘I Don’t Even Miss You’ had a run of a very different nature in 2022. It ran again in Ottawa in 2024. But it’s hard for Belyea to know how the audiences will react. Their favourite part of the show is “Listening to the audience’s reactions and trying to identify what is landing when.” Once again, Elena clarified there were moments in Ottawa where an audience member would make an unexpected sound in reaction to something happening. Elena finds that impactful as the show's writer, the performer and the character at the moment. The life of a travelling performing artist can be tiring and exhausting. To be honest, I don’t know how these young people do it. What’s next for this ambitious young artist once ‘I Don’t Even Miss You’ concludes its run: “First and foremost— rest. I’m fantasizing about wrapping myself in a thousand blankets for a week at least, napping, reading, and playing non-stop video games with my partner and dog. After that, I will begin prep for “I Don’t Even Miss You” in Calgary and re-learn how to knit.” To learn more about Tiny Bear Jaws Theatre: www.tinybearjaws.com . To purchase tickets for ‘I Don’t Even Miss You’ and to learn more about Factory Theatre, visit www.factorytheatre.ca . Previous Next

Back Brenda Robins Moving Forward Tim Leyes Joe Szekeres Even before I started reviewing for professional theatre, I had the good fortune to see Canadian performer Brenda Robins in many productions of Toronto theatres over the years. I continually like to make reference to Soulpepper’s moving production of Thornton Wilder’s ‘Our Town’ where Brenda performed along with some of Canada’s finest actors. Again, I saw Brenda in a thrilling production of ‘Dancing at Lughnasa’ at Toronto’s Canadian Stage Bluma Appel Theatre. She has also appeared in several Canadian television productions including CTV’s ‘Flashpoint’ (one of my top five favourite shows) and CBC’s ‘Heartland’. A bit of online research enlightened me that Brenda has appeared across our country in some fine shows and theatres. She and her husband, actor Patrick Galligan, live in Toronto. I will profile Patrick in another article shortly: 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? Mostly, I feel as though I’m in the middle of a ‘between gigs’ scenario. As actors, we are lucky in that we are not unused to being out of work from time to time. In the past, we have planned a vacation if we were looking at a stretch of time off. Now, a coffee with a friend, in a park, is a big adventure and something to plan my day around. Small things are taking on more significance. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? Not a one. Just before everything shut down, I had wrapped up several days on a TV gig out west. For that, I’m grateful because it put some extra money in the bank. Earlier in the year I worked on a web series that’s hoping to shoot a second season. I’m not sure when that is going to happen. 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 feel most frustrated for my son who has completed his Master’s degree and, under normal circumstances, would probably be working in his dream career. Now he’s applying for any kind of work he can get – along with thousands of other people. 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 doing a lot of sewing, gardening and writing: a kind of Bronte sisters’ existence. I’ve collected a lot of vintage fabric over the years and so I’ve been sewing cushions, cushions and more cushions. Couch candy, that I was hoping to sell at our local fall fair. The fair is not happening, and the cushions have taken over a room in our house and there seems to be no end in sight…. 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? That’s a hard one. I think the new graduates might fare well. Hopefully, they still have a burning desire and ambition and this period may prove to be a time of real creativity. I worry more for actors with young families and mortgages. I wish words of wisdom could ease their burdens, but I’m not convinced of that. It’s going to be a very difficult few months for some people. Sorry – not very sage advice. Do you see anything positive stemming from this pandemic? Some very creative new work is going to come out of this period, I’m sure of that. And maybe by the time we get back into our theatres we will have a greater appreciation of the power and potential of live performances. In your informed opinion, will the Canadian, Broadway and Californian performing arts scene somehow be changed or impacted on account of the coronavirus? I just hope theatres survive. Time will tell. 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 think streaming is a different beast altogether. I’m enjoyed some of the work I’ve seen online, but it’s not the same as the experience one has watching a live performance. What is it about performing you still love given all the change, the confusion and the drama surrounding our world now? I look forward to performing again, in a theatre, with an audience. I find gathering in a space with a group of strangers and sharing a communal experience to be very moving. 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? It’s two words actually – ‘Quelle Emboutiellage’ which means ‘What a traffic jam”. It’s such a satisfying sequence of syllables. I like saying it to describe anything extraordinary (another good word) b. What is your least favourite word? I’m not sure…I mean, I really don’t have an answer for that. c. What turns you on? A really good action movie. d. What turns you off? Bullying…and impatience e. What sound or noise do you love? Waves f. What sound or noise bothers you? Car horns g. What is your favourite curse word? Fuck h. What profession, other than your own, would you have liked to attempt? If I had the talent, I would have liked to be a visual artist. Large canvases. i. What profession would you not like to do? A podiatrist. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Head straight through to the left. Your friends and family are waiting.” Previous Next

Back Michael Rubinoff Looking Ahead --- Joe Szekeres Like many of the artists whom I’ve profiled this last year, producer Michael Rubinoff is one busy individual who continues to move forward as we all are outside of the pandemic. Over the years, I have heard his name and knew he was a producer of musical theatre here in Canada, but I was not aware of the extent of his influence in the industry. I’ve learned a great deal about him and am most thankful he was able to take a few moments to add his voice to the conversation. As you will see from his responses below, Michael helped to develop the 9/11 story in Gander, Newfoundland that continues to move audiences here in Toronto, on Broadway, in the West End and Australia. Outside of ‘Come from Away’, Michael continues his busy schedule. He is a Toronto based producer and lawyer who conceived the idea to share the compelling events depicted in ‘Come from Away’ as a musical. In 2011, he established the Canadian Music Theatre Project, an incubator for th3e development of new musicals, where he produced and developed the first workshops of ‘Come from Away’ and developed 29 other musicals. He is a producer and consultant to ‘Come from Away’s’ five companies around the world and received an Olivier award and a Tony nomination for Best New Musical for the show. He is producing the new musical ‘Grow’ which will have its world premiere at the Grand Theatre in London, Ontario in April, 2022. He continues the development of new work at home and abroad. Michael was awarded the Meritorious Service Cross by the Governor General of Canada for his role in ‘Come from Away’. A proud graduate of Western University Law. @mrubinoff. We conducted our conversation via email. Thank you so much for adding your voice to 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. Despite the numerous challenges of this ongoing pandemic, it has reinforced that we are resilient. It is a rare global event in which everyone has been affected. That impact has been disproportionate, but even those most privileged have been at the mercy of a virus. It has exposed vulnerabilities we have not previously confronted effectively. It has widened awareness and increased support for necessary change on many levels. This time has also invited more meaningful conversations. I am hopeful this newfound resiliency can propel change at a faster pace. Prior to the start of the pandemic, I was operating at a constant 100 miles an hour, working on multiple projects at home and abroad. The pandemic brought that pace to a screeching halt. That has allowed valuable time to reflect personally and professionally. It has provided an opportunity to re-examine what is most important to me and the work I want to do in my next personal act. One of the most significant changes has been, after a decade of service, at the end of this academic year, I resigned from my position as Producing Artistic Director of the Canadian Music Theatre Project (“CMTP”) at Sheridan. This has afforded me the time to wholly devote myself to what I am most passionate about, developing new musicals. 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? It has reinforced that what we do is necessary to foster social interaction and social innovation. We provide a valuable service and outlet for the public. We bring communities together. At the same time, this great intermission is a moment of reflection for the entire industry and has amplified the necessary need for a more equitable and inclusive industry. Time to take time has given the industry the opportunity to have very difficult and uncomfortable conversations. It has provided an opportunity to begin the concrete work on making change, in advance of the start of rehearsals and theatres re-opening to audiences. This moment has reinforced accountability measures that must be adhered to going forward. There is no going back to normal. Many challenges and missteps will happen, but the work must be constant to ensure safe and healthy environments for all. Further, if the theatre industry is to survive and remain relevant, it must be reflective of the communities it serves on stage, off stage and in the audience. In the musical theatre, where my work is focused, more inclusiveness in storytelling will only make the work that much richer, powerful and desirable to all audiences. As a professional artist, what are you missing the most about the live theatre industry? As people we crave social interaction and connection. In the digital age, theatre is one of the last mediums that brings people together, in person, to collectively share an experience. Theatre is an event, that takes place in a moment in time in which an emotional bond is created between words, sometimes music, actors, and audience. This cannot be replicated online. I am missing most, standing at the back of a theatre and watching an audience of strangers, untethered to their screens, come together as a community. It is always powerful to witness and feel and I can’t wait to be there 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? I feel so privileged to be a part of the theatre industry, that I try not to take any if it for granted. However, as a producer, I have never enjoyed being in tech. I have tremendous respect and admiration for all of the artists involved in that process. For good reason it takes focused time to implement and perfect the thousands of intricacies to create theatre magic. As mentioned earlier, I was always trying to move through life at a rapid pace. So, tech is going to be the thing I am never going to take for granted again when we return. I do encourage you to check up on me on that journey! Describe one element you hope has changed concerning the live theatre industry. As mentioned before, there is no going back to “normal”. Institutional change takes time, but it is being on the path towards eradicating systemic racism in our industry that I hope has changed. Explain what specifically you believe you must still accomplish within the industry. My commitment as a producer has primarily been to the Canadian musical and commercial theatre. On our journey towards institutional change, we need to encourage and foster a generation of IBPOC commercial theatre producers in this country. This work for me, personally, is an accountability measure to ensure we are meeting the objective of a more inclusive industry. I am working with a group of Canadian commercial theatre producers in consultation with members of underrepresented communities, to design a program that will educate, mentor and provide meaningful opportunities to emerging producers who want to work in this space. Canada has lacked this kind of programming and, with urgency, I am determined to share what knowledge and support I can, to contribute to the necessary change. 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. As the individual that conceived the idea and developed a musical about 38 planes landing in Gander, Newfoundland and Labrador on 9/11, I get asked about my ideas for a Covid musical a lot. Live theatre can share historical events in very compelling ways. I believe that musical theatre is one way to report and preserve history. Despite many doubters along the way, it was one of the reasons I felt strongly that the humanity exhibited on such a dark day should be shared in the musical form. Ultimately, successful musicals connect with an audience. Due to the length of the pandemic my ideas for a Covid themed musical continue to build. I do have a concept that I believe is compelling. However, I have learned that time helps best frame how you want to tell stories about immediate events and post-pandemic reflection will be necessary. I do believe this moment in history should be preserved in the musical form and I look forward to working on a project that will respectfully resonate with audiences. As an artist, what specifically is it about your work that you want future audiences to remember about you? Canada has and will always be home. I believe in the brilliant Canadian writers, composers, creatives, talent and technicians. I also believe that we have our own stories that are important to tell, both the good and shameful in our history. The Canadian Music Theatre Project, which launched with the development of ‘Come From Away’, led a renaissance in Canadian musical theatre at home and around the world. Over a decade the CMTP developed thirty new musicals. Many of those shows have received professional premieres all over the world. We see Canadian not for profit theatres, commercial producers, schools and community theatres developing, producing and presenting Canadian musicals. This risk taking, in large numbers, on our own talent, was not always the case. Most importantly, we see audiences embracing this work with pride and a sense of ownership. So, if I am remembered for anything, I hope it is for the ignition of creation and the support of our Canadian storytellers to tell our stories. Previous Next

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

Back Shawn Ahmed "Community is a two-way street. You have to put something into it to get something out of it." Steve Carty Joe Szekeres Toronto performing artist Shawn Ahmed currently appears in the Shaw Festival’s production of ‘Mahabharata’ in conjunction with Why Not Theatre and in association with the Barbican, London, England. In reading recent reviews of the production, I hear tremendous praise about the five-hour show. Yes, five hours, but there is a break in between the two performances. More about this shortly. Ahmed earned a Specialist in Economics at the University of Toronto. When did his desire to become an actor enter his mind? He says it was always something in the back of his head: “I just had no tangible way of achieving that goal. Before university, I attended Wexford School for the Arts. I had a huge introduction to the musical theatre there, to acting, dancing, and singing. It was always something I really loved in creating stories, listening to stories, watching stories, reciting stand-up.” Ahmed had an agent at this time, but he didn’t really see a place for himself in the industry. That’s when he attended U of T to study Economics. He remembers his agent telling him that she could still send him out to auditions since he was in Toronto. He could do commercials and make some extra pocket money which he thought was a good idea. He did that and while he studied at school Shawn was auditioning. In his second year that’s when he booked the substantial job of filming ‘Flight 93’ in Vancouver, the first film made about 9/11. (Side note: I did see the film and it is worth viewing. You can YouTube it). Shawn recalls being treated like an actor in that film. The experience was so profound for him that he had to decide how to make the industry work for him. He finished his degree, part-time over the next four years while doing sketch comedy, auditioning, and writing things. He also recalled working in the backs of bars wherever he could. Once he finished his degree, Shawn shifted focus and dove headfirst into the industry and moulded his life around how he would make a living in this business. He is very excited to be back in the theatre doing what he loves even though our world is still in Covid’s embrace. Hesitant about the theatre for the last couple of years Ahmed focused on the film and tv industry. However, in the last six months, he feels there has been a resurgence in theatre in Toronto and at Shaw. He feels there is an appetite as audiences and artists are hungry for live theatre again and for its storytelling. Voice and storytelling at its core, the really simple stuff, carry us forward while the other elements of the production lift it up. Currently, he is deep into performances for ‘Mahabharata’ at the Shaw Festival billed on the website as: “a contemporary take on a Sanskrit epic that is more than four thousand years old and foundational to Indian culture. This gripping story of a family feud is an exploration of profound philosophical and spiritual ideas.” When I asked Shawn to describe the plot synopsis, he had a good laugh and said: “If I distill it to one line, I would call it Indian Game of Thrones.” The Mahabharata is a 4000-year-old Sanskrit poem that has been told for obviously a very long time. If recited in its entirety, Ahmed says it would take 21 days to recite it. The production is a condensed version of the poem. For Shawn, what’s interesting about the story? It’s an Eastern story but it’s being told at a Western theatre for a Western audience by predominantly artists who grew up in the western hemisphere. It’s an event. At times, it’s a spectacle. The challenge is to honour what is in the original text, but the vision is to make it palatable for a western audience. ‘Mahabharata’ is many different stories, some related and some not, that have different lessons. Each story can be dissected in different ways. Each story is meant to be heard, listened and digested over and over again because you’ll get something different out of it every time. At its core, ‘Mahabharata’ is a love story where two people fall in love. As a result of that love, there are two different brothers that lay claim to the throne of Hastinapura. Each of these brothers has children and these children, who are cousins, will fight for what they believe is their rightful place. Ahmed describes the Shaw performances as ambitious but fantastic and adds: “It’s been a very difficult process, not from a place of tension but from a place of being expected to do a lot. The artists have had to do a lot. I’ve been pushed personally I think further than I have been pushed as an artist physically and emotionally, and mentally just timewise more than I’ve been for another show that I’ve done in recent memory.” Shawn stipulates he likes working hard for things he likes to do. It’s been a great learning experience. He’s proud of ‘Mahabharata’ and praises the work of writers Miriam Fernandes and Ravi Jain. Jain also directs the work. What Ahmed has found remarkable is the element of trust that has been established from and in everyone within the room towards Miriam, Ravi, and their vision for the work. An international cast has been assembled for the show and Shawn also finds that exciting. The expectation hopefully is to tour the show to as many audiences as possible. The story is very special to Shawn, and he reiterates how important it is to see both parts. Audiences are into it. The current production is told in many ways. It’s not simply a stand-up story. For example, there’s dance, music, opera, and clown influence. Outside of his work as a professional artist, Shawn heartfully spoke about his involvement in helping marginalized youth and young people break into film, television, and the theatre. He calls this initiative a community and it is a beautiful thing to him. It helps support everyone in that community and makes their lives better, their careers better and their quality of life better. Community is a two-way street for Ahmed. You have to put something into it to get something out of it. He sits on the board of directors at POV Film, a charitable organization founded in 2007 by Edie Weiss and Jeff Kopas. He proudly recalled how a lot of people stepped up along the way to help him out. Now, Shawn wants to give back and help marginalized youth break into the film and television industry through training, mentorship, job placement, and professional development. Shawn also co-founded Crazy Shirt Productions. This is a place for him and his creative peers to write, direct and produce. His projects have toured festivals worldwide and garnered awards and accolades. He just wrapped on the feature, ‘Sanctuary’, a Get Out-esque thriller, which he produced. (Hmmm…something else to watch for in the future). What’s next for Shawn Ahmed after ‘Mahabharata’ has concluded its run: “I am producing a movie that my buddy Scott Leaver wrote and directed called ‘The Devil Comes At Night’, a feature-length horror film we shot during pandemic times. We went to a cabin with a bunch of actors and crew for two weeks and shot it out. It had its premiere at the Blood and Snow Festival last November with Super channel and will have some sort of a release this year. There’s another show I produced called ‘Right Under My Roof’ through POV Films. It’s a six-part series told through found footage. The story is told through social media essentially.” And on a personal note, Shawn shared: “There are wedding bells in the future.” Always great news to hear. ‘Mahabharata’ runs until March 26 at the Shaw’s Festival Theatre. The production is divided into two parts. To learn more and/or purchase tickets, visit shawfest.com or call 1-800-511-SHAW. 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 Heath V Salazar Moving Forward Gaetz Photography Joe Szekerers This time of isolation from live theatre and the emerging civil and social reforms have certainly made me aware of the importance of hearing from as many voices as possible within the artistic community. Several of the artists profiled have been extremely helpful in suggesting names of individuals who deserve to be highlighted. I was pleased when two artists suggested Heath V. Salazar. In the twenty-first century, it’s wonderful that we have social media sites like Facebook to make initial introductions; however, nothing beats speaking to a person face to face which is what I hope I can do in the near future with all of the artists I’ve profiled so far, and when it’s safe for all of us to return. And I was grateful to make an introduction as Heath told me they would be delighted to be profiled for this series Heath V. Salazar (they/them) is a Dora Award-winning trans-Latinx performer and writer. Since graduating from Randolph College for the Performing Arts, Heath has developed a body of work as an actor that spans the gender spectrum in both theatre and film. Within the drag world, they perform multidisciplinary draglesque as Gay Jesus and are featured on Season 1 of the CBC Arts’ Canada’s a Drag. Through their writing, Heath was selected for the Spoken Word Residency at the Banff Centre of the Arts (’17) as well as the Emerging Creators Unit at Buddies in Bad Times Theatre (’18). In addition, Heath has gone on to teach as a guest lecturer at the University of Toronto. Currently, while Heath continues the development of their short film, Préstamo, in partnership with director Tricia Hagoriles, they’re also an Artist in Residence with both Aluna Theatre and Buddies in Bad Times. 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? My daily life and routine have changed drastically over the course of the past five months. As a multidisciplinary artist, I’m accustomed to working multiple gigs throughout the week that involve audiences or being in close proximity with large groups of people. In addition, as a queer and Latinx creator, I personally hold a strong community focus within my work which involves actively engaging with audiences outside of a performance setting as well as regularly attending community events. Due to safety restrictions, all of those spaces were put on pause which has completely altered my everyday life. However, that community focus has been a great contributor in motivating me to seek out alternate platforms and methods of creating that allow me to remain in connection and of service to my communities and those around me. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? There are a number of projects that I was preparing for when the pandemic was declared. In addition to local gigs and performances, I was in the midst of making arrangements to move to Stratford, Ontario for the summer to perform as Rafe in Wolf Hall as a company member at the Stratford Festival. In the past year, I’ve been involved in creation and research development programs at the theatre including working as a guest artist for their Laboratory Ensemble as well as for the Stratford Incubator. This would’ve been my debut performance with the company, however, in order to keep everyone as safe as possible, the theatre was forced to close. Fortunately, the Stratford Festival has worked actively throughout the pandemic to continue upholding a sense of community with their company members. They’ve arranged mini-challenges and projects to bring people joy, they’ve ensured consistent and transparent communication, and when the civil right movement currently taking place began, they took the time to listen and have used their reach and platform to engage in productive and important conversation with Black and Indigenous artists and creators. The state of our world, let alone our industry, needs to change and having a company like Stratford take accountability for its history engages a lot of people in a dialogue they may not otherwise have had. 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? One of the most challenging elements of the isolation period for me, particularly in the beginning, was navigating limitations regarding my ability to bring aid to my loved ones and community. Safety isn’t something that’s afforded to everyone in our society. Even before the pandemic started, violence and discrimination against racialized trans people, particularly those who are Black and Indigenous, disproportionately affected their ability to access basic necessities such as housing, healthcare, and food stability. Since the initial lockdown, those circumstances have only escalated but, since I had lost my employment for the foreseeable future, I felt very limited in my ability to help. However, the work I’ve done over the years has allowed me to learn from some of the most incredible activists on how to provide community support in ways that don’t involve monetary donations, and that translated very well even in a time of isolation and social distancing. This came heavily into play over the past couple of months. Ways to help can range from promoting and sharing information about organizations that provide resources for marginalized communities, donating performances and/or performance fees for online fundraisers, attending protests and demonstrations that call for the reallocation of city/government funding to be put towards community resources, using social media platforms to share accurate information about how people are being affected and ways that your friends and peers can help, engaging in a personal dialogue with city officials to demand protections for our most vulnerable communities, learning about the impact that the redistribution of funds can have even on a minor scale, seeking out petitions with clear demands to bring aid to those in need and much, much more. Quite often, difficult times can bring on feelings of despair and helplessness, but those I’ve had the privilege of learning from have shown me the impact that can take place when we stand together as a community. 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? During the time of lockdown and isolation from the world of theatre, I’ve largely pivoted my focus to online creation and performance as well as the development of new work through my residencies at both Buddies in Bad Times Theatre as well as Aluna Theatre. As a creator, my practice involves approaching work development from a holistic standpoint centering and prioritizing the human in human experience. Working as storytellers within a capitalist context can, has, and does encourage toxic and damaging methods of working in order to ensure a high turnover of creation and consumption. However, we as people are not products and if we’re going to tell stories about people, but all of them get damaged in the process, then what good are the stories? What are we actually saying when we tell them? This pandemic has really highlighted those values for me. Life is very short and needs to be appreciated because, ultimately, we can’t stop ourselves from dying. My main interests right now are nurturing my relationships with my loved ones and working to protect, empower, and advocate for those around me. Sometimes that’ll be in the form of performance and sometimes it won’t. But life isn’t about performance, performance is about life; I’m making life my priority in whatever way that takes place. 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 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? The greatest piece of advice I would give to performing artists and new theatre graduates concerned about the impact of COVID-19 is that your value as a person isn’t determined by the jobs you do and don’t book. Life will always bring what we least expect, but how we adapt influences the people we become as well as the world around us. As creatives, artistry can be a very personal element within ourselves but remember that though art is a glorious part of you, it’s not all of you. Give yourself permission to become someone that you would admire in a way that centers your character, not your profession. That way, no matter what you do, your legacy will be one that you’re proud of. Do you see anything positive stemming from this pandemic? It’s a complicated thing to find the positivity in a time that’s brought people so much loss. However, I also think that there were a number of deadly crises taking place prior to the arrival of Covid-19 that were costing people their lives and weren’t being addressed until a mass amount of our population was forced to slow down. Canada has a consistent track record regarding the erasure of our history and the systemic racism upon which our country was founded. Knowledge is powerful, but a lack of information hinders the ability to understand and address the long-lasting effects that this racism has had on people of colour on this land. The repercussions have manifested in our modern-day society through a number of violences including the mass amount of missing and murdered Indigenous women who have yet to receive justice, the disproportionate incarceration and murder rate of Black and Brown people at the hands of our police system, as well as the targeted violence experienced by our sex workers, particularly those who are Black trans women, only to name a few. The world of theatre is largely regarded as progressive and inclusive, however, when we look closer, we find exclusionary practices that not only contribute to but encourage systems of oppression within both our workplaces as well as on a mass scale due to the number of people taking in the messaging within our work. My hope is that our companies and our theatre workers take this time to grow their scope of awareness in order to change the toxic culture that previously existed within our spaces. We’re all capable of growth and, as an industry whose practice is so deeply steeped in compassion and empathy, I have faith in our potential to create a better work environment, and in the long term, a better world. In your informed opinion, will the Toronto and the Canadian performing arts scene somehow be changed or impacted on account of the coronavirus? I have no doubt that the Toronto and Canadian performing arts scenes will and have been changed on account of the coronavirus. This pandemic has cost people so much from their safety to their livelihoods and, worst of all, their loved ones. A lot of our people right now are grieving while others are ill, and we don’t know what our futures look like. But when I turn to those around me in the performing arts scene, particularly disabled, 2SLGBTQ+, and BIPOC creators, I see phenomenal innovation and community care. This spans from performers, to writers, to lighting designers, and more. I’m watching, in real-time, as people adapt the use of the performing arts to keep one another alive and to share their ruthless faith for a new future. Our practices across the board will have to be reassessed and adapt to our new circumstances. But I think that as long as we prioritize people’s safety and wellbeing over profit and product, we have a great capacity to improve and strengthen the future of our industry. 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? What I’ve found so far regarding the streaming of live productions is that it’s made the performing arts far more accessible for a lot of people. Our industry isn’t financially or physically accessible for many members in our communities which applies across the board from on-stage, to behind the scenes, to our audiences. I’ve received a lot of feedback in the past five months from people with a variety of different accessibility needs that being able to access performances, panels, and classes online has drastically changed their ability to become involved in and/or take in the performing arts. This shows us that accessibility has been a possibility all along and that it’s crucial for it to be a priority in our work even as we begin to reconvene in person. We also need to keep in mind that viewing art online still has its limitations as it requires the ability to own a computer and have access to wifi, which simply isn’t a possibility for many people. As our industries slowly re-open and we develop new practices in regard to safety, it’s vital that we ensure accessibility becomes a core point in how we adapt moving forward. These conversations have been prevalent for me in the past five months as a lot of my performance work has shifted to online. As a drag king, I watched the drag industry adapt very quickly. Within days of the announcement of the lockdown, drag artists were creating online content in a variety of different formats. I, myself, have now participated in live online performances, fundraisers, interviews, discussion panels, and more. Most recently, I developed a three-part video series during Pride whose pieces were screened separately at online events throughout the month of June. The last piece in the series, All of the Above, can be viewed online through the CBC Arts website. What is it about performing you still love given all the change, the confusion and the drama surrounding our world now? Storytelling is an ancient practice and I chose the performing arts as a profession because I believe in their ability to influence monumental change within our society, thereby shaping our world. I grew up speaking three languages, so I’ve seen how limited words can be. As a multidisciplinary artist, I view art as a form of communication that allows us to connect with some of the most profound parts of one another, as well as ourselves, in a way that transcends the confines of language. Performance allows us to document both our history as well our current human experience at the same time, all the while, influencing our future. It’s something I have great respect for and am incredibly honoured to be a part of. 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? Amor b. What is your least favourite word? Impossible c. What turns you on? Privacy d. What turns you off? Willful ignorance e. What sound or noise do you love? Family reunion rancheras at 4am f. What sound or noise bothers you? Sirens g. What is your favourite curse word? Nothing I’d let my mother read in an online publication h. What profession, other than your own, would you have liked to attempt? Immigration Lawyer i. What profession would you not like to do? Anything that involves euthanizing animals. I grew up in Sudbury, Ontario and as a teenager, I used to volunteer at the Science Center. The section I worked in specialized in caring for Northern Ontario wildlife but, for some of the animals, their feeding process involved having to euthanize mice. Though I understood the importance, I just didn’t have it in me and, after seeing my face when my supervisors taught me the process, they thought it best that I not be allowed to do it because they were concerned I would free the mice. They were correct. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? ‘Took you long enough.’ To connect with Heath, visit their social media sites on Instagram and Twitter: @theirholiness. Previous Next

Back 'Shirley Valentine' by Willy Russell Now onstage at Port Hope's Capitol Theatre Sam Moffatt. Pictured: Deborah Drakeford as Shirley Valentine Joe Szekeres Willy Russell’s ‘Shirley Valentine’, the two-hour one-woman show, recently opened Port Hope’s Capitol Theatre 2023 season. Nearly thirty-five years since the original London production premiere, the play centers around 42-year-old Shirley Valentine (Deborah Drakeford) who’s stuck in a rut in her marriage. Sometimes she ends up talking to the kitchen walls to make up for the lack of communication with her husband, Joe. The two of them have two grown children now out of the house and living their own lives. Shirley feels she has become a servant to her husband and adult children and wonders if there is more to life. As she fixes chips and eggs to go with her husband’s tea, Shirley lets us in on various things going on in her life. The biggest news? Her friend Jane has won two tickets in a contest to travel to Greece and wants Shirley to go with her. At first uncertain, she finally makes the choice, leaves a note on the kitchen cupboard, packs her bags, and flies off on a transforming holiday that will change her life. I was puzzled at first by this choice to open Port Hope’s summer theatre season. There’s a sexist ‘80s feel to ‘Valentine’. On top of that, Shirley’s behaviour in Greece might also be considered foolhardy if she is trying to discover there’s more to her life than what she experiences right now. But hold on. The Capitol’s Artistic Director Rob Kempson is one astute man and knows what he’s doing. He hires the right people in the right position. He understands the audience. The appeal of ‘Shirley Valentine’ stems from its ‘80s roots and stares straight in the face of the current woke culture about what it means to be a woman today. Kempson accomplished his goal on this one. Smartly, I will add. Karen Ancheta directs with a compassionate understanding of the play’s universal messages and a savvy awareness of the ‘80s time frame. ‘Valentine’ speaks volumes about the celebration of womanhood even 35 years later. Real women from the ‘80s are like Shirley Valentine. They toil in the trenches of daily life, unlike some currently painted ‘woman face’ social media influencers who want us to buy what they claim to be. Real women dream, then come home and most likely put their own needs behind those of their sometimes-neglectful husbands and often suffer for it. We cheer for individuals like Shirley in the ‘80s who stand up and say: “No more.” Thirty-five years ago, Willy Russell, a male, writes about the beauty of a real woman like Shirley Valentine. My friend Marg who accompanied me remarked on this as well. Shirley learns to like herself through her wounds and scars and doesn’t try to cover them up. That’s what the play is all about. Many around me were enjoying hearing Lyon Smith’s good choice of appropriate pre-show ‘80s music soundscape. As Costume and Set Designer, Jackie Chau holds the important task of giving the audience the credible look of the period. She succeeds. Deborah Drakeford’s wig is very much the ‘80s look. The bright pastels she wears when waiting for Jane to pick her up are another reminder. Additionally, Chau purposefully juxtaposes two set designs which reflect Shirley’s emotional frame of mind in each act. In the first act, there are subtle hints of an at-times dreary-looking fake oak kitchen that hasn’t changed over the years much like Shirley’s marriage. The brickwork on the back wall needs fixing. The kitchen walls look as if they are closing in. Sometimes Shirley must stretch to reach the cupboards high above. Although there can be comfort in knowing some things are as they should be, Shirley becomes bored with this mundane routine. Joe likes his tea being placed on the table as he comes in the door from work. The open-air free-flowing second-act set design in Greece splendidly lit by Daniele Guevara beautifully reflects Shirley’s rational state of mind. That gorgeous choice of an aqua blue light colour works well combined with hearing the intoxicating sound of the ocean provided by designer Lyon Smith. There’s space to move about. At one point, Shirley lies down on the sand and speaks to us. What I thought was a nice touch was the placing of seashells along the perimeter of the stage. The final tableau of the production involving light and sound is breathtaking as the play has been brought to its rightful conclusion. Deborah Drakeford sparkles as Shirley Valentine and delivers a tour de force performance. While telling the audience about the relationships she forms with others in Greece, Drakeford becomes that credible woman who learns to fall in love with the idea of living which is another message of the play. In the first act, Drakeford shows a definite tension in her physical stance in her home kitchen. Her emotional frame of mind runs the gamut from nervousness to excitement of the unknown like a giddy schoolgirl. Shirley knows this life has become mundane, but Drakeford wisely never allows her emotions to ramble out of control. In the second act when the setting changes to Greece, Drakeford reveals a completely different Valentine. Her physical stance is serene while her spirit is calm. She presents as a relaxed woman in control of who she is and what she has done and doesn’t apologize for any of it. Nor should she. Drakeford sashays around in the kimono she wears with aplomb. She loves to sit silently at the edge of the ocean on a chair with a glass of wine, look out over the water, and breathe. Drakeford doesn’t make this moment at all theatrical. It’s all done as a matter of fact and naturally. It is the audience who marvels at the change. Her comic sense of timing is superlative. In the first act, Drakeford’s delicious raunchy talk of a certain lady part ‘down there’ left those sitting around me in stitches of laughter (me included). (Side note: don’t bring the kids). What I also find fascinating about Drakeford’s work in the first scene of Act One? She actually makes eggs and chips and makes it all appear as a normal course of events in Shirley’s life. And it’s all wonderful to watch and see this woman begin to love living once again. Final Comments: Thirty-five years later, ‘Shirley Valentine’ remains as relevant as ever. Any concerns I first had about the play are gone. It’s charming to re-visit and so is Deborah Drakeford in the role. Go see it. Running time: approximately two hours and 10 minutes with one intermission. ‘Shirley Valentine’ runs until May 28 at Port Hope’s Capitol Theatre on the Mainstage, 20 Queen Street. For tickets, call the Box Office at (905) 885-1071 or visit www.capitoltheatre.com . SHIRLEY VALENTINE by Willy Russell Now onstage at Port Hope’s Capitol Theatre Director: Karen Ancheta Set and Costume Designer: Jackie Chau Lighting Designer: Daniele Guevara Sound Designer: Lyon Smith Stage Manager: Charlene Saroyan Performer: Deborah Drakeford Previous Next BACK TO TOP

Back 'The Wrong Bashir' by Zahida Rahemtulla Now onstage in the Guloien Theatre at Crow's Theatre, 345 Carlaw Avenue. Now onstage in the Guloien Theatre at Crow's Theatre, 345 Carlaw Avenue. Joe Szekeres Photo credit: Dahlia Katz. Pictured: Sugith Varughese as Sultan and Bren Eastcott as Nafisa. “Thankfully, director Paolo Santalucia does not allow the nine-actor cast to become stock characters in playwright Zahida Rahemtulla’s sitcom-like script.” According to the Crow’s Theatre website, ‘The Wrong Bashir,’ a farce, is Zahida Rahemtulla's first play about the Ladha family within Toronto’s Ismaili community (commonly known as followers of the Aga Khan). ' The play premiered in Vancouver to a sold-out run and critical acclaim in spring 2023 with Touchstone Theatre. Knowing this, the play would seem ideal for a Toronto premiere. A farce is always welcome, especially in our world, which sometimes needs laughter. Indeed, raucous laughter sometimes rang throughout the Guloien Theatre within this opening night audience. I smiled for a few moments and felt the odd chuckle here and there. But raucous? Hmmm… I didn’t experience that at all. Bashir Ladha (Sharjil Rasool) is a bohemian philosophy podcaster hosting his show ‘The Smiling Nihilist.’ He is just about to graduate from university. He is thrust into the spotlight when chosen to assume a distinguished religious position that his parents, Sultan (Sugith Varughese) and Najima (Nimet Kanji), have eagerly accepted on his behalf. Before Bashir can object, two committee representatives, Al Nashir (Vijay Mehta) and Mansour (Parm Soor), are at his door to congratulate him. As the representatives suspect a mistake has been made, Bashir’s jubilant grandparents Dadabapa (Salim Rahemtulla) and Dadima (Zaittun Esmail), Gulzar (Pamela Mala Sinha) and sister Nafisa (Bren Eastcott) commemorate the honour. There is a sneaking suspicion that the wrong Bashir may have been selected for this honour within the prayer community. Theatregoers already know humour can be a powerful tool for addressing societal issues in theatre. There are prime moments where Zahida Rahemtulla’s script does just that, most notably when reps Al Nasjhir and Mansour realize their error about selecting the wrong Bashir. As Mansour, Parm Soor’s wide-eyed response when he realizes his part in the mistake is funny. Moreover, ‘Bashir’ also touches on the universal theme of intergenerational conflicts within families. The play also raises thought-provoking questions about the role of culture and religion in shaping family and community dynamics, making it relevant and engaging for audiences of all backgrounds. The Crow’s Theatre website states a charming farce ensues in ‘Bashir.’ Another hmmm… I don’t see it as a farce. Instead, this opening night performance became more broad situational comedy-type humour and not a farce. Yes, the dramatic technique of mistaken identities has been utilized in the theatre (most notably in Shakespeare) for comic effect. It’s nothing new. It’s up to the script to make this technique appear fresh and novel. Zahida Rahemtulla’s script didn’t do that for me. Why? She has written the ‘right’ Bashir to be caught in a situation in his family from which he believes he cannot escape. This appears to be the focus of the piece, which is more sitcom and not the ludicrously improbable situation that is a farce. Some farcical moments are worth noting, such as Parm Soor’s hunched Mansour and Vijay Mehta’s conversation in the kitchen when they realize they may have picked the wrong Bashir for this religious honour within the community. Sugith Varughese and Nimet Kanji’s comic banter back and forth as husband and wife contains terrific moments of farce as the two have their timing down pat. Ken Mackenzie’s set design of a split-level kitchen and sunken living room with a doorway entrance is an accomplishment and feast for the eyes resplendent with Lisa Nighswander’s props. Ming Wong’s costume selection finely delineates the differences between the nine characters. What did make me utter a low laugh was the reference to Sultan’s Costco pants. Mackenzie's lighting design focuses attention where it is needed. The strength of this opening night performance is learning more about the Ismaili community that I didn’t know. Thankfully, Director Paolo Santalucia wisely does not allow the nine-actor cast to become stock characters. Santalucia keeps the pacing moving briskly along to enable the audience never to forget the characters become real, ordinary people who reveal their genuine emotions with conviction. One moment occurs between Sultan and Bashir when the father finally opens his son’s eyes. Sharjil Rassol’s Bashir becomes that apt, cocksure, and full-of-himself young adult who thinks he knows it all when he doesn’t know Jack. Bren Eastcott is the wisecracking Nafisa, Bashir’s younger sister. Salim Rahemtulla and Zaittun Esmail are adorable as Bashir’s paternal grandparents Dadabapa and Dadima. There is a heartfelt moment in the second act between Dadabapa and Bashir. And Another Thought: From this opening night audience reaction, it was apparent people were out for a good time and to have a good laugh. Yes, ‘The Wrong Bashir’ does that, and I’m pleased the audience around me sincerely enjoyed it. I found this opening night performance more akin to the situational comedy of the '60s “Lucy Show” episode in which the beloved redhead is mistaken for a LOU C CARMICHAEL and drafted into the army. Running time: approximately two hours with one intermission. ‘The Wrong Bashir’ runs to June 9 in the Guloien Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. Call the Box Office at (647) 341-7390 or visit crowstheatre.com for tickets. Crow’s Theatre presents ‘The Wrong Bashir’ by Zahida Rahemtulla Directed by Paolo Santalucia Assistant Director: Zahida Rahemtulla Set and Lighting Design: Ken Mackenzie Costume Design: Ming Wong Sound Design: Jacob Lin Head of Props: Lisa Nighswander Head of Wardrobe: Ellie Koffman Stage Manager: Neha Ross Assistant Stage Manager: Victoria Wang Performers: Sharjil Rasool, Bren Eastcott, Sugith Varughese, Nimet Kanji, Vijay Mehta, Pamela Mala Sinha, Salim Rahemtulla, Zaittun Esmail, Parm Soor. Previous Next

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

Back '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 Jim Millan Looking Ahead David Leyes. Joe Szekeres Jim Millan has had quite the diverse career in the theatre and beyond, and his work has taken him to some places that I would love to see one day. I knew he had founded Toronto’s Crow’s Theatre and directed some productions there, but I had no idea of how extensive his work has been. He has directed comedy, dramas, magic and musicals on 5 continents in 38 countries in 17 languages and premiered over 185 new works in his career. Jim has a long series of innovative creations in theatre, comedy, magic and variety that has taken him from Canada to the West End to Radio City Music Hall, Las Vegas, Broadway and beyond. His unique talent is in demand as director, writer, producer, deviser of diverse and unique new entertainments built on his decades of experience in the traditional and less traditional theatre. In the 90’s Crow’s Theatre had produced the Best Play winner at Toronto’s Dora awards 4 out of 6 years. During this period Jim made his reputation directing such daring plays as Unidentified Human Remains and the True Nature of Love, Come Good Rain, High Life, The Chet Baker Project, Dali and others. Praise for Crow’s Theatre and Jim Millan included USA Today calling it “everything theatre should be, dangerous, daring and disturbing.” He directed the Canadian premieres of Hedwig and the Angry Inch, Shopping and F*cking and numerous other revolutionary new works from New York and London. Crow’s Theatre in Toronto has continued to thrive under new stewardship and is now a multi-million-dollar hub of cutting-edge theatre. He also was one of the founders of the Toronto Fringe and Crow’s was its corporate parent in the first year. Outside of his company, Jim began a decades-long collaboration directing the Kids in the Hall comedy group, which started in 2000. This work brought him to the attention of US producers. Five North American tours and special headlining performances have kept the 1990s comedy icons in the public eye, and they are now writing a new AMAZON TV series. Among his more explosive creations, Jim teamed with Adam Savage and Jamie Hyneman to create Mythbusters Live, which sold out across North America and toured Australia and New Zealand multiple times. Among his favourite experiences, he worked alongside Teller and Todd Robbins on Play Dead off Broadway, Mexico City and at the Geffen in LA. Another large-scale adventure was as the original Creative Director for The Illusionists, which opened in New York City in December 2014 and set an all-time record for a magic show on Broadway. As a comedy writer/director he created with his comedy partners SPANK: the 50 Shades parody which played over 400 cities and it has been produced in Australia and Poland. Jim’s love of comedy and unique entertainments were displayed in Off Broadway hits, The Marijuana-Logues with Doug Benson, Arj Barker, Tony Camin and Tommy Chong, and the Korean martial arts comedy Jump. Jim is also in demand as a creative consultant, having stepped in on SPIDERMAN: Turn off the Dark on Broadway working with Bono, Edge, writer Glen Berger and the creative team to help save the biggest musical in Broadway history. It ran for 3 years after its revamp. He is also a creative producer of the Governor General’s Awards Gala in Ottawa (which are Canada’s Kennedy Centre Honours). Past entertainers he has celebrated at the awards include Michael J. Fox, Martin Short, Sandra Oh, Andrew Alexander, Catherine O’Hara and Ryan Reynolds In development for the next twelve months, he has a play he co-wrote and will direct based on the book The Darkest Dark, by Astronaut Chris Hadfield, that premieres at Young People’s Theatre when possible. He is also collaborating with Lucy Darling on a new TV comedy and also with Penn and Teller for a touring project inspired by their TV show Fool Us. We conducted our conversation via Zoom. Thank you so much for adding your voice to this important discussion about the evolving world of live theatre in a post pandemic world, Jim: 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 see the fragility of the world we’ve all lived in up to this point differently. Lots of us tended to tie our self-worth to our work, our status, that things are either progressing or regressing in our work lives. That work was disproportionately important in what many of us thought success or happiness or contentment was. I’ve got a teen daughter and a pre-teen son as well. What became very clear was that the pandemic gave me a pause to see where I really was in my life and where my kids were in their lives. My work has been international for quite a while, so there have been times where I’ve been away three or four months during the year. And so I am grateful for this time and this has felt grounding to be here at home and to help the family and other people who need it. 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? Well, when we come back, the gatekeepers will have changed. A lot of the organizations will have had to do a lot of soul searching. And so, we will have the traditional crisis of live theatre, which is how do you balance all of the challenges of attracting an audience, building an audience, making an audience care and balance it with the influx of new priorities and realignment of so many of our assumptions. To me, that’s an exciting time. There’s going to be a lot of people who don’t come back. There will be a lot of people who will step away, both audience and artists. I think there will be a huge attrition in the audience attendance. I was an Artistic Director in Toronto after SARS. At that point, before SARS happened, you could have 6 or 8 hit plays going on in Toronto that would be sold out. There’d be a review in the newspaper and the next day the first half of the run would be sold out because people would just get on the phone and know that if they wanted to catch that production, they would have to be quick or there might be limited availability ‘til such and such a day. Well, that went away. We’d lost the habit. I hope it’s the opposite and there is instead a pent up thirst. That’s a little bit of weather forecasting and the one thing the pandemic has taught us: we don’t know anything. An image that I have nostalgia for is that lots of theatres around the planet have things are set on stage exactly the way they were on March 13, 2020. Costumes on hangers in the wings, things in dressing rooms, props on tables, sets; we didn’t come back as quickly as we hoped. As a professional artist, what are you missing the most about the live theatre industry? I miss the people. I realized a number of years ago that one of the skills or changes I’ve observed in myself is that I’m a better collaborator than I’ve ever been. And because being in this business for a while is humbling, and it’s energizing and defeating and you certainly learn, if you’re fortunate enough to be able to work with great people, that the experience, the journey of making something is equal to whatever the output is, if not more important to you as a person. And so, I miss that adventure terribly. Also, I think when all of the things converge correctly that honest exploration, that adventure process you go through with the other people ends up, no matter how exhausting it is, giving you a lot more than you put in because of the sum of the energy of the group. I just miss people. I miss the fun of it. I miss the laughter. I miss rehearsal halls. I miss having a problem that’s insurmountable, and then gifted people working together, take it apart, parcel it out, solve it, surprise each other and then you go on. A big challenging production is like the film version of ‘Lord of the Rings’. A huge number of small incidents, victories and defeats and somehow just getting to the end without too many people dying along the way is your duty. And pretty exciting. Crisis reveals character. Some say it builds character and yes, over time that can be true. And what has been interesting to me is that the people who have been able to flourish have found a way to take their creative energy and be of service. That has been a salvation for me. Being of service to my family, to my children, other artists that I know and just community people that have been hit far harder than I have by this storm has been key. As artists, as this clarifying, challenging time is upon us, when we come back, those of us who are able to come back, will have a greater sense of purpose and perhaps will have refined our values because of what we’ve all been through. When we get back into a room again, we’ll be looking at all kinds of people who have been traumatized in all kinds of ways. There will be a lot of laughter, a lot of healing. I hope there will be renewed sense of purpose and renewed joy in making things. We’ve been through a storm that has affected all of us differently, and I hope there will be a kindness and generosity of practice. We’ll work on it together. 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? Being busy. (Jim laughs again) I’ve been really, really busy for around 20, 30 years. I always knew I was blessed to be that busy and have opportunities and be able to complain about having to travel so much. I also miss working in different situations and cultures with artists whose careers and taste and experiences are vastly different. I love being surrounded by people smarter and wiser than I am. Also, the challenge of making something original with fun people. Describe one element you hope has changed in the live theatre profession. Oh, I think it was a tremendously hierarchical organized creative endeavour. That’s not even taking into account the more commercial world I’ve often worked in, in the States and other places. I hope the assumptions of privilege are shattered – whether that’s white privilege, male privilege, class privilege and the pomposity of some of the folks who having been doing it longer. I’ve long observed that change was coming. This last year, I think, “the theatre” has been shaken to its foundations, which is a good thing. I don’t think I’m the only person who is curious as to what happens next. As the business of theatre, as the cultural force of theatre re-opens and touring begins (I’ve directed a lot of things that have toured significantly) it will be interesting to see what the audiences choose. Will they go on the new journey being offered by new artistic leadership like the late 60’s and 70s because the work connects with both existing audiences and emerging audiences? I’m ready to lend a hand. We’ll see. Crow’s Theatre was born in the second wave of founding of Canadian theatres centered on Canadian voices in the 80s. We were looked at skeptically. Brash new voices. So I hope this re-emergence will be a new wave of Canadian theatre. I’m ready to help and certainly know a lot of people who are in that world and there will be a time and place. I’d like to spend more time in Canada now. I’m not planning to do as much of traveling as I used to do. Let's hope that there’s an opportunity for all of us to find ways to support this next wave. We won’t know what the needs are. The challenges are post-pandemic and that’s why I think it will take a multi-layered effort from not just the artistic community but also the audience, the funders, particularly the philanthropists, the corporations. If we don’t rise to the moment, we’ll see theatre fall back significantly. I think in the short term it will take a lot to get people back, and then it will take very nimble minds and strong backs to carry us through this next period and do the next, ultimate thing – attract young people – to come to see it. If we’re not getting young people to come to see what we do, then it’ll be the progress of 50 years of significant Canadian theatre production lost. I witnessed Canadian work being culturally important, and not just being a side bar knowing that plays, playwrights and our artists can make a difference. For that important progress not to be diminished, we need to have a lot of hands on deck. Explain what specifically you believe you must still accomplish within the industry. I need to keep lifting up younger artists. I need to keep surprising people and myself. I need to lead by example because the best artists I encountered when I was young were ones able to teach me without it always being necessary to explain themselves. The people that were inspiring were able to talk the talk and walk the walk. You need to be inspired because art needs to be brave. Artists who last and also keep challenging themselves need to keep having fun, idiotically persevering and be generous of spirit. If we keep playing the game the right way, the next generation will play the right way. It’s not as if the game doesn’t evolve and we don’t evolve, but there’s just something to be said for those who have done it for a while, and to be open hearted to sharing how we do it, humble in the face of it, as it’s been a privilege to be able to do it this long and still have a chance to do it. My next Toronto-based project is a new play I’ve adapted from one of Chris Hadfield’s books ‘The Darkest Dark’ for Young People’s Theatre. It was supposed to have been on stage and running at this moment if all of our plans had come together. It’s scheduled for when it’s safe for all of us to gather. It’s nice to be doing a show about bravery and courage. It’s certainly got an inspiring message. Magic and wonder are what artists need to accomplish now and always. 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 believe there will be a wave of pandemic plays. (Jim then laughs and says) I don’t think anybody is going to be doing a lot of those. I think when the Fringe, which I helped found, happens in person again 15 months from now or whenever that will be, I think the person who gets into the Toronto Fringe by lottery and announces “My Pandemic Days” will have exactly zero people in line to go see it. That’ll be a hard “no” from all of us who lived it. (And Jim laughed again). I’m very curious to see what some of the writers who have been able to flourish have been up to. I hope those others who have been maintaining their energy and just hanging on will get busy again. I think it’ll be indirect, and I think there will be a lot of plays about revolution. I think there will be a lot of comedy, which I look forward to. We all are looking forward to some comedies. As an artist, what specifically is it about your work that you want future audiences to remember about you? I think the work was daring. I think my work has a great sense of humour. At least to me, and luckily, some other people think so, too. A boldness. Creating an honest and challenging question with the form and a playfulness with the audience so the show isn’t just like everything else. That I did my very best to surprise them. Previous Next

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

Back 'Jim Watts: Girl Reporter' by Beverley Cooper Upcoming 4th Line Theatre show asks: “What does it mean to take a stand? How does that sit with different people? Can an individual make a difference in the world?” Credit: Wayne Eardley Joe Szekeres 4th Line Theatre continues its brand of outdoor theatre with Canadian stories and a mandate to preserve and promote our Canadian cultural heritage through the development and presentation of regionally based, environmentally staged historical dramas. Next on the slate is Beverley Cooper’s ‘Jim Watts: Girl Reporter.’ Directed by Kim Blackwell, the dramatic story (with moments of levity) is 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. University student Jean ‘Jim’ Watts (Katie Ryerson) defies the rules of society at that time. She became a reporter and was the only woman to join Canada’s battalion in Spain, the MacKenzie-Papineaus. The play takes the audience from Toronto to Madrid, from political allies to the Spanish battlefields. Recently, I had the chance to attend a media call for the upcoming production on the theatre's grounds. I spoke with three articulate young people in the cast—Katie Ryerson, Mikayla Stoodley, and Thomas Fournier—excited about opening night and sharing the story of Jim ‘Jean’ Watts. Before we even began to speak about playwright Beverley Cooper’s story, I asked these young people what it is specifically about the theatre that draws them in. All three agreed that it is the communal and imaginative aspect of coming together and working on bringing a story to life, especially one that is Canadian. Being outdoors, there’s something ancient about it, as the words in the dialogue seem to taste better. Katie, Mikayla, and Thomas are singing respectfully Director Kim Blackwell’s praises and are loving their time in rehearsal on the farm. Blackwell has created an ‘amazing’ atmosphere who takes the work seriously and wants the story to remain of paramount importance. All agree theatre is ephemeral. It takes place and comes to life for a specific time, but the thoughts, questions and comments it can leave afterward are essential. Is the theatre on life support, as many have said over the years? Absolutely not, according to these three young and upcoming actors. The action is live in the theatre and built on community and collaboration between the cast and creative team. In film and television, sometimes artists can get lost in that realm where actors come in, meet the director quickly, do the scene and be ushered out the door immediately after. Ryerson, Stoodley, and Fournier fell in love with the theatre because of that collaboration. Once again, the three of them refer to their director, Blackwell. She knows her vision and remains confident in its completeness, but Kim was always open to discussion, feedback, and questioning. Ryerson plays the central character, Jim ‘Jean’ Watts, also known as Myrtle and Eugenia. Katie feels honoured to receive the gift of playing this character. It’s her first time performing at 4th Line, and she calls director Blackwell ‘the best.’ Even though the production is named after the reporter, Ryerson states the production is a large ensemble effort. Stoodley plays Canadian poet Dorothy Livesay, known as Dee. What fascinates Stoodley about the poet is her experience in exploring politics through her art and taking a stand in how she and Jim see things. Watts and Livesay are close friends. Stoodley also shared that through reading some of the letters of correspondence between the two women, their relationship appears to be more than just friends. Thomas Fournier plays Jim Higgins, a prominent anti-fascist and individualist Peterborough resident, union organizer, and hero. According to Fournier, who read Higgins’ memoirs, he defied his country’s orders of non-intervention and went overseas to brave the potential of being arrested and fight against great military powers. Higgins was a thumb in the face of authority. He was always fighting for the rights and freedom of people. What messages do Ryerson, Stoodley and Fournier hope audiences will take away upon seeing ‘Jim Watts: Girl Reporter’? While the play deals with heavy political and emotional themes at times, one thing remains certain for all three artists: Can one person, just one, make a huge difference in taking a stand? Can making a difference take on different forms and can all of this be impactful? Playwright Cooper’s script also reveals that taking a stand will manifest differently for different people. It’s also okay if audience members leave with more questions. Theatre does not always have to provide the answers. It is the ensuing discussion that takes place after which is equally as important. ‘Jim Watts: Girl Reporter’ previews begin July 30 and 31. Opening night is August 1 and runs until August 24 at 4th Line Theatre. For tickets: (705) 932-4445 or visit 4thlinetheatre.on.ca Previous Next

Back 'No Change in the Weather' A Newfoundland Musical at The CAA Theatre Mirvish Site Joe Szekeres David Mirvish and Terra Bruce Productions have graciously transported the Rock to us at the CAA Theatre since it might pose a challenge for any of us to get to Newfoundland at this time. Along with hopefully seeing the terrific ‘Come from Away’ again soon, this engrossing opening night production of ‘No Change in the Weather’ makes me long to return for another visit to the Rock as soon as I saw one cast member carry an ugly stick. I attended the show with a friend who has never ventured to the East Coast but seeing ‘No Change’ made them want to travel there as well. There was a momentary hold of about ten minutes into the production for sound issues, but that didn’t bother me at all as I was happy to be back here away from a computer and television screen to watch artists showcasing their craft. A quick look around to gauge other audience members and, from what I could see, they weren’t bothered in the least either by this pause. Here’s ‘No Change’s’ story from the Mirvish website, and yes it might seem puzzling at first: Peggy O’Brien (Kelly-Ann Evans) has died. Her family and friends sneak her corpse out of the funeral home (and tanning salon) and back across the water to her family home, on the unsettled island of God’s Back Pocket. As this brood of body snatchers wake Peggy into the light a wandering American (Philip Goodridge) and newly stationed Constable (Renée Strasfeld) from Quebec find themselves in the middle of a family racket that exposes decades of pettiness, secrets, and enough familial bad blood to ruin every Christmas for eternity. Estranged brothers Bill and James ‘Sonny Boy’ O’Brien (Steve Ross and Duff MacDonald), a child of unknown parentage (Melanie O’Brien), and a slide show of Newfoundland and Labrador’s most farcical political blunder, Churchill Falls, collide with an outcome that does manage to set things right. I especially loved hearing the hypnotic sound effects of the wind and rain upon entering the CAA auditorium as I could vividly recall hearing that same sound, and feeling the mist and fog, when I was in St. John’s years ago. A wooden casket is spot lit centre stage with a floral garland wrapped around. The use of a scrim behind the boat magically creates a shadowy void of darkness as the group of body snatchers transports Peggy’s casket to her family home. Director Brad Hodder in his Programme message writes this production is an “ensemble piece of theatre (as)…all of the characters are completely inter-related and completely necessary for the journey…each one is essential.” Couldn’t agree more here as Hodder’s sharp vision for this first-rate ensemble creates memorable and touching moments of the human spirit in Bernardine Stapleton’s story and Steve Cochrane’s adaptation. In ‘Come from Away’, the opening line of that musical re-iterates audience members will probably only understand about half of what the Newfoundlander says and how it’s said. And that’s what makes listening to the dialect of the East Coast so charmingly enjoyable especially when it is simultaneously captured in the glorious vocal work of the actors. Gorgeous sounding harmonies resonate and soar to the rafters of the CAA Theatre where I experienced goose pimples and just closed my eyes so I could listen to these dulcet toned singers. Attention must be paid (as Linda Loman states) to Musical Directors Kelly-Ann Evans and Josh Ward. Victoria Wells-Smith’s delightful choreography put a big ol’ smile on my face as it reminded of the full-fledged kitchen party I attended when I was in Newfoundland. The Band is in tip top fine form and never overpowered the singers. Thankfully, I could clearly hear the lyrics to each of the songs from where I sat. As matriarch Peggy O’Brien, Kelly-Ann Evans becomes the ghostly spirit who poignantly recounts her family’s story with humane charisma combined with tinges of that east coast teasing and taunting that I always like to hear. One would assume that the matriarchal family figure would have aged appropriately; however, I don’t want to spoil the surprise as to why she is portrayed as young as she is. Steve Ross and Duff MacDonald as estranged brothers Bill and ‘Sonny Boy’ (James) superbly nail that existing tension of fraternal opposites on account of the political mess in which Newfoundland found itself over Churchill Falls. Make sure you leave enough time before the show begins to read the excellent historical background in the Programme surrounding the debacle. Vicki Harnett’s Sally Brown (sister to the brothers) becomes a riotous ‘doula of death’. I liked how Seana-Lee Wood as Jade, a friend to Bill and Sonny Boy and Peggy, mysteriously harbours a secret which is ultimately revealed in the second act. As the rather awkwardly dressed for a wake Liza, Melanie O’Brien scored points with me in how she engendered an awkward relationship the O’Brien family and with Jade. Steve Maloney’s dimwitted Johnny reveals a past about himself and his relationship with Peggy that brought a tear to my eye. Wandering American Richard O’Byrne (Philip Goodridge) who only knew Peggy for a month before she passed away nicely captures and refines that ambiguous relationship he had with her. Julia Dunne, Erin Mackey and Liam Eric Dawson become a ghostly trio of accomplices who strongly fortify the petty secrets and familial bad blood that exists here. Final Comments: ‘No Change in the Weather’ becomes an authentic East Coast celebration of song, of dance, of laughter…and OF LIFE. I’m still thinking today as I write this article about the tremendous joy on the faces of these versatile artists and their kinetic energy that was transferred to me in the house. Absolutely wonderful. A must see as we all emerge from the pandemic. Running time: Approximately two hours and forty minutes with one intermission. ‘No Change in the Weather’ runs to November 27 at The CAA Theatre, 651 Yonge Street, Toronto. For tickets, visit www.mirvish.com . Covid 19 Protocols in effect at the theatre. ‘No Change in the Weather’ – a Newfoundland Musical A terrabruce production Original Concept and Music Curation by Walter Schroeder Written by Bernardine Stapleton with Adaptation by Steve Cochrane. Musical Arrangements by Jesse Grandmont with additional arrangements by Bob Hallett and Paul Kinsman Directed by Brad Hodder Musical Direction by Kelly-Ann Evans and Josh Ward Choreography by Victoria Wells-Smith Musicians: Alex Abbott, Chuck Bucket, Grant King, Kat McLevey, Kelly Russell, Tamsyn Russell, Josh Ward Set Design: Gilliam Gallow, Lighting Design: Leigh Ann Vardy, Sound Design: Pat Dempsey, Costume Design: Sara Hodder, Dramaturgy: Courtney Brown, Stage Management: Jaimie Tait, Production Management: Brendan Agnew, Dialect Coaching: David Ferry and Melanie Paiement, Executive Producer: Walter Schroeder Creative Producer: Bob Hallett Photo by Ritche Perez Previous Next

Back 'Salesman in China' by by Leanna Brodie and Jovanni Sy – WORLD PREMIERE The production runs until September October 26 at the Avon Theatre, 99 Downie St., Stratford, Credit: David Hou. Pictured L-R: Adrian Pang and Tom McCamus Geoffrey Coulter, actor, director, adjudicator, arts educator. VOICE CHOICE “Stratford’s gamble with this Salesman scores big time! A magnificent, ground-breaking world premiere recounting inter-cultural human connection equates to a rare, near-perfect piece of theatre. You’ll want to experience it more than once.” My job as a theatre reviewer is to objectively assess and analyze all aspects of a production, including the direction, acting, set design, costuming, wigs, lighting, and sound design. I also reflect on choices made, what works for me and what I think might improve the audience’s theatre-going experience. I’m thrilled to report that the world premiere of “Salesman in China” at Stratford’s Avon Theatre is one of those rare theatrical experiences that took me completely off guard with its thrilling and engaging story, superb performances, compelling stagecraft, and passionate direction. I can’t remember attending a more perfect production! This is the apex of live theatre: an engaging and thought-provoking story of empathy, compassion, and humour and how the process of theatre-making can bridge the cultural divide and bring nations together. Next, production and performance elements that seamlessly compliment each another. Finally, an audience sitting in rapt silence for two hours, not just watching a play, but experiencing an event! Such is Leanna Brodie and Jovanni Sy’s, “Salesman in China”, their ambitious and daring adaptation of playwright Arthur Miller’s memoirs of his 1983 trip to Beijing to direct his play, “Death of a Salesman” at the Beijing People’s Art Theatre. This is a fascinating recounting of Miller’s paradoxes of directing a tragedy about American capitalism in a communist country. This historic collaboration symbolized the beginning of a new era of American-Chinese diplomatic relations shortly after China’s emergence from the decade-long chaos of the Cultural Revolution. China at this time was a land shut off from the far-reaching influences of the West. The story focuses on prominent American Miller and the equally prominent Chinese actor, director and translator, Ying Ruocheng, who will play Willy Loman in the play. The eyes of the world are fixed on the production, which signals a thawing of the two nations’ icy relations. Ying quickly discovers the many cultural bridges that surpass the language barrier. The Chinese are oblivious to the cultural underpinnings of Miller’s work. They don’t know about travelling salesmen, insurance policies or personal automobiles. How will he and Miller collaborate to bring the notion of the “American Dream” to audiences in communist China? How will Ying please the watchful eyes of the various government officials and attachés along with the artistic director of the People’s Art Theatre? The cultural divide between Miller, Ying and their collaborators is fundamental to the show’s premise. Not only did they need to reconcile vastly different languages, but they had to find a middle ground on its central themes of fatherhood, familial legacy, and worth. Something that resonates very differently in both cultures. This is where Brodie and Sy thoughtfully challenge audiences to reflect on present-day international affairs, societies, events and relationships. Director Sy and his entire company have achieved a first for Stratford – This production shifts seamlessly between Mandarin and English and is performed by an almost entirely Asian cast. Subtitles cleverly span the breadth of the elevated stage with English titles when Mandarin is spoken and vice versa. Sy’s passion for this monumental production is tenable from the first scene in the rehearsal hall of the People’s Art Theatre. Particularly moving was the collective breath taken by the actors before they started the first rehearsal. I instantly felt connection; connection of the cast to the material, the audience to the cast, all of us to each other. Goosebumps! Sy’s inspired staging and use of cinematic techniques for flashbacks and dream sequences is masterful, particularly in Ying’s garden home and while rehearsing his monumental scene. There isn’t a single line delivery, piece of staging or scene change that isn’t carefully considered. Speaking of scene changes, they are among the most beautifully choreographed I’ve ever seen. Cast members bring on and take off furniture and props with an almost balletic grace. Nothing in this show is random. Hats off to the leadership and vision of this fine artist. Stratford favourite Tom McCamus leads the top-notch cast as Miller. His performance as the great playwright is multi-layered and complex. His Miller is charming one moment, capricious the next. He embodies the intelligence, arrogance, and fierce commitment to his art, which was well known to those in Miller’s inner circle. Also well-known is that Miller may have been autistic and was known to “never keep still.” Kudos to McCamus for his attention to this subtle physicality. But the show really belongs to Adrian Pang in his Stratford debut as Ying Ruocheng. This man’s charged performance is a masterclass in fine acting! It’s hard to ascribe an adjective that adequately defines his work in this starring role, but I’ll start with genius! Ying is a charming, funny collaborator for Miller. He is affable at first but has a tormented past and personal demons that threaten to derail his art and relationships. Ying is so good, his characterization so compelling, and his monologues so breathtakingly poignant that you can’t take your eyes off him. His performance alone is worth the ticket price. The chemistry he shares with McCamus is both heartwarming and heartbreaking. Joyous! As Miller’s wife Inge, Sarah Orenstein portrays a loyal and supportive partner (she even learned to speak some Chinese) with unswerving faith in him and his production. Her scene with McCamus at the top of Act 2 is delightfully tender. In stark contrast is Jo Chim’s portrayal of Ying’s wife, Wu Shiliang. Unlike Inge, she’s skeptical and questions Ying’s involvement with Miller and the play. She’s protective of Ying and fears for his career should the play fail. Chim and Orenstein are excellent in their strained portrayal of wives in turmoil. The balance of the wonderfully talented cast plays multiple parts, all invested in their roles and thoroughly engaging. It’s not only the actors that are epic! Stagecraft is off the charts! Joanna Yu’s stark set design with perfectly synced English and Mandarin subtitles is innovative and functional. However, there’s a second screen at the top of the stage that is used briefly to indicate location and time. This one is easy to miss as it’s set too far away from the main subtitles and is easy to miss. I would have liked all the subtitles in one place. Chairs, tables, desks, mirrors and other small props are brought on and off by actors with military precision. Special note to the illusory staging of Ying and Miller watching their play’s final scene from “backstage”. Abstract projections on the back walls, courtesy of co-designers Caroline McCaull and Sammy Chien (Chimerick), are effectively and often frighteningly used for flashbacks (especially Ying’s imprisonment and panic attack during rehearsal). Sophie Tang’s lighting design is muted overall. It provides lots of shadow and minimal colour, nicely evoking the harshness of the totalitarian state. Harsh shafts of white light keep key scenes cold and ethereal. Alessandro Juliani’s original compositions of traditional Chinese folk music, coupled with ambient drones and supplemental background effects, gracefully, sometimes horrifically, enhance but never overpower. “Salesman in China” is the season’s most exhilarating and conversation-inducing work. Its themes of family, values, familial relationships, cooperation, and collectively bridging the cultural divide conjure laughter and tears. This gem is inspired, full of heart, and not to be missed. The bad news? It has a painfully short eight-week run. The good news? It’ll move to Ottawa’s National Arts Centre in January 2025, so don’t let this masterpiece slip away! Running time: Approx. 2 hours, 25 minutes with one intermission The production runs until September October 26 at the Avon Theatre, 99 Downie St., Stratford, For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca The Stratford Festival Presents “Salesman in China” by Leanna Brodie and Jovanni Sy WORLD PREMIERE Directed by Jovanni Sy Set designer – Joanna Yu Lighting designer – Sophie Tang Composer and Sound Designer – Alessandro Juliani Co-Projection Designers – Caroline McCaull and Sammy Chien (Chimerick) Fight and Intimacy Director – Anita Nittoly Movement Director – Harriet Chung Performers: Tom McCamus, Adrian Pang, Jo Chim, Phoebe Hu, Derek Kwan, Sarah Orenstein, Agnes Tong and other Canadian artists in the ensemble. 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 Peter Pasyk The Self Isolated Artist David Cooper Joe Szekeres I’ve met Peter twice in Toronto theatre lobbies since I’ve begun reviewing for On Stage Blog. Both times he was a true, modest, and unpretentious gentleman. The first time was at Factory Theatre. I had waited to speak to one of the actors after the production. Keep in mind I hadn’t met Peter at that time, but I had reviewed one of his shows at Soulpepper several weeks earlier in the summer. There was this dignified looking man who spoke to an actor. This classy guy was Peter. I waited while Peter finished what he was saying to the actor. When he sensed I was waiting to speak to the actor, Peter graciously stepped back and made me laugh by saying, “There are others here besides me.” While I was asking my question, I could sense Peter was paying careful attention to what I was saying and then what the actor said. I remember we had left the auditorium together. Peter asked me my name and what publication I wrote for. I was so surprised when he said, “Joe, yes, I read your review for the production I had directed at Soulpepper. I’m Peter Pasyk.” And I was equally touched he said he has been reading my articles and browsing through the On Stage site. Wow! This highly sought-after young director who has worked at Stratford, Shaw, Tarragon, Royal Manitoba Theatre Centre and Canadian Stage read my review and was perusing On Stage. I was honoured and flattered to say the least. The second time we had met again was several weeks later at Factory in the lobby before the performance began. Once again, this dignified gentleman came up to me and started chatting with me as if he had met me before. When I introduced myself, he said, “Yes, I’m Peter. We met here last time.” Well, I turned mortification red in eight shades of embarrassment and wanted to hide. Peter laughed and said not to worry as we are constantly meeting people all the time at the theatre. I promise you, Peter, when ‘Hamlet’ premieres at that gorgeous new Tom Patterson Theatre in Stratford I will not forget!!!!! We conducted our interview via email: 1. How have you and your family been keeping during this two-month isolation? We’ve been keeping as well as we can, thanks for asking. It’s actually an exciting moment in time for us because my partner and I are expecting a baby in July. So that has kept us busy and focused. But of course, its been hard and strange too. Being pregnant, we wish we could be getting together with family and friends more often but that’s not really possible for now. But we have each other and that’s most important. 2. What has been most challenging and difficult for you during this time personally and professionally? What have you been doing to keep yourself busy? For a while there, both personally and professionally, there was a kind of mourning. I think that’s what it boils down to really. I have been mourning the loss of the daily routines and interactions I took for granted, and I have been mourning the best laid plans I had set out for myself and my future. But there is a kind of sweetness and clarity in grief too. I am forced to reckon with my values and appreciate the not-knowing as well as the simple pleasures. As far as keeping busy, I cook a lot. I read. I write. I subscribed to the Criterion Channel to watch great art house cinema and learn from the master directors. And I’m always cooking up future theatre projects in my head. You know, I’ve heard some folks talk about being bored. I have never really experienced boredom. It just doesn’t afflict me. I’m always curious about something or working something out in my head. As a director, every experience and every observation and every interaction is fodder for my craft. And there is so much to learn at this moment about each other. I have found in myself a greater capacity for empathy - and empathy is probably the single most critical skill of a director because we have to see the world from multiple perspectives. 3. I interviewed Antoni Cimolino several weeks ago, and he spoke very highly of you and your work in preparation of bringing ‘Hamlet’ to the Festival this season which has now been postponed. Antoni is still declaring this slate of plays will go, but it just depends on the situation with Covid. How are you doing regarding all the work you had been preparing for ‘Hamlet’ only to have everything come to a grinding halt? We were in advanced stages of rehearsal with Hamlet, and about to go into tech. I was in such awe of the company. I could hardly contain my excitement for sharing their work with audiences because there was some really fresh and unexpected things happening. And though it’s frustrating I know that none of that work will be wasted. The creative process is resilient. And at any time I trust we can pick our momentum back up again. I know this from touring productions: a show can easily start to feel far away but as soon as you start up again there is this sense memory that kicks in. Of course, ‘Hamlet’ is so much a play about reflecting the present moment that in some ways the production will naturally evolve with the times. But that’s the exciting part. But also ‘Hamlet’ is only one part of what is an exciting landmark season for the Stratford Festival. I am looking forward to the day that all these shows can be shared with the public, and that everyone will be able to experience the new jaw-dropping Tom Patterson Theatre. 4. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts scene? Well, it’s easy to speculate in any direction but speaking of the longer term I tend toward optimism. Ultimately, I trust that this prolonged pause in our being able to congregate and commune in large groups will make theatre and performing arts more vital and sought out by the public eventually. By the time theatres open again I don’t think anyone will make the argument “why would I go out when I can watch TV at home?”. That said, it’ll likely take some time (and a vaccine) before we can congregate again and in the interim it will be a difficult time for many artists who are unable to make a living. 5. Do you have any words of wisdom to build hope and faith in those performing artists and employees of The Festival who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? I don’t think anything I can say will alleviate those hardest hit. But I do believe that storytelling is almost as old and as necessary for survival as fire. So, storytelling will not go away. The way we do it may need to adapt. But of all those affected I feel most for young adults and new graduates because it is such a fertile time. So many firsts to be experienced, now interrupted. But to be honest, I’m counting on this new generation of artists to lead the way of innovation and to find new ways of presenting theatre that can adapt to the times. There is nothing more valuable than the gumption of youth. 6. I’ve spoken with some individuals who believe that online streaming and You Tube presentations destroy the theatrical impact of those who have gathered with anticipation to watch a performance. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? Yes, I’ve heard a lot of conversation about this, but I think the premise of the argument is confused. Online content and live theatre are each unique medium. They are both storytelling mediums and both share an audience but neither can ever replace the other. I applaud those artists that are pivoting their creative efforts to online formats. Everyone has their own way of dealing with a pandemic and anyone who manages to be creative and productive at this time is winning in my books. And to go back to something I was saying earlier, I think that when we are given the go-ahead to return to theatres there will be a considerable uptick in the popularity of live performance. 7. What is it about the performing arts that still energizes you even through this tumultuous and confusing time? The sound of an entire audience giving an involuntary collective gasp. With a respectful acknowledgement to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: 1. What is your favourite word? Love 2. What is your least favourite word? Impossible 3. What turns you on? Laughter 4. What turns you off? Bullying 5. What sound or noise do you love? Wind through trees 6. What sound or noise bothers you? Mosquitoes 7. What is your favourite curse word? Kurwa (Polish is my first language and it’s great for cursing) 8. Other than your current profession now, what other profession would you have liked to attempt? Chef 9. What profession could you not see yourself doing? Insurance 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Are you ready for an adventure?” Previous Next

Back Ins Choi "I hope we can fiercely support our Canadian playwrights and see to [writing, producing, directing and acting in] more productions that help us continue to find and define our collective voice.” Dahlia Katz Joe Szekeres I saw ‘Kim’s Convenience’ when it was remounted at Soulpepper in 2012. At that time, Ins Choi did not play the central role of Appa, but this time, he does at London, Ontario’s Grand Theatre. I’m most appreciative of his time to answer a few questions via email. Ins studied acting at York University in the Bachelor of Fine Arts (BFA) Program. He’s also quick to point out that his training was from not only one institution but many influences. Skateboarding was one, although he acknowledges he wasn’t that good at it: “I’d practice for days, weeks on a trick - an ollie kickflip, for example, and then “perform” it in front of people once I was comfortable landing it in private. I also kinda liked playing the part of a skater - the clothes, the shoes, the hair, the attitude, the jargon. It was like a role.” Although he doesn’t consider himself an athlete, Ins played on his high school's volleyball, rugby, hockey and soccer teams. He never regretted this participation in sports because he recognized how they all added to the importance of collaboration and teamwork. Being kind to one’s teammates also figured prominently. To be kind, collaborative, and part of a team, he had to listen to others and find his part and voice. Ins is very family-oriented. As a child, at family gatherings, he would watch his father and siblings tell stories and reminisce about the ‘old days’ while making each other laugh. Ins’ father was the Pastor of a Korean immigrant church in downtown Toronto. At home, the young lad would watch his father research, read, write, and practice his sermons first. Then, at the church's regular Sunday matinee ‘gigs,’ Ins’ father would frame ancient stories for a contemporary congregation with humour, craft, and passion. Ins’ mother put her boy in several violin, piano and voice music lessons. He also recalled singing in many choirs and ensembles, where he learned the importance of musicality and rhythm. He credits his training as a writer with writing songs, poems, and short stories. The next bit of advice is something most of us have experienced at least once in our lives: ‘Failing at something but getting up and trying again.” How does he feel about the current state of Canadian theatre and where the industry is headed over the next proverbial five-year plan? “I think we’re still in a bit of a hangover from Covid, but I hope we can fiercely support our Canadian playwrights and see to [writing, producing, directing and acting in] more productions that help us continue to find and define our collective voice.” I was taken with the family unit behind ‘Kim’s Convenience’ the first time I saw it at Soulpepper. The Kims are an immigrant family with flaws, striving to make ends meet and raise their children in a culture that’s a little foreign. The story deals with a small family convenience-run store and what to do when the next generation doesn’t want to take it over. The family is not perfect, as none is. However, this family tries to express their love and care for each other despite language and cultural barriers. Feelings are hard for everyone around. That’s precisely one of the messages Choi wants audiences to come away with after seeing ‘Kim’s Convenience.’ He also adds: “I’d love for people to leave the theatre having fallen in love with a family that perhaps looks differently than theirs and for that to have had a positive effect in how to view and treat others in their day-to-day lives.” There’s a little bit of Ins in each of the characters. He was single into his thirties and pursuing an artistic career like Janet. Much like Jung, he has felt like a failure many times in my life. Like Umma, he’s tried to please others. The following statement made me laugh when I read it in his email: “And like Appa, I now have two children who don’t listen to me. I’m joking.” Ins has never considered continuing the story of the Kim’s in another script. When I taught high school English, I always sought new material with strong Canadian content about bringing contemporary drama to students. I asked Ins to imagine that he had the opportunity to go to the Ontario Ministry of Education and defend why ‘Kim’s Convenience’ should be studied in high schools across the province. Ins hated reading in high school. He states: “A pageful of words was intimidating.” ‘Kim’s Convenience,’ however, is an easy read for students. A page of the text can be flipped in ten seconds. The dialogue is quick and in contemporary speech with a variety of characters. Choi is proud to state that young people in the Ontario school system can relate to the play even if their parents were born here. The play deals with immigration, racism, gentrification and racial profiling, and these issues are part of our Canadian world today. The one crucial thing that will sell students to read the play. ‘It’s funny.’ What’s next for Ins once ‘Kim’s Convenience’ concludes its run at London’s Grand Theatre? He’s returning to being a real Appa with his family and taking a break in November. He’s then off to London, England, to perform the role of Appa in the United Kingdom’s premiere production of the play at Park Theatre. Esther Jun will direct the production there. Choi was also a tad coy in saying he’s also chipping away on a few projects in theatre and television but wouldn’t reveal what they are at this time. ‘Kim’s Convenience’ continues at London, Ontario’s Grand Theatre, 471 Richmond Street, until November 4. For tickets, visit www.grandtheatre.com or call the Box Office at (519) 672-8800. Previous Next

Back Joseph and the Amazing Technicolour Dreamcoat Toronto's Princess of Wales Theatre Joseph (Jac Yarrow) sings 'Close Every Door'. Credit: Cylla von Tiedemann Joe Szekeres Joseph’s back, and it’s just as grand a storytelling spectacle of music, song, and dance as ever told by a uber multi-talented diverse cast. Wonderful entertainment. Toronto certainly needs Joseph’s story right now, and I for one am glad it’s back. Based on Joseph’s story from the Bible’s Book of Genesis, the Narrator (a lovely performance by an engaging Vanessa Fisher) tells the story of the young dreamer (Jac Yarrow) and his eleven siblings. Their father Jacob favours Joseph and, as proof of the affection, purchases a multi-coloured coat for his beloved son much to the brothers’ extreme chagrin, jealousy and resentment of both the young lad and their father. Joseph dreams he will rule over all his brothers one day which adds more fuel to the fire in their resentment of him. They plan to kill him but instead sell him into slavery to some passing Ishmaelites. To hide what the brothers have done, they and their wives tell Jacob that Joseph has been killed. We then are introduced to Joseph’s world as a slave where he meets some highly unusual individuals from the Book of Genesis. There is Potiphar and his wife (more about them shortly) who order Joseph to be jailed for a possible indiscretion with the lady. Act One concludes with one of the best versions of Joseph’s ‘Close Every Door’ I’ve heard in quite some time. In Act Two, the Narrator points out there is hope for the imprisoned Joseph thanks to The Pharaoh (Tosh Wanogho-Maud) who has been suffering from crazy dreams which cannot be explained. Joseph is then summoned to interpret what these dreams mean. As a result of Joseph’s interpretation, The Pharaoh makes him one of the most powerful men in Egypt. We then return to Joseph’s brothers who are suffering from a severe famine that has ravaged them all. The brothers are extremely sorry for their actions against Joseph and travel to Egypt to beg for food. Joseph’s brothers are not aware of who their brother is when they arrive and as they beg for food. Joseph consents to help but tricks them with something to see how they respond. When he realizes just how much his brothers have changed, Joseph reveals his true self to them and to his father. And there’s that terrific Megamix at the end. Well, where to start? Directed with an ardent passion for just plain ol’ fun in storytelling by Laurence Connor, this North American premiere becomes a struck oil gusher of music, dance, song, and spectacle for the holidays and the New Year. Joann M. Hunter’s athletic, high-step-kicking choreography is mesmerizing. The tap dance with Fisher and some of the brothers is perfectly executed. From my seat, I couldn’t see Ben Mark Turner in the orchestra pit (just his hand and baton periodically). Let’s just say Lloyd Webber’s music and Tim Rice’s lyrics remain in masterful hands under Turner’s rockin’ musical direction. The only slight quibble I did have was in Gareth Owen’s sound design. There are a few moments in the brothers’ ensemble singing and in The Pharaoh’s Song where I couldn’t hear clearly all the lyrics. I’m a stickler for sound quality so, hopefully, this very minor issue can be resolved for future performances because it’s one helluva of a production not to be missed. Some very smart and creative choices were made for this production that nicely worked for me. For one, Morgan Large’s set design of Pharaoh’s court is awesome and the way it appears on the stage reminded me of something right out of the film version of ‘The Ten Commandments’. During the Pharaoh’s song, I really liked the enormously large religious Egyptian statue icons stages left and right both singing and bopping along with the music and playing instruments. Highly creative and very impressive. Another touch - local Toronto youth have been cast and a few of them play some of Joseph’s brothers which soundly worked for me because this shows us the diverse age range and body sizes of the brothers. What was also a nice touch was the young Jacob Davidov who played Potiphar at this performance. The young Davidov controlled the power of the moment when he, as Potiphar, sends Joseph to prison. For me, the strong visual impact of that moment is still in my head. At first, it put a smile on my face but, when I thought about it after, what if that was a possible historical reality that Potiphar may have been a small man? Additionally, Vanessa Fisher assumes the roles of both Jacob and Potiphar’s wife which was another effective choice made. It makes sense as it initially helps to keep the pacing moving along since the Narrator is on the stage at that point. However, what makes this ‘Joseph’ so unique is its diverse casting and seeing both Jacob and Potiphar’s wife played by the Narrator does leave a strong visual impact. Fisher is a terrific singer and her opening Prologue with the children is still poignant and sweet to watch as she sets the story. There are also some nice modern elements here too. At one point, Fisher takes a selfie with two of the kids. Jac Yarrow is a handsome and charming Joseph whose rendition of ‘Close Every Door’ soars to the rafters of the theatre clearly, forcefully, and meaningfully. This rendition is one that you must hear for yourselves. Personally, I can certainly understand why Lloyd Webber gave his blessing to Yarrow for the role because, in the end, we have seen the positive change in Joseph and what he has become – a man of honour, integrity, family and values. Tosh Wanogho-Maud’s Pharaoh is delightfully sexual campy and his performance of ‘Pharaoh’s Song’ is stellar. His Pharaoh reminded me of a marvellous cross between Elvis Presley (obviously), Rum Tum Tugger (of Cats) mixed in with just a hint of the look of Kanye West. Speaking of Lloyd Webber and his Really Useful Theatre Company and their panoply of iconic shows. See if you can spot some of the Really Useful Theatre Company icons on the back wall near the end of the show. It was fun to pick out a few of them. (Hint: I immediately found the Phantom’s mask). The ensemble of Joseph’s brothers remains extraordinarily animated and focused on many of the choral numbers. ‘Those Canaan Days’ and the marvellously sounding vocal harmonies combined with the campy French accents resound clear up to the second balcony of the theatre. Another of my favourite numbers is the ‘Benjamin Calypso’ where Joseph recognizes just how sorry his brothers are for their behaviour. Again, pure fun on that stage with that message of forgiveness underneath the song. Final Comments: This ‘Joseph’ remains wonderful. Uplifting. We need this production now more than ever to help us continue moving forward out of Covid. I hear the production is Broadway bound. Let’s hope it makes it there to put a smile on audience's faces as it did on mine and those sitting around me (who weren’t wearing masks). A winner. Another of my picks to see this winter before it leaves in February 2023. Running Time: approximately two hours with one intermission. ‘Joseph and the Amazing Technicolour Dreamcoat’ runs until February 18, 2023 at the Princess of Wales Theatre, 300 King Street West, Toronto. For tickets call 1-800-461-3333 or visit mirvish.com. JOSEPH AND THE AMAZING TECHNICOLOUR DREAMCOAT Lyrics by Tim Rice and Music by Andrew Lloyd Webber Director: Laurence Connor Music Director: Ben Mark Turner Choreographer: Joann M. Hunter Sound Designer: Gareth Owen Lighting Designer: Ben Cracknell Set and Costume Designer: Morgan Large Performers: Jac Yarrow, Vanessa Fisher, Tosh Wanogho-Maud (plus many others listed in the programme). Previous Next

Back 'AIN'T TOO PROUD': The Life and Times of The Temptations THE NATIONAL TOURING COMPANY Now onstage until December 17 at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto Credit: Emilio Madrid. Pictured l-r: Michael Andreaus, Jalen Harris, Harrell Holmes Jr., Elijah Ahmad Lewis, E. Clayton Cornelious Joe Szekeres VOICE CHOICE 'Triple-threat ensemble performances earn a VOICE CHOICE for this uber-chic-looking touring production.' Occasionally, when you come across a show that features triple threat performances, you want to share your thoughts with others and encourage them to go to the theatre. This is one of those times. Principal narrator Otis Williams (Michael Andreaus) tells how The Temptations came to be on its journey from the Detroit streets to Motown Records and the Rock and Roll Hall of Fame. We’re introduced to how each member initially met and how they skyrocketed to fame and coped with the incredible heights they hit in their recordings. However, personal conflicts, drug/alcohol dependency and egos threaten the group's progress, heightened by civil unrest in the US in the 60s and 70s. Along this road to show business fame, key recording individuals also appear who leave a tremendous impact on the group – from Smokey Robinson (an excellent sounding Derek Adams) and Berry Gordy (a striking Jeremy Kelsey) to Diana Ross (Amber Mariah Talley), Florence Ballard (Shayla Brielle G.) and Mary Wilson (Brittny Smith) whose vocals on ‘Baby Love’ is joyful sounding. ‘Ain’t Too Proud’ remains similar to ‘The Jersey Boys’ that played in Toronto many years ago. Both stories focus on the rise to fame of two groups, from the streets to number one on the charts. Both incorporate a short concert moment – in this touring production, some highlights include ‘Papa Was a Rolling Stone,’ ‘I’m Gonna Make You Love Me’ and ‘What Becomes of the Brokenhearted.’ Similar personal and familial conflicts and troubles also wreaked havoc in both groups. What remains most telling about this touring production is the predominant and gritty social awareness of the Civil Rights movement that anchors the story. For example, the death of Martin Luther King Jr. holds a particular prominence, as it rightly should. Peter Nigrini’s sometimes striking black-and-white projection designs decisively set the era's tone of the late 60s. Directed with style and class by Des McAnuff, this touring production of Dominique Mousseau’s book holds a sleek and refined visual look courtesy of Robert Brill’s set design and Paul Tazewell’s mighty fine-looking ‘60s fashion. The structural and mechanical workings keep the show’s pacing moving at top speed without appearing rushed. Howell Binkley’s refined lighting design suitably focuses attention where needed. Spotlit moments where some actors break the fourth wall and talk to the audience remain visually pleasing. Sound Designer Steve Canyon Kennedy has paid meticulous attention to ensure the lyrics of the songs can be heard. He has succeeded, and I wish to acknowledge how important that is, especially for the musical moments in a jukebox musical like this one. Sergio Trujillo’s zip-tight synchronous choreographed movement captures that same sense of style and class as McAnuff’s direction. Every finger point or leg movement is precise and tight and soundly brings to life the Temptations’ signature moves. Kenny Seymour’s Music Supervision and Arrangements with Harold Wheeler’s orchestrations credibly replicate the unique musical sound of the group – two prominent examples were ‘In the Still of the Night’ and ‘Just My Imagination (Running Away with Me).’ The accomplished onstage performance ensemble work earns this ‘Ain’t Too Proud’ a VOICE CHOICE. Michael Andreaus remains a compelling storyteller as Otis Williams. He has that ‘it’ of connecting with the audience at the top of the show. Andreaus remains grounded and entirely in control of his emotional peaks and valleys in his conversations with the group members or his wife Josephine (Quiana Onrae’l Holmes), who remains the dutiful wife at home, raising the children while Otis tours with the group. The moment Otis speaks with his grown elder son Lamont (Felander), who has other things on his mind, is quite poignant. Otis realizes how much time has passed and how he has missed his son becoming a man. E. Clayton Cornelious (Paul Williams), Harrell Holmes, Jr. (Melvin Franklin), Jalen Harris (Eddie Kendricks), Devin Price (Al Bryant), later replaced by Elijah Ahmad Lewis (David Ruffin) and Derek Adams (Richard Street) deliver nuanced and sensitive performances of character depth and genuine emotion about their places within the group and how each sees the future ahead. Intense conversations never become histrionic as tempers flare. They’re all marvellous dancers who can spin, pirouette, and do the splits while seamlessly moving into place to finish the song. Once again, thanks to McAnuff’s controlled direction, I could keep clear who each singer was along with their backstory. I had forgotten about the story that the Supremes were formed as the sister group of The Temptations. At one point during a televised NBC broadcast in Act Two, McAnuff has the actors placed on stage in an intriguing juxtaposition to showcase the power and reach of these two Motown iconic sounds. Watching this intriguing picture and hearing them vocalize became an inspirational moment of the show. Although I was too young to recall that broadcast, this production finely replicated what I’m assuming to be a televised moment that will never be forgotten. One Final Thought: This ‘Ain’t Too Proud’ is a cornucopia of outstanding harmony work from the entire company coupled with real-life, sensitive individual performances of those who, through their weaknesses and troubles, truly wanted what they thought was the best for the group and everyone involved. Please try and catch this show before it leaves. It is one that must be experienced live. Running time: approximately two hours and 30 minutes with one intermission. ‘Ain’t Too Proud’- The Life and Times of the Temptations runs until December 17 at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. ‘AIN’T TOO PROUD’ – The Life and Times of The Temptations. The National Touring Company Book by Dominique Mousseau Based on the Book ‘The Temptations by Otis Williams with Patricia Romanowski’ Music and Lyrics by the Legendary Motown Catalog Directed by Des McAnuff Music Supervision and Arrangements by Kenny Seymour with Orchestrations by Harold Wheeler Music Coordinator: John Miller Choreographer: Sergio Trujillo Scenic Design: Robert Brill Costume Design: Paul Tazewell Lighting Design: Howell Binkley Sound Design: Steve Canyon Kennedy Projection Design: Peter Nigrini The Company: Michael Andreaus, E. Clayton Cornelious, Jalen Harris, Harnell Holmes Jr., Elijah Ahmad Lewis, Derek Adams, Brian C. Binion, Reggie Bromell, Felander, Shayla Brielle G., Treston J. Henderson, Dein Holloway, Quiana Onrae’l Holmes, Ryan Hunt, Jeremy Kelsey, AJ Lockhart, Dwayne P. Mitchell, Devin Price, Brittny Smith, Amber Mariah Talley, Andrew Volzer, Nazarria Workman. Previous Next

Back DOUBLE MURDER (Clowns/The Fix) by Hofesh Shechter Company Torque Dance Series at Toronto's Harbourfront Centre Todd MacDonald Joe Szekeres The more I see dance, the more I am puzzled and the more I want to ask questions. And that’s a good thing. But the more I see dance productions, the more I know I’m not going to understand everything and that’s fine since I’ve no background or education in the art form. Recent interviews with many dance artists have encouraged me simply to sit back, experience, revel and admire what I see in front of me. That is most certainly the case with the Hofesh Shechter Company and the opening night of DOUBLE MURDER as part of the Torque dance series at Toronto’s Harbourfront Centre. According to a release I received: “Double Murder is a thrilling exploration of the chaotic and oppressive forces present within our modern times. The performance features two distinctly contrasting works: Clowns is a sarcastic and playful nod to our ever-growing indifference to violence, while The Fix presents a tender, fragile antidote to the omnipresent forces of aggression that press on us daily. Set to Shechter's sweepingly cinematic, percussive score, Double Murder exposes painful truths and deep emotions.” I did what many of the interviewed dance artists encouraged me to do. I sat back… And… I may not have understood everything that played out in front, but the one thing that remains within my soul as I write this today: ‘A captivating, hypnotic and mesmerizing production by artists who held me sometimes tenderly and sometimes cautiously.” I couldn’t take my eyes off the ten of them throughout both presentations. I was scanning the stage quickly to see where each of them was. I wanted to see who held the power at the moment, was that power sustained or was it transferred somewhere else? Underscored by what I call a unique pulsating Shechter score, there are moments of physical assault and violence all in the name of entertainment. Even though it was all mimed, the intensity of the dancers emanated strongly from the Fleck stage and pierced right to my very being. I felt my eyes close at one point because the image was so graphically vivid that I wanted to block it out. After the interval, ‘The Fix’ was just exactly what I needed from the dramatic intensity of the first half. The second presentation became more of a dramatic balm for me. There were such tender poignant moments in connection where the artists embraced each other with the utmost care and compassion that it was magical to witness. But they didn’t stop there. (Spoiler alert) The artists came into the auditorium with the audience and reached out to them silently with arms ready for an embrace and connection. There was no pushing just in case audience members were not ready to share in the embrace. One of the artists made eye contact with me and just by looking into her eyes she wanted to connect with me but there was no pressure if I didn’t want to do so. I accepted her connection and embraced her at that moment, Covid be damned. A human connection with a stranger for a brief moment. Again, truly magical. Final Comments: The art and performance of dance are all about connection. Connection means many things to many people. Go see how this wonderful and stunning Hofesh Schechter Company connects on extraordinary levels. Running time: approximately 90 minutes with one intermission. ‘Double Murder’ continues October 28 and 29 in the Fleck Dance Theatre in Queen’s Quay Terminal, 3rd floor, 207 Queen’s Quay West, Toronto. For tickets, visit harbourfrontcentre.com. Previous Next

Back 'White Muscle Daddy' by Raf Antonio Now onstage at Buddies in Bad Times Theatre, Toronto. Credit: Jeremy Mimnagh. Pictured in profile: Frankie Bailey and Jaime Lujan Joe Szekeres ‘There are moments when the script is clever in its deceptive title. Although it might initially mean what you think it does, there’s an entirely new understanding at the end.’ Raf Antonio’s ‘White Muscle Daddy’ is a horror/thriller ‘film within a film within a play’. My guest and I discussed it intently on the way home. Antonio is bang-on about using the screen format within a play setting. Live and pre-recorded film and video footage are used throughout. Antonio is both clever and perceptive about developing this hybrid use further. Why? Our lives today are intently focused on the screen, whether we are watching a film, sitting in front of our computers for work and careers, or sometimes simply passing the time away on YouTube (I’m guilty of that) or TikTok (Don’t have an account. Don’t want one). Because I don’t want to spoil the surprises behind ‘White Muscle Daddy,’ I will do my best not to give away too much. The press release states that ‘White Muscle Daddy’ uses projection art, live camera feed, and shadow play…to subvert cinema/film and theatre expectations. Was that achieved? More about that shortly. ‘White Muscle Daddy’ is set in Los Angeles, primarily in an exclusive gym. There are moments when we are shown gorgeous photographs of the LA sunset night sky and extraordinary photos of what I assume to be at least $ 3 million US dollar homes. Appreciation to Nicole Eun-Ju Bell, Connie Oreamuno and Khanh Tudo for the specific hours of work that had to be done to search for these photos and then do magic in any editing for specific effects. Alia Stephen’s sometimes perfect lighting design effect underscores the strong visual impact of looking at the photos from where my guest and I sat far stage left. The appearance of camera operators Khanh Tudo and Katerina Zoumboulakis (I hope I haven’t forgotten anyone) was also effective because the LA paparazzi are everywhere with their paraphernalia. It appears that in LA life, to be somebody, one must always be on camera. The notion of privacy is thrown out the window. Cat Calica’s costume selection perfectly reflect the style and finesse of each of the characters. There were moments in the pre-recorded or actual backstage footage where the sound was not aligned precisely when the characters spoke on screen. It was just a split second out of alignment, but it did bring me momentarily out of the scene. Can that also be looked at? In her set design, Echo Zhou places three separate riser platforms on far stage right, middle and far stage left to denote various LA locales. For sight line purposes, Zhou made a good choice to allow for maximum sight line view; however, there were moments when the action took place far stage right, and I could not hear the dialogue as I sat far stage left. The speaker on my right did not appear to amplify the sound, and I could not hear the dialogue. Hopefully, sound designer Stella Conway will be able to fix this going forward with future show performances. At the top of the show, we are watching the filming of one of the Grade B slasher horror flicks. Performer Augusto Bitter plays Stuart in the film. Stuart is reading a book and waiting for the arrival of their boyfriend to come home. In true horror film ‘Scream’ fashion, there are some nifty surprises for the audience that I don’t want to give away. It appears Bitter was having a hell of a good time in the pre-recorded filming. The film's director, Lucy (Chel Carmichael), enters the stage. Chel Carmichael’s Lucy is direct and confident in scenes with the filming. Carmichael’s Lucy is also connected to the rest of the characters in the play’s script. The central story involves Jeremy (Jaime Lujan), an impressionable individual newly hired to work the graveyard shift at the gym. Jeremy’s co-worker Thomas (Shaquille Pottinger) shows Jeremy the ropes of the gym. Thomas was moving out of the gym as he had found another job. One night, Jeremy sees and becomes smitten with Eugene (Ray Jacildo), a fitness instructor who appears to have the kind of LA life Jeremy has always wanted: muscles, good looks, and enviable LA parties. Jeremy’s ‘crush’ on Eugene begins to play havoc. Jeremy begins this insatiable hunger for Eugene and wants to know everything about the dude. Jeremy’s choice to follow the secret desire to know more about Eugene wreaks chaos in his relationship with his partner, Gustavo (Frankie Bayley). In turn, Gustavo looks to Lucy for moral support whenever their relationship with Jeremy appears on the rocks. In a heated moment of passion between Jeremy and Gustavo, the former says something to the latter that is downright nasty and cruel, which begins to alter the course of events not only in their lives but also in those in the story. The question remains right to the end—who is Eugene? Something about this character spells trouble for everyone involved. Directors Raf Antonio and Tricia Hagoriles have selected a diverse cast in their appearance and voice sound. That was another wise choice. For some reason, whenever I hear the name ‘Los Angeles,’ I immediately begin to think of plastic-looking people who are ‘practically perfect in every way’ (as Mary Poppins sang), from their looks to their sexuality and gender. Antonio and Hagoriles have selected real, natural, and ordinary-looking actors who commit themselves to showcase the two-hour and fifteen-minute running time (sans interval/intermission) with intent and focus. Once again, in the press release, Antonio (as one of the directors) spoke of "taking the tropes of the horror film genre and mashing them together to create an experience that will leave audiences chuckling, a little spooked, a little provoked...” Did that vision of mashing create an experience that left me chuckling, spooked, and a little provoked? Well… Yes and No. Directors Antonio and Hagoriles ensured the performers captured the Grade B horror film (over) acting from the sixties and seventies. In watching the pre-recorded film on stage during the performance, I recognized some similar recoiling in horror moments akin to the Vincent Prince scream films and Alfred Hitchcock's 'Psycho.' That left me chuckling. A couple of captured moments left me a tad spooked, but I hesitate to explain what it is because that would give away the surprise I didn’t see coming at all. All I will say - when it does appear, I had to avert my eyes quickly. It’s the word ‘provoked’ that I want to explore just a bit further. The script and the actors did provoke a bit of squeamishness within me so they succeeded on that account. There is one moment on film when I felt myself just scrunching my face up and putting my head down because it is a tad sickening. But I do have some quibbles. Is it possible for Antonio’s script to be re-examined again? I found it too long to sit for two hours and 15 minutes. There are moments where moments need to be tightened especially in moving from film to the stage. With no breaks at all, the production makes for uncomfortable sitting. A few got up around me to go and then return. Getting up and down is distracting both in the film and the theatre, but I get it – rarely are there intermissions in films. The directors have captured that vision. But if I go to the cinema and have to use the washroom during a long film, I quickly leave the hall, run to do my business and then get back to my seat. That’s not always possible in the theatre. This leads me to explain further the hybrid approach of combining cinema/film and theatre. It’s an exciting concept that deserves to be explored further on the stage. The press release calls ‘White Muscle Daddy’ a cinematic theatre thriller. Antonio says in the release that horror can be a malleable genre, and it is rarely performed on the stage. It’s not malleable here for me at this performance. Not quite yet. I hope a re-examination of the script and another staging might just do the trick. Running time: approximately two hours and 15 minutes with no intermission. Masks are required to be worn for the performance. ‘White Muscle Daddy’ runs until March 31 at the Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. For tickets: buddiesinbadtimes.com or call (416) 975-8555. A PENCIL KIT PRODUCTIONS AND BUDDIES IN BAD TIMES THEATRE PRODUCTION Presents ‘White Muscle Daddy’ by Raf Antonio Produced by Claren Grosz Directors: Raf Antonio and Tricia Hagoriles Previous Next

Back 'Peter Pan and the Wendy Lady' adapted by Brandon White Now onstage at Toronto's Campbell House, 160 Queen Street West, Toronto. Credit: White Mills Theatre Company. Pictured Breanna Maloney as Peter Pan Joe Szekeres “An appealing and charmingly immersive fantasy story, delightful performances, and a production that makes me smile.” Upon entering the historic backdrop of Toronto’s Campbell House, Solomon (Scott Garland) greets guests at a podium and passes dance cards to the audience. We’re told not to lose the cards and to wait quietly in the lobby. With Solomon’s booming voice shouting: “Neeeexxxttt”, the next audience member approaches and gives their name for the evening. We have been invited to the Debutante Ball and the coming out tradition of introducing eighteen-year-old Wendy Darling (Ella Mazur) to the world. Before we enter the celebration, the guests/audience are taken to the drawing room where Wendy’s father, George (Scott Moore), converses with James (Spencer Schunk), a dashing, accoutered young man who has come to win Wendy’s hand. The audience is then taken to a cloakroom where George’s wife, Mary (Barb Schleffer) and son, John (Jonas Trottier), welcome us and take our coats and bags. We are then instructed to climb the stairs to enter the sitting room where the ball will take place. On our way, we pass Wendy and her younger brother, Michael (Jessi Ellgood), chatting about the ball and the stories Wendy likes to write. Wendy shares with her brother that a publisher rejected her most recent story. The two are surprised to see the audience there, and Wendy instructs her brother to lead us into the drawing room. A two-piece orchestra band plays ‘The Four Seasons’ while we enter and can sit in chairs. While waiting, a black-shadowed figure crawls out from somewhere. (I won’t spoil it here) At first, I wondered if this might be Darling’s dog, Nana. But it’s not because the dog is in the backyard. This shadowed figure moves quietly around the room and on the floor, sometimes playing with shoelaces, eyeing people, and rolling around. It then struck me that this is a shadow – and as the story progesses you’ll know whose it is. Mrs. Darling introduces her daughter, Wendy, to all of us. However, challenges occur, ruining the Debutante Ball's custom. Mary begins to read one of her stories out loud to the guests to showcase Wendy’s talent as a writer and appease the audience. It is then we learn about Wendy’s rejected story of Peter Pan (Breanna Maloney), his lost shadow (Emily Trace), Captain Hook (Schunk), Tinkerbell (Shannon Mills), the Lost Boys, and the Buccaneers. Even the Crocodile (Schleffer) pays a visit, and a sense of justice is instilled at the conclusion if you know what happens in the original story. That sound effect made the audience laugh approvingly. The rest of the story deals with moving around Campbell House as we fly to various parts of Neverland via pixie dust. The visual look of the story remains gorgeous, thanks to Brandon White’s meticulous attention to costume detail and colour. Captain Hooks’ clothing and Wendy’s ball gown are only two examples. The grime and filth of the Lost Boys’ clothing is spot on. Ella Mazur’s choreographed dance movements are stylish when the ball begins. There is one moment when a couple of audience members are encouraged to participate in the dance. Rob Carruthers and Rae Gallimore’s musical arrangements underscore the splendour of the look of Edwardian Toronto. I’ve always liked hearing Vivialdi’s ‘Four Seasons’; the two-person accompaniment of Rob Carruthers and Rae Gallimore creates a regal atmosphere. Shannon Mills’ musical direction of choral singing remains charming, especially when hearing the harmony work. There are tricky moments regarding lighting that didn’t always work for me. For example, the audience spends some time in the upstairs drawing room watching the confusion emanating from the debutante ball to Wendy sharing her unpublished story. The lighting works well for the ball; however, the shadowy effect to create a dreamlike sequence when Peter is introduced bothered my eyes. I had difficulty focusing on the primary action because the shadows prevented me from doing so. Brandon White creatively adapts this iconic J. M. Barrie story for a twenty-first-century audience. A couple of modern-day references made me smile. My guest told me that much of the original text appears in this adaptation. There are times that once again made me smile as several of the characters genuinely understand the meaning of the words and confidently speak the text. White subtly co-directs the production along with Cassie Davidson and Shannon Mills. They have favourably created a whimsical place where the audience suspends disbelief. The audience has seemingly entered a playful, mostly fun but sometimes harrowing and lonely environment. At times, they move quickly from one room to the next, and I’m amazed at how the cast is not out of breath when moving up and down the stairs. The performances are delightful. Once again, I couldn’t help but continue smiling and watching these J. M. Barrie character icons spring forth with exuberance. Although I was never a fan of the Peter Pan story, several dynamite productions have made me change my mind over the years. Breanna Maloney is a spritely sprite of a Peter Pan. As Wendy, Ella Mazur maintains a grounded performance of a young woman on the cusp of adulthood in her journey of self-discovery of who she is. Scott Moore’s George (and Wendy’s father) sharply represents the values of the Edwardian era, in which everyone had their place within the world. Barb Scheffler’s Mary (Wendy’s mother) is a far too doting Edwardian mother who knows her place within the world and feels responsible when the debutante ball abruptly ends. As Mary’s siblings, Jonas Trottier’s John and Jessi Ellgood’s Michael offer two distinct performances. Trottier’s John is like Moore’s George: a man of values who stands up for what is right. Trottier is amusing in his performance in the kitchen scene and enjoys the attention paid to him by the two attendants. Ellgood’s Michael is quite fascinating in physicality. There’s an impish, childlike innocence of Ellgood that remains believable throughout the production. It took me a few moments to connect that Shannon Mills was playing Tinker Bell. Her free-flowing emerald gown looks great, but there’s nothing in Mills’ first entrance to denote she is the pixie fairy. Perhaps some glitter hanging in mid-air or a bit more on her costume? Spencer Schunk’s brief appearance as James re-enforces the young Edwardian male who wants to sweep the young Wendy off her feet and whisk her away to a world of lovely promises. Having Schunk play Captain Hook in Wendy’s story was clever. Schunk’s Hook is a devilish brute of a monster at first, intent on terrorizing the others with his pirate Buccaneers in the other world of Neverland. Schunk never overplays Hook’s fear of the crocodile. It remains charmingly childish each time Hook experiences it. Having Barb Scheffler play the Crocodile was also a good choice. Again, Scheffler’s Mary is so completely doting as a mother figure that her Mary comes across as suffocating. If you know Barrie’s story, you know what the Crocodile does. Scheffler appears to have great fun leading her Crocodile to that moment of ‘suffocation.’ The enthusiasm of the supporting players adds unique magic to creating a faraway land of ‘pure imagination,’ as Willy Wonka once sang. I especially liked those moments staged downstairs where we are on board Captain Hooks’ ship. It is just purely terrific to watch actors having great fun bringing characters to life with zest and vitality. And Another Thought: Toronto’s Campbell House's historical backdrop has again been an excellent choice to stage an imaginative story. I’m constantly amazed at the energy this cast expends, running up and down the stairs and moving from scene to scene. Make sure you wear comfortable shoes because there is a lot of walking up and down stairs. On this opening night, there was plenty of space for audiences to sit on chairs. As the show continues and the audience grows, please be aware that there may not be ample seating on these nights. A lovely way to spend an afternoon or evening of theatrical entertainment. Running time: two hours and 15 minutes with no intermission. ‘Peter Pan and the Wendy Lady’ runs until March 23 at the Campbell House Museum, 160 Queen Street West, Toronto. For tickets: https://www.whitemillstheatreco.com/upcoming-events Adaptation, Co-Direction, Production & Costume Design by Brandon White Assistant Director & Fight Coordination by Cassie Davidson Co-Direction & Musical Direction by Shannon Mills Musical Arrangements by Rob Carruthers & Rae Gallimore Choreographer & Poster Illustration by Ella Mazur Production Assistant & Portraits Edited by Daniel Tofach Assistant Stage Manager ~ Iris Asserlind Performers: WENDY DARLING ~ Ella Mazur JOHN DARLING ~ Jonas Trottier MICHAEL DARLING ~ Jessi Elgood MARY DARLING/THE CROCODILE ~ Barb Scheffler GEORGE DARLING/MR. SMEE ~ Scott Moore PETER PAN ~ Breanna Maloney TINKER BELL ~ Shannon Mills LIZA/SLIGHTLY ~ Cassie Davidson TOOTLES ~ Shelby Handley NIBS ~ Annie Roberts JAMES/CAPTAIN HOOK ~ Spencer Schunk BILL JUKES ~ Anthony Botelho NOODLER ~ Austin Larusson SOLOMON/CAW/SKYLIGHTS/THE MOON ~ Scott Garland THE TIDE ~ Manon Ens-Lapointe THE SHADOW/ODILE ~ Emily Trace MUSICIAN 1/ODETTE ~ Rae Gallimore MUSICIAN 2/MULLINS ~ Rob Carruthers Previous Next

Back 'Cymbeline' by William Shakespeare. Now on stage at The Stratford Festival Now on stage at The Tom Patterson Theatre Credit: David Hou Pictured: Marcus Nance as Jupiter Joe Szekeres ‘Fine performance work with some interesting, staged pictures, but disappointing that I lost interest in the story’s plot and characters.” Once upon a time, a play from the Bard comes along that one might have heard of but had no context or opportunity to study in school. This is one of those times for me with ‘Cymbeline’. That doesn’t mean the Festival’s production isn’t worth seeing. I’m not saying that at all. There are moments when it’s visually spectacular and worthy of ‘Lord of the Rings’ (as director Esther Jun states in her Director’s Note). There are heated passions and emotions in performances that bubble with intensity. The cast of ‘Cymbeline’ includes Stratford stalwarts and young performers whom I’d like to watch for in the future. I understand that audiences in Elizabethan England would have had some background in understanding the context and the characters. Nevertheless, Cymbeline’s plot is highly complicated. A few subplots feed from the central, and the characters intertwine so much that I got lost a few times. By the end of the three hours, I lost my connection with the story. Instead, I appreciated the wonder and spectacle how Jun shaped the story to become ‘a magical play’ (as she called it in her Director’s Note). In a long-gone Britain that is slowly wasting away, everyone is trying to save the delicate ecosystem and the court of Queen Cymbeline (Lucy Peacock). Innogen (Allison Edwards-Crewe), the only daughter of Cymbeline, secretly marries Posthumus (Jordin Hall), a worthy enough but low-born ward of the court. Cymbeline is furious and banishes Posthumus. Cymbeline’s husband, The Duke (Rick Roberts), plots to wed Innogen to his only son and her stepbrother Cloten (Christopher Allen) and to rally Britain against Rome. Upon banishment and finding shelter in Rome, Posthumus meets the wealthy Iachimo (Tyrone Savage) who bets that Innogen is not what Posthumus believes her to be and that he could seduce her. Iachimo tries to seduce Innogen, but confusion erupts in the following madness. From this point on, there are characters in gender-swapping disguises, battles ensuing, familial strife and forbidden love as right will ultimately prevail. Echo Zhou’s set and lighting designs make this Britain from long ago a fantasy world. Green lighting gobo effects remind the audience that they are in another world. There is a tall tree with branches far upstage. The tree rarely (if ever) moves from the stage. I’m puzzled as to why the tree remains there for the entire performance. Does it have something to do with things rooted in the world that will always remain firm? That point was not made clear. Michelle Bohn’s costumes radiantly sparkle at times, especially in those hushed green lighting effects. As matriarch and queen of Britain, Lucy Peacock’s Cymbeline regally commands the Patterson stage each time she appears. Marcus Nance’s Jupiter and Rick Roberts’ Duke remain compelling throughout. In the second act, Nance’s appearance as Jupiter with the wings of a bird made me sit up immediately and pay close attention to him and how that moment is staged. Even though the play's title is named after the parental figure, the complete character arc of Allison Edwards-Crewe’s Innogen becomes the play’s focus. Edwards-Crewe propels through the various emotions with genuine believability at one moment and an intense ferocity the next. Irene Poole is a gentle Pisanio. Tyrone Savage’s villainous Iachimo is fascinating. Jonathan Goad and Wahsonti:io Kirby have a terrific, amusing moment near the end of the play that draws much-needed laughter from the audience. And Another Thought: Sometimes, when one attends the theatre, it’s okay to sit, experience and appreciate the marvel and staging of storytelling. Character development might just become secondary and that’s okay. I wish I could have connected to more characters and the story than I did. Running time: approximately three hours and five minutes with one interval/intermission. ‘Cymbeline’ runs until May 28 at The Tom Patterson Theatre, 111 Lakeside Drive. Stratford. For tickets: stratfordfestival.ca or call 1-800-567-1600. THE STRATFORD FESTIVAL presents ‘Cymbeline’ by William Shakespeare Directed by Esther Jun Set and Lighting: Echo Zhou Costumes: Michelle Bohn Composer: Njo Kong Kie Sound: Olivia Wheeler Performers: Marcus Nance, Cynthia Jimenez-Hicks, Rick Roberts, Jordin Hall, Allison Edwards-Crewe, Lucy Peacock, Irene Poole, Anthony Palermo, Christopher Allen, Evan Mercer, Caleigh Crow, Tyrone Savage, Josue Laboucane, Anthony Santiago, Wahsont:io Kirby, Julie Lumsden, Matthew Kabwe, Jonathan Goad, Michael Wamara, Noah Beemer, Chris Mejaki, Tara Sky, Jennifer Rider-Shaw Previous Next

Back 'The Tilco Strike' by D'Arcy Jenish Now onstage at 4th Line Theatre, Millbrook, Ontario Wayne Eardley, Brookside Studio Dave Rabjohn The world premiere of ‘The Tilco Strike’ written by D’Arcy Jenish is now running at 4th Line Theatre near the town of Millbrook, Ontario. Those familiar with this unique venue will recognize the creative adaptable theatre space that runs two productions every summer. A rustic outdoor space, using a barn as a backdrop (and a backstage) is perfect for a summer evening’s entertainment and for plays that reflect local history and culture. ‘The Tilco Strike’ fits both categories perfectly. A true story set in 1965 Peterborough, it recounts the labour battle at a small plastics factory between management and a number of feisty women workers who strike against difficult odds and personal hardship. To call this an ‘ensemble’ piece is not quite accurate due to the size of the cast – a parade of talent is more exact. And from that parade there are a number of highlights. Lil Downer and her counterparts have worked at Tilco for years earning a minimum wage of just over a dollar an hour. Each has their own story about family, difficult budgets and complex relationships. The factory is typical of the 1960s – time clock, factory floor and whitewashed cafeteria – each is cleverly blended into the unique space by designer Esther Vincent. The hardnose manager, Dutch Pammett, is barely civil with his employees. Enter a labour organizer who manages to sign the reluctant girls to a textile union. Lil then leads the cause with both victories and losses. Memorable performances begin with Katherine Cappellacci playing the resilient Lil who balances a difficult homelife and battles with management – she reinvents Sally Field standing on a table. Two actors stand out due to the range of emotional and philosophic changes their characters roll through. Ellyse Wolter plays a naïve and shrinking Rita who allows herself to be manipulated and bullied. As events move along, Rita becomes more self reliant and expressive while supporting her fellow workers. Jason Gray plays Donald Harwood who is the company president. He too, moves through a roller coaster of emotions as he balances his fiscal responsibilities to the company and his support for the workers. He just wants peace until he recognizes that Dutch Pammett’s hard line leads to all important profits. M. John Kennedy brilliantly plays the evil Dutch – tenacious and unbending. He is the cigar wielding mustachioed brute who you can virtually see tying his buxom secretary to the train tracks as the locomotive approaches. Sarah McNeilly, as Flossie, plays the most tragic figure as she tries to feed her family of seven while reluctantly supporting the cause. Her acting range is demonstrated with a clever comic turn as she imitates a local pastor’s sermon. Another comic delight comes from Hilary Wear as the eastern European factory supervisor who acts as a Greek Chorus trying to interpret the variety of events. Local references pepper the writing from well-known eating establishments to hockey rivalries. An important story with entertaining performances makes for a memorable evening as the sun slowly sets on the Winslow farm. ‘The Tilco Strike’ by D’Arcy Jenish Performers: Katherine Cappellacci, Matt Gilbert, Jason Gray, M. John Kennedy, Sarah McNeilly, Hilary Ware. For full list see: 4thlinetheatre.on.ca Director: Cynthia Ashperger Music director: Justin Hiscox Set Designer: Esther Vincent Production runs through July 22, 2023. Tickets: 4thlinetheatre.on.ca Previous Next

Back Michael Ross Albert Looking Ahead Megan Terriss Joe Szekeres Michael Ross Albert and I had recently connected through Instagram. I’m still having some issues with Instagram and how to use it. When I saw Michael’s name, I kept wondering where I had seen it before. And then it dawned on me. Just this past summer, Theatre on the Ridge had staged a reading of Albert’s ‘The Huns’ about the corporate world which was a really interesting production given the restrictions of Covid. I remember speaking to Carey Nicholson, Artistic Director of Theatre on the Ridge, after the show and told her that I really hope she might consider staging a full production of ‘The Huns’ when it’s safe for all of us to return. Michael Ross Albert is an award-winning Toronto-based playwright whose work has been performed across Canada, the United States, and the United Kingdom. He received an MFA in Playwriting from the Actors Studio Drama School and has been honoured to teach new play development as an instructor of record at the University of Waterloo. We conducted our interview via email. Thanks again, Michael: 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? Thankfully, my immediate family and I have been keeping healthy, safe, and relatively sane. We’re all a little lonely, and a little bored, and some days are tougher than others. But that’s all. Considering the huge difficulties others are facing during this pandemic, I feel extremely fortunate. How have you been spending your time since the theatre industry has been locked up tight as a drum? During the first wave, I spent a lot of time doom-scrolling through the Internet and trying to find comfort in junk food, booze, and classic episodes of The Simpsons. But after a while, I realized those behaviours weren’t quite doing the trick, and I decided to completely change track. With so much out of our hands, I’ve tried to focus on things that I actually can control, which these days, is mostly just my daily habits. So, I became a person that goes to sleep early and wakes up before sunrise. I deactivated my Facebook profile, which was one of the best decisions I’ve made. I’ve turned off a lot of notifications. I’ve been limiting my comfort food and alcohol intake. I’ve been taking long (and I mean long) walks in nature. I’ve started meditating. I’m becoming that guy. And you know what? It’s been pretty helpful. I’ve also had the very good fortune of working on writing assignments that had tangible deadlines. The uncertainty facing our industry has cast a big, looming shadow over my writing desk, and my focus has been even more scattered than it usually is. But once I really got going, the act of writing was very pleasurable. And I’ve been meeting with the collaborators involved in these projects periodically throughout the year, where we’ve had great, daydream-y conversations about the future. Those process-oriented conversations gave all of us a really welcome distraction from, you know, all of this. 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’m not sure “escape” is the word I’d use. To a degree, I’ve found myself retreating inward more, which could be a kind of escape. And when I’m writing, I do sort of feeling like I’m absconding to a different world, a different set of people’s circumstances. But, overall, I think the pandemic’s been a magnifying glass. Which is, like, a real gift, eh? How many generations have really gotten this gift of time to examine everything? Over this past year, we’ve had the time to put our industry, our artistic practices, our creative habits, our personal relationships, our values, our priorities, our commitments to our communities under a magnifying glass, and I think that’s going to lead to a lot of positive change. Obviously, the disease spreads like wildfire; we’re all at risk of being infected, we’re all grieving, the majority of us are facing financial insecurity and serious anxiety. COVID’s not a good thing. But the conditions of the moment have forced people in all sectors, not just the arts, to really scrutinize everything, so that hopefully, we can all make significant improvements to our very flawed systems. 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? We should be focusing on our health and safety. If that means the industry can’t come back in full force for a while, it is what it is. Artists have to be resilient because the industry has always been precarious at best. If anyone can deal with prolonged unemployment, it’s professional artists. We have to get creative; we have to make adjustments, we have to stay creatively nimble, and keep doing what we do, in whatever small ways we can. I do not envy artistic directors, or leaders of big cultural institutions, or folks running indie theatre companies right now. No one cannot predict the future, and theatre requires a ton of planning. With vaccinations underway, it does feel like there are reasonable grounds for hope that public indoor gatherings will be able to return (someday…), but we can’t really predict how long it will be before audiences feel safe returning to a theatre. Unfortunately, I think we have to wait and see. And in the meantime, artists have to find ways to stay sharp, stay connected to their community, and stay curious. The financial toll this will take on organizations is really frightening. And I think that, no matter when in-person performances can resume at full capacity, the cultural landscape will look very different for a little while. 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? Honestly, I don’t know if my understanding of theatre has changed all that much over the past year. If anything, the theatre that I’ve seen during COVID, either online or outdoors, has reinforced some of my core beliefs about it. The work I’ve seen has really hammered home the fact that communal storytelling is an essential component of the human experience. That, whether they’re watching on Zoom or sitting in a lawn chair, an audience may be more willing to suspend their disbelief and go on the journey of the play if the stakes are high and the story is personal. This work has reinforced the idea that theatre should reveal a deeper truth about humanity while being extremely entertaining. And it’s proven beyond all doubt that theatre-makers are some of the most adaptable people on the planet. As to where theatre is going. For a while, I think plays may get even shorter than they currently are. We may only see small casts on stages for a while. Technical designs will probably become a lot simpler. Theatre companies may start regularly offering online ticketing options, which would be great. They might also prioritize accessibility, which would be even better. Ultimately, despite the difficulties of rebuilding, I think the theatre will come back stronger than it was before. And after a few more months of lockdown, I think we’ll all be craving live, in-person experiences. I know I am. 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 don’t think artists should put themselves or others in the way of physical danger in order to do their work. Emotionally speaking, though, I think art is most relatable when it addresses deep, uncomfortable feelings that we all experience but have difficulty talking about. In order to create a piece of theatre that truly explores difficult emotions like guilt, shame, fear of death, an artist needs to find methods to safely access a “dangerous” part of themselves. This past year has certainly felt dangerous. I worry about vulnerable family members and friends. I worry that a stranger’s carelessness could seriously impact the life of someone I love. And I think this sense of our interconnectedness, the fact that we rely on so many people, even people outside our sphere of personal relationships, in order to not get sick and die will definitely influence my future work in the theatre. I’m not exactly sure how. But the stakes are life or death for everyone right now. And that’s definitely the key to excellent drama. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre? Oh yeah. Early on in the pandemic, we heard one piece of rhetoric over and over: “We’re all in the same boat.” But it’s clear that’s really not the case. As a dramatist, what I’m most interested in is the various perspectives of different characters, especially in the face of moral crisis. COVID-19 has shone a spotlight on individual circumstances, big decisions, heroic acts of selflessness, and flagrant disregard for other people’s safety. I’m endlessly fascinated with why people behave the way they do when faced with the extraordinary, and that fascination has only grown during the pandemic. 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? You know, I am curious about human behaviour and why people act the way they do under pressure, and COVID has given me plenty to ponder about in that regard. But I think what I’m most curious about right now is… What story will we need to hear, after all this is said and done? What will we-- artists and audiences-- need from the theatre, in order to help the collective healing process? And how do we make sure we carry all these important reflections from the past year into our artistic practices, and into our regular routines when the pace of normal life resumes? For further information and connection to Michael, please visit his website: www.michaelrossalbert.com or his Twitter handle: @michaelralbert. Previous Next

Back GANANOQUE'S THOUSAND ISLANDS PLAYHOUSE ANNOUNCES ITS 2025 SUMMER SEASON It’s ‘launch’ time for some of Ontario’s theatres for the 2025 season. Courtesy of the company Joe Szekeres I received word today about the 2025 season for Gananoque’s Thousand Islands Playhouse. Although I could not attend today’s information session, I was anticipating what would be in store for this regional theatre in one of Ontario’s beautiful summer/fall excursions. This morning, October 17, at 10 a.m., the Managing Artistic Director Brett Christopher relayed how excited he was to announce the 2025 season: “On the heels of a record-breaking season, I am so grateful to our audiences who visit us each summer in Gananoque.” Christopher reported the following statistics for the Playhouse: Total box office sales have passed $1.6 million for the 2024 season, exceeding last year’s total of $1.5 million. The year before the pandemic was $1.18 million . In 2024, it was over 80%. In 2023, it was over 78%. Four of the seven shows for the 2025 season are Canadian. Brett looks forward to building the creative teams over the next few months. AT THE SPRINGER THEATRE: ‘HOW THE OTHER HALF LOVES’ by Alan Ayckbourn. Performance dates: May 30-June 22, 2025. ‘MARY POPPINS: The Broadway Musical’ based on the stories of P.L. Travers and the Walt Disney Film. Performance dates: July 8 – August 16, 2025. ‘STAG AND DOE’ by Mark Crawford. Performance dates: August 22-September 14, 2025. ‘9 to 5, the Musical’ Music & Lyrics by Dolly Parton and Book by Patricia Resnick. Performance dates: September 30 – November 2, 2025. AT THE FIREHALL THEATRE: ‘COTTAGERS AND INDIANS’ by Drew Hayden Taylor. Performance dates: August 8-August 30, 2025. ‘THE DRAWER BOY’ by Michael Healey. Performance dates: September 5-September 28, 2025. ‘THE PIANO TEACHER’ by Dorothy Dittrich. Performance dates: October 10-November 2, 2025. To read more about the shows, go here: https://www.1000islandsplayhouse.com/2025-season-lineup/?fbclid=IwY2xjawF-Uh5leHRuA2FlbQIxMAABHeFOyTORK3FTnUcatYHQ3kgNk_tyvFJXqZm_2biAF8GMo54vtmMhcNlALg_aem_6UYxpVZQUz096_wlrMnINQ Go here to learn more about the Thousand Islands Playhouse, visit: www.1000islandsplayhouse.com . To follow the Playhouse on social media: Facebook: @ThousandIslandsPlayhouse X/Twitter: @TIPlayhouse Instagram: @thousandislandsplayhouse Previous Next

Back TH’OWXIYA: The Hungry Feast Dish by Joseph A. Dandurand Now onstage at Toronto's Young People's Theatre Javier R. Sotres Photography. These actors are not in this production, but this photo gives you an idea of the costumes. Joe Szekeres “A delightful First Nations tale. Amiable and genteel performances of its Indigenous storytellers are one of the highlights.” The traditional Coast Salish and Sto:lo music sets the stage for ‘Th:owxiya: The Hungry Feast Dish’ on the Ada Slaight stage. Th:owxiya is a giant spirit. In this production, the mouth of Th:owxiya’s statue holds lovely foods from around the world. However, if anyone steals from the mouth of the statue, they will pay a terrible price as Th:owxiya has developed a taste for children. A hungry Mouse (Cassandra Bourchier) takes a piece of cheese from Th:owxiya’s mouth and is caught. To appease the ire of Th:owxiya, the mouse must bring two children for her to eat before the second moon rises. If this does not occur, Th:owxiya will eat the mouse’s whole family. The mouse seeks assistance on her journey to trick Th:owxiya with the help of Raven (Damion Leclair), Bear (Braiden Houle) and Sasquatch (Danica Charlie). There’s quite an array of colourful objects, set pieces and props, thanks to Production Designer Jay Havens’ careful consideration in selecting these items. When I sat down in my seat, I scanned the stage, and some items caught my attention – one was the large spindle whorl near the back. The other was the statue of Th:owxiya. At first look, it doesn't appear very comforting. However, something is intriguing about the statue each time I look at it—extraordinary colours on both props. Havens’ set design compactly fits the Ada Slaight stage. Nothing appears cramped as the actors can maneuver around with ease of movement. The costumes are lovely. Damion Leclair’s Raven is remarkable from my seat in the house. The headpieces on Bourchier, Houle and Charlie uniquely give vibrancy to the animal characters they have created. For the most part, playwright Joseph Dandurand’s script uniquely captures the vernacular language of children, which will sustain interest in the story. There are moments, nevertheless, when some First Nations vocabulary is introduced that could be confusing for young viewers. I had to use the Vocabulary list provided in the Study Guide before and after seeing the show for clarification – for example: Sasq’ets (Sasquatch); Kw’at’el (Mouse); Sqeweqs (Raven); Theqa:t (tree); Spa:th (Bear); Sp’oq’es (Eagle); Chitmexw (Owl). Hopefully, if children are brought to school matinées, then teachers may want to review this vocabulary prior. Parents, if you do bring children unfamiliar with the vocabulary, you may want to ask for the vocabulary list. The underlying messages behind the story are important ones of overcoming adversity together and problem-solving. Young People’s Theatre also supports the Ancestral Teachings of First Nations. I’m pleased the company continues to fulfill this important connection, especially for those of us in the audience who want to know more about the culture. In this production, the teachings of Wisdom and Respect are reinforced. Chris McGregor’s direction and pacing succinctly capture the whimsy and curiosity of childhood. As an adult, I got caught up in the story. Kudos to McGregor’s vision of curiosity to include everyone in the audience. The strong actor ensemble remains committed to the moment and in the moment. Several child-participatory sections are fun to watch. The actors didn’t appear unnerved by the children’s responses. The cast instinctively knew what to do to maintain the focus and to get the story back on track when necessary. Final Comments: Charming! Creative! ‘Th’owxiya: The Hungry Feast Dish’ is another example of an appropriate storytelling moment in the First Nations culture. Even for adults like me who wish more First Nations stories were taught when I was in high school, this production provides teachable moments for adults who want to learn more. Thank You, Young People’s Theatre, for your continued work showcasing the stories and culture of First Nations. Running time: approximately 45 minutes with no intermission. There may be some Q and A sessions following the performance, so check when you book tickets. The production runs until November 6 on the Ada Slaight Stage at Toronto’s Young People’s Theatre, 165 Front Street East. For tickets, call the Box Office at 416-862-2222 x 2 or email at yptboxoffice@youngpeoplestheatre.org . To learn more about the theatre, visit www.youngpeoplestheatre.org . TH’OWXIYA: The Hungry Feast Dish An Axis Theatre Production Written by Joseph A. Dandurand Directed by Chris McGregor Production Designer: Jay Havens Music Composer: Marguerite Witvoet Stage Manager: Sophie Kaplan Performers: Meela Alexis, Cassandra Bourchier, Danica Charlie, Braiden Houle, Margo Kane, Damion LeClair Previous Next

Back 'The Complete Works of William Shakespeare' Abridged (Revised) (Again) Now on stage at the Scugog Shores Village and Museum, 16210 Island Road, Port Perry. Presented by Theatre on the Ridge Now on stage at the Scugog Shores Village and Museum, 16210 Island Road, Port Perry. Presented by Theatre on the Ridge Joe Szekeres ‘A wacky, laugh-out-loud journey through the Bard’s 37 plays. Plenty of smiles upon exiting the Theatre on the Ridge tent.' ‘The Complete Works of Willam Shakespeare’ (Abridged) involves hilariously shortened versions of all 37 of Shakespeare’s plays. Originally created by the Reduced Shakespeare Company founding members Adam Long, Daniel Singer and Jess Winfield, the play is meant to be performed by three actors. Director Andy Massingham loves to re-vision and re-imagine theatre. He chose proficiently not to follow the trio format with some slicing of the text here and there and has cast five agile performers whom he affectionately calls ‘The Marx Brothers’. Karly Friesen, Adrian Marchesano, Henry Oswald Peirson, Shannon Pitre, and Austin White perform this actor-driven play with joyful abandon and lightning speed. During my interview last week, Andy mentioned that the five-member cast is a pleasure to work with. Technically proficient, the actors are focused on not straying from the purpose of their performance—to recount Bard’s tales with merry humour. In his Director’s Note, Massingham also calls the cast ‘top-flight physically comic.’ They speak clearly and can be heard throughout the show, which is another bonus, thanks to Lyle Corrigan’s spot-on sound design. One of Massingham’s artistic foci is his understanding of the art form of clown. Watching these five youthful players emerge in this vein with a determined zest, they set out what they intended—to make us go to the theatre and have a good time. There are some adult language and situations, so this ‘Complete’ is not recommended for ages under 12. Less is more for this production, and Massingham made solid choices to keep the pace moving. The set is basic, and that’s all one needs. There are some movable crates and a chair. A specific entrance/exit with flaming red curtains is placed at the back of the stage. Because this is supposed to be a laugh-out-loud, feel-good show, Lyle Corrigan’s apt selection of pre-show entrance music (which has nothing to do with any of the plays) purposefully reflects this. Many props by Ari Leroux and Carey Nicholson and several well-timed, easy-to-slip-on-and-off costume changes are the order of the day and work well. It’s also essential to acknowledge Stage Manager Michael Williamson and assistant August Hofbauer, who have their work cut out to ensure the actors are where they should be when called. Why? Much of the humor comes from the timed entrances and exits of the actors. On the night I attended, Williamson was handling lighting duties, so Hofbauer would have been backstage, making sure everything was in its proper place. Reflecting on the years I taught some classic Shakespearean plays, I wish I had known about Long, Singer and Wingfield’s text. It’s intelligent, clever, naughty, bawdy, and playful fun. Massingham says in his Notes that the show is not for deep-dish intellectuals, even though there’s nothing wrong with that. It’s a celebration of laughter. I’m sure the deep-dish intellectuals love a good belly laugh now and then. I did. My guest did too. To try and describe what occurs during the show would be a disservice and spoil. You have to experience the community, the gathering and the laughter that can sometimes ensue from the theatre. That’s one of the reasons why we attend. Go and see “The Complete Works of William Shakespeare” Abridged (Revised) (Again). Running time: approximately one hour and 45 minutes with one interval/intermission. The production runs until August 24 at the Scugog Shores Village and Museum under the Theatre on the Ridge tent, 16210 Island Road, Port Perry. For tickets: theatreontheridge.ca, boxoffice@theatreontheridge.ca or call (905) 431-0977. THEATRE ON THE RIDGE presents THE COMPLETE WORKS OF WILLIAM SHAKESPEARE ABRIDGED (REVISED) (AGAIN) By Daniel Singer, Adam Long and Jess Winfield Directed by Andy Massingham Stage Manager and Lighting Design: Michael Williamson Assistant Stage Manager: August Hofbauer Fight and Movement Choreographer: Karly Friesen Sound Design: Lyle Corrigan Set/Production Design: the Company Props/Costume Construction: Ari Leroux, Carey Nicholson Props/Costume Coordinator: Isobel Robinson Performers: Karly Friesen, Adrian Marchesano, Henry Oswald Peirson, Shannon Pitre, Austin White Previous Next