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A talk with a professional artist about their career. Back Michael Mori, Artistic Director of Tapestry Opera "There's no joy greater than an unexpected joy." Dahlia Katz Joe Szekeres Michael Mori is the Artistic Director of Tapestry Opera. According to its website, Tapestry celebrates its 40th anniversary this year with some landmark projects. This is his tenth year in his leadership role as Artistic Director. One of those projects is the return of ‘The Rocking Horse Winner’ based on D. H. Lawrence’s short story. Tapestry’s production runs to November 12 at Toronto’s Crow’s Theatre. In 2016, it was a five-time Dora Award winner in five categories. When I asked him if Michael and the cast were still riding high on that accomplishment, he said: “You know, it was really funny because we were not expecting it. We were up against some terrific work...We were just going for the free party. There’s no joy greater than an unexpected joy. I remember just being thrilled at the time…what I’ve always loved about Tapestry Opera is the original work the company does in the same way that Mozart and Puccini did…this brings out extraordinary performances because everyone is invested in the creation together.” He laughed and said it had been seven years since the Dora win. Everyone had moved on to other projects, so the ‘riding high’ has abated. This coup for Tapestry was in the early years of Mori’s artistic direction. This acknowledgment has helped the company be better known as much as a contemporary opera company in Toronto can be known now. The future looks bright for Tapestry as there are collaborations, co-productions, and commissions. But as Mori concluded this part of our conversation: “It’s onward to the next original thing that we think has something to say.” Mori trained in many places as an artist. He started as a boy soprano in New York and was privileged to sing in an excellent church choir. Through that opportunity, he auditioned as a boy soprano, where his professional career began in opera and off-Broadway musicals. He attended the University of British Columbia and received a bachelor’s and a master’s degree in performance and spent a few summers in Vienna and Salzburg refining his work. Our conversation then steered toward the art of opera and why it continues to be essential and relevant for twenty-first-century audiences. Mori began by discussing the addiction to or the increasing reliance on screens for engaging with ‘art.’ As one of the most sophisticated, complex, and layered art forms, opera is like the perfect counterpart to a screen-obsessed culture. It’s not the fact that people desire screens; they’re just in our lives so much, and we can’t avoid them. The default to screens has made us hungry for something bigger and more attractive. He continues further: “If there’s an antidote to mindless screen time, opera can be that when it’s wonderful. In the set and spectacle design, you can see so much artistry on display in many layers, from the music to the performances. When they work together, it can be overwhelming in the best way, especially when you feel moved and you can’t put a name on it. We don’t have this in the screen world. That’s what I love about opera, including Tapestry, Atelier, and the COC.” Tapestry Opera continues to build its company and artists as a viable twenty-first-century art form inspired by the techniques created over the last 500 years of proto-opera to post-Romantic and contemporary. Toronto is in a beautiful nexus of cultures where we have access to rock and roll, hip hop, Persian, and all kinds of classical music from all over the world that should be incorporated into opera. Some audience members may hear some opera and say: “That’s me.” And that’s what opera should be. How does Mori feel about all these changes in the performing arts industry, as opera falls into this category? “The statistics are that formerly loyal attendees are returning in 50% - 75% numbers, which is catastrophic for legacy companies. But also, we are seeing the highest number of new audiences in recent history, across the board, in theatre, symphony, and opera. The problem in opera is that people don’t donate as those who have been coming to theatre usually do, so there are questions on how to manage that.” Mori sees the considerable opportunity of tying into what opera can offer. After being cooped away for three years, he believes people are looking to be stimulated again and are open to things they haven’t considered before. That’s an excellent opportunity for companies and artists to think about how to really relate to how people consume art now or would like to consume. How can companies and artists make the live experience more thrilling, more compelling, and more friendly for people to engage with and leave appreciative. Our conversation then veered to ‘Rocking Horse Winner.’ I remember reading D. H. Lawrence’s short story many years ago in high school. The production was supposed to have been performed in 2020, but we all know what happened then. The cast recording of ‘Rocking Horse Winner’ has been played on CBC radio several times. From Michael’s vision as production director, what about the story still speaking to a contemporary audience today? He provided some historical context first. Lawrence lived during the First World War and wrote in the decade immediately after, which was a tumultuous time for Great Britain. There was a disillusionment of the class system at that time. Power had shifted so much back then. What’s relevant about this historical context now? Within the last twenty years, the same thing appeared today: the power holders have shifted so much from the ‘technocrats,’ technology controllers, and the multinational conglomerations of mega-corporations. Change is happening in our world with the pandemic and the incredible sense of inflation. What ties all this together is money and how that relates to power and agency. The real thing about Tapestry’s production of ‘Rocking Horse’ is someone obsessed with money and feels like she needs love; this is Ava from the opera. She is essentially a single mother raising a child with some challenges. She’s not connected to her child (Paul). She’s obsessed with money, being told what we’re meant to be, and staying in the upper class while not necessarily having the wherewithal to change her fortune or make that decision. Obsession with money is nothing new at all. ‘Rocking Horse Winner’ is a universal story about people whose parents have made so much money over the last twenty years, but they don’t have any questions about how money is made. The opera/story is dark. There might not be any lessons learned, but it’s a great reminder that any of us can change the destiny of many, many people, and many things by doing generous acts instead of selfish acts. Just by choosing selfish acts, we have no idea what we’re condemning to a great misfortune. The libretto is structured so that any of the three adults in the room could have stopped the terrible end from happening. The first time Michael directed ‘Winner’ he wasn’t a parent. Now that he is a parent, he recognizes that adults/parents have such influence over the trajectory of their children’s lives, how they think and what their value system is. I’ve already reviewed the production. Here’s the link to my review: https://www.ourtheatrevoice.com/opera/'rocking-horse-winner'-based-on-d.-h.-lawrence's-short-story. Will the production tour to other Canadian cities once it finishes its run at Crow’s? “There are people coming who would like to see what it’s all about, so it is our intention to do so, although nothing is confirmed yet. It’s in the cards, and it’s our hope that it will happen.” Within this challenging economy of performing arts companies, ‘Rocking Horse Winner’ is not a bad show for opera companies to consider. It’s very lyrical. It’s neo-classical. For people who love opera and the theatre, ‘Winner’ is in that happy middle place for Mori. The production is an hour-packed dramatic piece without the challenges one might see at other companies. The pacing of the show is what one might see in theatres. The show has a good track record in the world. What’s next for Michael once ‘Rocking Horse Winner’ has completed its run? “Well, we’re in the midst of building a new venue just north of Yonge and Bloor. We’re building a two-venue rehearsal and performance space with an office facility. There’s been a massive venue crisis within the last ten years for the arts industry. Tapestry wants to be part of the solution. It wants to provide space for independent artists to come and use the facility so that it’s affordable for people who want to create new works eventually. I’ll be fundraising.” Tapestry is also running a million-dollar fellowship for women conductors in partnership with the TSO and a partnership of about twenty-five orchestras and opera companies across Canada. Tapestry also has some fantastic shows planned for the spring. He will also direct some shows away from Tapestry down in the U.S. ‘Rocking Horse Winner’ continues at Crow’s Theatre, 345 Carlaw Avenue, Toronto, until November 12. Visit crowstheatre.com to purchase tickets. Previous Next

What makes a comedy work - plot, characters, setting and theme. Back 'The Thanksgiving Play' by Larissa Fasthorse Presented by David Mirvish and Pop-up Theatre Canada and now on stage at the CAA Theatre Presented by David Mirvish and Pop-up Theatre Canada and now on stage at the CAA Theatre Dave Rabjohn “Although the pace is brisk in ‘The Thanksgiving Play,’ there are more questions than laughs.” Opening this week at the CAA Mirvish Theatre is Larissa Fasthorse’s satirical play ‘The Thanksgiving Play.’ As part of the ‘Off-Mirvish’ series, this play explores issues of stereotyping, racial bias, native American misrepresentation, and political correctness – a handful to be sure, but a noble voyage. Satire is often defined as vice or folly held up to ridicule. The folly here is the misrepresentation mentioned above and political correctness, and a great deal of ridicule is exposed, but the satire is muted, and no answers are forthcoming. Although the pace is brisk, there are more questions than laughs. While mocking political correctness, the opposite – extreme political incorrectness or insensitivity buffets the audience. Is this meant as a balancing act, or do we find humour by exposing the extremes? Neither seems to work. An energetic cast of four is highlighted by a superb performance by Rachel Cairns, who admirably holds the manic group together while questioning her own responsibility for seamless political correctness. Logan is an elementary drama teacher whose goal is to create a Thanksgiving play with historical accuracy and unbiased sensitivity. Jaxton, played by Colin A. Doyle, tries to help with his overly ridiculous political correctness. They seem to have some romantic relationship, but it needs a kind of dance/movement routine to move them in and out of social appropriateness. Caden (Craig Lauzon) is a well-meaning history teacher who appears foolish as he is overly excited about seeing his writing performed. What baffles the audience are his moments of moving toward some aggressive leadership but ultimately caving again. Jada Rifkin plays Alicia, a perky, B-level actor with little depth. Logan has mistakenly hired her because she thinks she is Native American, and that will give the play cultural authenticity. She is not Native American. Instead, she becomes a Glinda to Logan’s Elphaba with hair twirling and makeovers—it further complicates Logan’s own self-questioning. The play then swirls into philosophic inanity as the group tries desperately to reclaim their goal of creating an accurate and sensitive picture of the first Thanksgiving. The goal seems to be lost, and we end with a Godot-like emptiness where nothing has been accomplished. The dialogue registers with some good wit. As Logan introduces each character, it is hilariously awkward as she goes through her perception of each person’s pronoun comfort. Other jokes fall flat – we groan at the plump breast or moist leg scenario more than once. It needed more subtlety if it was meant to shock the audience into awareness. Recorded videos slam the audience with more extreme political incorrectness. Again, the idea was maybe meant to shock and educate, but the audience was left more deflated. Some outstanding physical humour helped raise a number of comedic highlights. The set design by Anahita Dehbonehie creates a realistic school classroom with the usual mayhem that reflects the chaos of the play. Desks mismatched with sports equipment asunder remind us of the children who are the focus of the place. Silly props and costumes seem to derail the angst of trying to accomplish the impossible political balance. Logan’s goal is, of course, impossible. To work towards it is admirable. Larissa Fasthorse’s efforts are also admirable, but if the humour was more subtle, maybe it would be more effective. ‘The Thanksgiving Play’ by Larissa Fasthorse Presented by David Mirvish and Pop-up Theatre Canada Director – Vinetta Strombergs Performers – Rachel Cairns, Colin A. Doyle, Craig Lauzon, Jada Rifkin Set Design – Anahita Dehbonehie Costumes and props – Niloufar Aiaee Runs through – October 20, 2024. Tickets – mirvish.com Previous Next

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

What makes a comedy work - plot, characters, setting and theme. Back The Wizard of Oz: The Toto-ly Awesome Family Musical Now on stage at Toronto's Winter Garden Theatre, 189 Yonge Street Now on stage at Toronto's Winter Garden Theatre, 189 Yonge Street Joe Szekeres “At times wickedly naughty. At other times, enjoyable family-friendly fun fare. This ‘Wizard of Oz’ is worth a visit.” Even though the iconic ‘Over the Rainbow’ wasn’t sung opening night (a bit schmaltzy, perhaps for a pantomime), I couldn’t help but feel a tad nostalgic about the past when Ross Petty came out to speak to the audience for a few minutes before the performance began. Petty’s glad that Canadian Stage will continue the panto tradition. I am too—a thousand thanks to CanStage for the smile it put on my face and those sitting around me. This Wizard of Oz panto is advertised on the Canadian Stage website with the tagline: “We’re not in Kansas anymore.” A good panto should transport the audience to a place beyond their usual surroundings, making them feel like they are in a different world for the moment. Cameron Fraser’s remarkable lifelike projection designs immerse the audience in the heart of the action. The story begins on a modern-day farm, and Michael Gianfrancesco’s functional set design, along with Bonnie Beecher’s warm lighting, suggests that the time is likely the beginning of summer. Ming Wong has chosen contemporary, suitable clothing styles for the characters of the twenty-first century. Additionally, for traditionalists, individuals and families can take pictures with Dorothy in her iconic gingham dress, accompanied by her three friends dressed similarly to how they appear in the film. The script does not specify whether this is the Gale farm, but that’s irrelevant. Thanks to Jennifer Mote’s lively and spirited choreography, we meet a vibrant group of enthusiastic young farmhands—Jordan Bell, Georgia Bennett, Sierra Holder, and Kirstyn Russelle—who show that life on the farm is not just about hard work; it’s also about having fun. These individuals will also become residents of TorOZto. Young Dorothy, played by Julia Pulo, has just graduated high school and feels restless about what her next phase in life will be. A sudden cyclone sweeps the young Dorothy away to the land of TorOZto, where she meets three of the other farmhands—Eddie Glen, Jonathan Cullen, and Saphire Demitro—who become the Scarecrow, the Tinman, and the Cowardly Lion. With the help of her fairy godmother, Plumbum (Dan Chameroy), Dorothy and her new friends work together to defeat the Wicked Witch of the West End, known as Nastina (played by Vanessa Sears), and to reach the Wizard of TorOZto. I’ll keep the identity of the wizard a surprise for now, but I’m sure the word is out. She works and lives in Toronto and is in charge. The Wizard will grant the wishes of the foursome on one condition - to bring back Nastina’s briefcase. In Matt Murray's often whacky text, we find all the beloved elements of a traditional pantomime. This time round, Toto, Dorothy’s dog, is a plushie. The audience is encouraged to boo the villain, and the cast frequently bursts into song and dance routines, sometimes featuring current music. The plot is filled with hilarious connections and commentaries that touch on the current political climate as well as social and cultural norms. Revealing too many of these clever references would spoil the enjoyment of this quirky take on Frank L. Baum’s cherished story. However, I’ll share one example: when the four friends find themselves in a crockpot at the end of Act One, I couldn’t help but laugh out loud, especially as I love preparing crockpot dinners. I will never look at crockpots the same way again! Ted Dykstra directs with a devilish sense of innuendo, dual meaning, and double takes especially with much of what Plumbum says or does. Musical Director/Arranger and Orchestrator Mark Camilleri brings a good sense of fun to the selected contemporary songs, effectively balanced by Brian Kenny’s noticed work in balancing the sound between the orchestra (sitting in the boxes stage right) and the singers. Julia Pulo is a sassy Dorothy right down to her ruby Blundstones which makes her even more appealing. Saphire Demitro’s savvy Cowardly Lion has a terrific musical number that brought appreciative applause from the audience. Eddie Glen’s teddy bear of a Scarecrow made him appealing to the children brought up on stage at the beginning of Act 2. The lanky Jonathan Cullen makes his Tin Man a pleasant reminder of the late Jack Haley. Vanessa Sears looks great and sounds divinely and wickedly decadent as Nastina, the Wicked Witch of the West End. For some reason, I couldn’t help but compare Sears to a modern-day Serena, Samantha Stephens’ cousin from the classic sitcom ‘Bewitched.’ And Dan Chameroy as beloved ‘Plumbum’. AAAAAAA!!!!!!! Chameroy’s first appearance elicited appreciative applause. As the French say - ‘il me manque.’ Literally meaning, he is missing to me or, in English “I missed him.’ Dan, we need the laughs and your humour right now. Chameroy is having one hell of a good time as the beloved fairy godmother, and many of the innuendos and double takes are once again worth the price of tickets. The youngsters may not get what he says periodically, but the adults will be rolling in the aisles with laughter. A cautionary note to parents or adults bringing young children: Please do your homework on what constitutes a pantomime. I’m not sure if the family behind me was expecting the 1939 "Wizard of Oz" film, but the little girl kept talking loudly to her father for several minutes, which distracted me. I understand that parents want to bring their kids to experience an opening night, but it’s important for them to teach their children proper theatre etiquette. It’s not the theatre's responsibility to do so. Running time: approximately two hours including one interval/intermission. ‘The Wizard of Oz’ The Panto runs until January 5 at the Winter Garden Theatre, 189 Yonge Street, Toronto. For tickets: canadianstage.com or call 416-368-3110. A CANADIAN STAGE PRODUCTION in association with the Elgin and Winter Garden Theatres present ‘The Wizard of Oz’: The Toto-ly Awesome Family Musical by Matt Murray Director: Ted Dykstra Musical Director: Mark Camilleri Executive Producer Emeritus: Ross Petty Set Designer: Michael Gianfrancesco Lighting Designer: Bonnie Beecher Choreographer: Jennifer Mote Costume Designer: Ming Wong Sound Designer: Brian Kenny Projection Designer: Cameron Fraser Performers: Dan Chameroy, Jordan Bell, Georgia Bennett, Andrew Broderick, Jonathan Cullen, Saphire Demitro, Eddie Glen, Sierra Holder, Tyler Pearse, Julia Pulo, Kirstyn Russelle, Vanessa Sears. Previous Next

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Where theatre is not only presented on the stage. Back Firebringer Presented by Spark Call Productions Credit: Jenn Downey Aaron Kropf “Anticipating what Spark Call Productions will bring to Saint John next time.” Presented by Spark Call Productions, a new Saint John theatre company, Firebringer is a fun, campy, stone age musical about the discovery of fire created. First performed by StarKid Productions (best known for the Harry Potter parody A Very Potter Musical), ‘Firebringer’ is a collaboration with Nick Lang, Matt Land, and Brian Holden, credited for the Book; Meredith Stepien and Mark Swidersk, credited for music and lyrics and arrangement by Clark Baxtresser and Pierce Siebers. ‘Firebringer’ takes place at the dawn of the Stone Age, where we see the power struggle between the new tribe leader Jamilla (Jen Downey) and Zazzalil (Celeigh Lynne), a tribe member who wants more from life than work all day. Throughout the show, Jamilla leaves the tribe, leaving them to Zazzalil’s lackadaisical leadership. In true musical theatre fashion, Jamilla is called back to the tribe to help save the day, but it can only be done when she and Zazzalil work together to defeat Snarl. All of this is told to the audience by the former leader Molag (Meghan McCracken). One quibble. From where I was sitting in the house, it was difficult to see McCracken throughout much of the production as she stood on the floor far too much. This female-dominated production allowed many wonderful women performers in Saint John and the surrounding area to showcase the incredible talent we have in our backyard. It’s a light and fluffy production, yet there are some staging issues that could be examined again in future. They aren’t a huge distraction and shouldn’t stop anyone from going to see this first show. However, with so many involved, the creative team could have done some trimming as there are moments making the show outstay its welcome. The show has several songs that help move the story forward, but few are all that memorable. The notable numbers include ‘We Got Work To Do," one of the first memes to spread across the internet during the early days of social media. “Just a Taste” is a lovely duet between Emberly (Andrea Paddock) and Grunt (Dino Andriani). ‘Chorn’ is a Celine Dion-style song wonderfully performed by Meredith Ferris as Chorn. A few standouts are Jen Downey as Jemilla, Celeigh Lynne as Zazzalil and Meredith Ferris as Chorn (whose final number near the show's end was marvellous). Don’t miss the last opportunity to see the show on Saturday, February 24. It’s an entertaining evening for anyone over the age of 16; there is a lot of language that doesn’t make Firebringer a family show. Final performance at the Sanctuary Theatre, 228 Germain Street. Previous Next

A talk with a professional artist about their career. Back Norm Foster The Self Isolated Artist Self portrait Joe Szekeres Thank you to the theatre gods who have looked down upon me with grace and have blessed me with the opportunity to converse either online, via telephone or by email with some of Canada’s finest members of the professional performing arts community. These ‘self-isolated artists’ have been tremendously kind and receptive in speaking about how they are holding up during this Covid crisis while sharing some personal and poignant memories and thoughts. I cannot recall of any theatre company off the top of my head, either amateur or professional, who hasn’t produced at least one play by Norm Foster, another of Canada’s finest playwrights. I remember the first time I saw ‘The Melville Boys’ and was struck by how funny the story was at one point while several minutes later I was wiping a tear from my eye. I’ve always found Norm’s plays, characters, and dialogue true to life, sometimes daring, sometimes witty, sometimes harsh and most often humane. The story of how Norm came to a love of theatre always makes me smile each time I read about it. He went with a friend to an audition of a community theatre production of ‘Harvey’ because Norm wanted to see what this ‘theatre thing’ was all about. He ended up with the role of ‘Elwood P. Dowd’, the central character who has an invisible six-foot rabbit friend. Norm had never seen a play in his life up to this point. He seems like the kind of guy with whom you could sit in a pub for hours, have some beers, and just ask him questions and discuss everything and anything. I certainly hope I get that chance one day. And I just found out today that one of Norm’s hobbies is photography. His headshot is only just one example of his work. We conducted our interview via email right after he had recovered from surgery. Thank you so much, Norm, for your kindness to be interviewed: 1. It has been just over two months right now that we have been under this lockdown. I just found out you got out of the hospital. First off, Norm, a very speedy recovery to you. Before your surgery how have you been doing during this period of isolation and quarantine? How is your immediate family doing? Oddly enough before THIS surgery, I was recovering from another surgery for a ruptured aneurysm that occurred on a flight from Costa Rica to Toronto. So, it has been an eventful couple of months. I have actually been recovering from some surgery for the entire Covid adventure. If there is such a thing as good time for it to happen, this is it. The rest of the family seems to be doing okay. My wife Helena is doing a lot of gardening and online studying. 2. Before I started reviewing for On Stage Blog, I had just missed you by that much (as Maxwell Smart used to say) when you performed at The Capitol Theatre in Port Hope, Ontario several years ago. Were you involved in any projects before the pandemic was declared and everything was shut down? I was set to do a tour of my play ‘Jonas and Barry in the Home’ in several theatres in Southern Ontario starting in June. Plus, I was scheduled to go into rehearsals for two new plays of mine at the Foster Festival in St. Catharines this summer. All of that was wiped out of course when the theatres shut down. 3. What has been the most difficult and/or challenging element of this period of isolation? Not being inspired to write. I’ve talked to other artists about this and many of them feel the same way. You would think that with all of this down time available to us that we would be writing furiously. Not so. Ordinarily I have no problem sitting down first thing in the morning and writing. That is no longer the case, and I’m not sure why. I still have the ideas. I just don’t have the urgency to get them down on paper. 4. Now, along with your recovery from surgery at home, what have you been doing to keep yourself busy during this time of lockdown? I watch tv. I practice my guitar. I face time with my children and grandchildren. I argue with my wife about nothing. I check my pulse. I sit in my beautiful yard like an old man and hope against hope that the NFL season won’t be canceled. 5. Any words of wisdom or sage advice you would give to other performing artists or emerging playwrights who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? I would just tell them to hang in there. This is just a speed bump. Mind you, it’s a pretty big speed bump, but this too shall pass and your dreams can still be achieved, given time. 6. Do you see anything positive stemming from this pandemic? At first, I thought that this would lead people down a less selfish path. The old ‘we’re in this together’ idea, but the more I see what’s going on in the world, the more I realize that I was just being naïve. For the most part, people are looking out for themselves. Positives? Yeah. I haven’t put gas in my car since March 3 and my last credit card statement was $32. 7. In your estimation and informed opinion, will the Canadian performing arts scene somehow be changed or impacted as a result of COVID – 19? It will be changed but I’m not sure how exactly. It will take some time for it to return to the way it was, if it does at all. We are all going to be cautious. I don’t think it will be nearly as enjoyable or fulfilling for the artists or the audience for quite some time. I fear it will seem more like work, something which I avoid at all costs. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts about this format presentation? Any advantages to doing this? Disadvantages? Are you participating or will you be participating in this presentation format soon? I think it’s great if the artists want to do that. Personally, I’m not interested in online performances right now, because they haven’t made the technology watchable in my opinion. It is just a stop gap measure for now. A way for artists to stay active, and that’s good. But it doesn’t interest me at this time. 9. Once you’re back on your feet and feeling better, will you do any live performances soon? What is it about the arts you still love given all the change, the confusion and the drama surrounding our world now? Oh yes, I plan to get back out on the road next year or whenever they say we can. I love performing and being a part of getting a play up and running. In fact, that’s why I do what I do. I love telling a good story to an audience. That won’t change. But I will not be writing any plays about COVID-19. People seem to think that we writers are all going to be telling our stories about it. Not me. I’ve got plenty of other stories to tell. With a respectful acknowledgement 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? Funny. b. What is your least favourite word? Laborious c. What turns you on? Quality writing. d. What turns you off? Opinions. e. What sound or noise do you love? Waves coming ashore f. What sound or noise bothers you? Arguing. g. What is your favourite curse word? Fuck h. What profession, other than your own, would you have liked to attempt? Piano player in a smoky bar. i. What profession would you not like to do? Law enforcement j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Nice job.” To learn more about Norm, visit his website www.normfoster.com . Previous Next

Where theatre is not only presented on the stage. Back ANOTHER CHRISTMAS CAROL The Panto Sequel Now on stage at the Whitby Centennial Building, 416 Centre Street South. Credit: Dreamco Theatre. L-R: Josh Doig and Christopher Wilson Joe Szekeres “Corny jokes, silly puns, and a few modern political references for adults. This clever twist on a beloved Christmas classic provides entertainment, perfect for an afternoon or evening at the theatre during the Christmas holiday season.” It’s ‘A Christmas Carol’ I’ve never imagined. Thanks to writer and director Phil Nero’s clever twist on the iconic Dickens tale, complete with the panto stamp of proverbial boos and hisses, local geographical spots and over-the-top sendups, I will never see Tiny Tim in the same light during Christmases yet to come. Dreamco Theatre’s skewering of the classic Christmas story is just plain ol’ fun, especially on those days between Christmas and New Year’s when families might wonder what to do with the kids. Don’t expect any messages to ponder on the way home because there ain’t any. This time around, in Nero’s rendition, it’s not Ebenezeer Scrooge (Josh Doig) who needs to learn about the spirit of Christmas. Instead, it’s the dastardly adult Tim (Christopher Wilson) who is no longer tiny. He’s towering and burly but has grown into a childish, petulant and blustery adult who likes to throw his weight around. He has returned to London from America, where he plans to take over the family business of Scrooge and Marley. Add the sassy Cratchit housekeeper Fiona (Madison Sekulin) into this mix and stir in a quaint array of young, impressionable and smiling youth from around the local Whitby area who play the Humbugs and the Gingerbreads. Fun! Wow! (with thanks to the borrowed Fantasy Island theme park moniker from long ago. Shows you how old I am). Dreamco faced a challenge in presenting the show. A couple of the pantomimes I attended in Toronto and Port Hope were performed before Christmas Day. Additionally, Christopher Wilson, disguised at the beginning of the show, explained to the audience what to do when specific characters appeared on stage. I initially got the impression that the kids around me were eager to participate; however, as the plot progressed, they seemed to lose interest as they focused on following the storyline. That’s a good thing. So, I led some of the booing and hissing, which seemed to perk the kids up a bit more. Nero, Dreamco’s Artistic Director, had a smile on his face in the lobby after the show, and it said it all. He wanted the audience and the cast and crew to enjoy themselves. I did. It looked like the actors did, and so did audience members who sat around me and my guest. That’s all that matters and the very reason behind staging a panto. Nero’s creative team paid attention to theatrical details, which added to the overall enjoyment. Alex and Carmen Amini are to be congratulated for their terrific work in costuming the three principal players. Christopher Wilson’s top hat and tails catch the eye at the top of the show. Josh Doig’s Mrs. Cratchit outfit reminded me of Dan Chameroy’s Plumbum getup worn in The Wizard of Oz panto now at Toronto’s Winter Garden Theatre. Madison Sekulins’ dress as the housekeeper Fiona aptly reminded me of the Victorian era of the story. I was also told the young members of the company also worked on selecting their own specific costumes. Some nice touches there as the clothing gelled nicely together. Joe Falzon’s ‘Villain’ artwork is terrific. Alex Konc’s work in Audio and Brandon Rideout’s in Lighting is on par. I could hear the lyrics to each of the songs. Rideout’s lighting effectively casts eerie shadows when necessary. Phil Nero directs with a flair for fun. He made a smart choice in casting local young people from the area to be part of the show. Kalie Hunter's choreography aptly fits the song renditions. There’s no musical director listed in the program, but a couple of the song selections made me laugh out loud. To list them here would spoil the fun of the moment. There’s a nice balance between the pre-recorded music and the singers. The three-member principal cast does a bang-up job of telling the story. Christopher Wilson is a blowhard hoot as the towering Tiny Tim (the intentional oxymoron still makes me smile). Josh Doig’s Scrooge made me laugh out loud again at the end of the play in the costume he wears, which is a far cry from the traditional Scrooge we know in the iconic story. Madison Sekulin’s sassy and saucy Fiona, with a soaring singing voice, certainly made me pay attention. In his Director’s Programme Note, Phil Nero wrote he is proud of this production and the team that worked tirelessly to make it happen. Thank you, Phil and team, for the Christmas gift during these twelve days. Go and see ‘Another Christmas Carol: The Panto Sequel’ before it closes on December 31. Running Time: Approximately one hour and 45 minutes, including one intermission. ‘Another Christmas Carol’ runs until December 31 at the Whitby Centennial Building, 416 Centre Street South, Whitby. Tickets are available at dreamcotheatre.com or at the door. Matinee performances are at 2 p.m. and evening performances are at 7 p.m. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Frankenstein Revived' by Morris Panych. Music by David Coulter. Based on 'Frankenstein' by Mary Shelley Now onstage until October 28 at Stratford Festival's Avon Theatre Credit: Cylla von Tiedemann. Foreground: L-R: Marcus Nance as the Creature and Charlie Gallant as Victor Frankenstein. Background: Laura Condlln as Mary Shelley Joe Szekeres A daring and risk-taking world premiere adaptation of a classic novel. Morris Panych’s world-premiere adaptation of the young Mary Shelley’s 1818 science fiction/horror novel becomes a uniquely challenging one to stage. The poet Lord Byron initially encouraged fellow vacationers stuck inside a Lake Geneva villa during a rainy summer vacation to write a ghost story. The young Mary Godwin (soon-to-be wife to Byron) won the contest with this story of the brilliant student and budding scientist Victor Frankenstein, who sought to overstep the power and majesty of natural order by creating life alone and in secret. Over the years, literary scholars have deemed ‘Frankenstein’ a science fiction and a tale of horror. There’s truth in this statement. It’s a story of poetic exposition juxtaposed with an emotional array of personal feelings. But what makes this opening night world premiere one to which (borrowing from Arthur Miller) attention must be paid? Not a word is spoken throughout this engaging production. Instead, it’s told boldly through highly stylized choreographed dance movements that create haunting visual images long after the curtain comes down. During his university studies, budding scientist and brilliant student Victor Frankenstein becomes obsessed with Death. He devises a technique to give life to non-living matter. He tests this technique using body parts stolen from corpses in graveyards to build a Creature. Victor gives life to this being through electricity. Unfortunately, things go awry when Victor becomes shocked by what he has done. The Creature soon sees himself as hideous, as does everyone who comes in contact with him. Scarred by this understanding of the cruelty of human behaviour, the Creature vows to destroy all who mean a great deal to Victor: his wife, Elizabeth, his younger brother, William and his friend, Henry Clerval—even the building of a companion that the Creature demands of Victor will not suffice. However, Panych’s ‘Frankenstein Revived’ is more than a horror and sci-fi tale. It becomes a solid visual warning about obsessive and ruthless idealism, which still permeates the twenty-first-century world as we know it today. In his Director’s Note, Panych dutifully recognizes this production “is a composite of many things…but not made by one person alone. As a creative force we are a collection of essential parts, pieced together by our imagination.” The human imagination soars to the Avon Theatre rafters on this opening night. Panych’s fitting tribute respectfully recognizes other invaluable artistic contributions in creating a terrific macabre world onstage. Even the Elements of Nature (excellent work by a most skillfully trained ensemble of performers all dressed in black) underscore the dangers of obsessive and ruthless idealism. Ken MacDonald’s set and Kimberly Purtell’s lighting designs artfully showcase this world of the macabre. For example, the moon’s orbits are beautifully highlighted throughout the show. These orbit projections reveal how some might have believed human behaviour is strongly affected by this natural process. The striking visual image of a hospital/cadaver gurney brightly spot lit during the pre-show reminds us that all is not well in the world we are about to enter. Jake Rodriquez’s sound designs remain clear throughout. Dana Osborne’s costumes are solid replications from the era. David Coulter’s Music Direction and composition eerily heighten the building intensity of the suspenseful plot in wondering what’s coming next as the action unfolds. Seeing the gurney and hearing the pre-show music eerily reminds me that one is entering a world where something just does not seem correct. One of the production highlights is the demanding work of Movement Director Wendy Gorling and Dance Choreographer Stephen Cota. Such meticulous and necessary precision means these actors must remain in tip-top shape. And they most certainly are. Nary hands nor feet seem out of place in the Elements ensemble as they become necessary instruments that convey tremendous passion in their onstage fluidity. Laura Condlln, in her portrayal of Mary Shelley, becomes like a circus ringmaster, controlling and directing the show's events for effect. A writer also controls and directs what will be added to the page to create a specific effect. For example, at the top of the second act, Condlln stands centre stage where, like a ringmaster, she sets the Elements of Nature where she wants them to be. It’s a striking moment to watch this all unfold visually. As Victor’s younger and mischievous brother William, Garrett McKee nicely brings that wink of youthful play for a few moments. William’s death occurs off-stage. When Victor brings on the young lad’s body, there is complete silence throughout the house at this horrific realization of what has occurred. Kyla Musselman’s Elizabeth, Victor’s loving and devoted wife, is also horrifically taken at the hands of the Creature. Musselman shows her youthful joy at her wedding to Victor, which makes the audience believe there may be hope for happiness for the scientist. Alas, this is not to be as the audience horrifically witnesses the young woman’s murder onstage. A sense of paternal goodness emanates from Sean Arbuckle as D’Lacy, the old blind man who can only show kindness to the Creature since he cannot see what the being looks like. Devon Michael Brown’s Henry Clerval portrays a genuine friendship with Shelley’s protagonist. However, men can feel as profoundly emotional as women, and losing his friend brings Victor to his wit’s end again. As the story’s protagonist, Charlie Gallant’s Victor appears visually and youthfully strong as he goes off to pursue his studies. His character arc remains credible as he brings his story of how sad it is to a rightful conclusion. Marcus Nance’s performance as the Creature is absolute perfection. Nance is wholly grounded in the moment and embodies many feelings and emotions ranging from pity, pathos, regret, and vengeance. His scene with Sean Arbuckle’s D’Lacy heartfully showcases two unique individuals who yearn and recognize in each other how life has scarred them. This moment of personal connection is then woefully thwarted, with more lives lost. Final Comments: ‘Frankenstein Revived’ becomes an Honours masterclass in performance and movement. Actors must utilize and incorporate their bodies instead of language to tell a story. Audiences participate in learning to read human physicality instead of relying on words. A new challenge, indeed. Theatre audiences should always be challenging themselves. It makes attending even more worthwhile. Is it worthwhile to see ‘Frankenstein Revived’? Yes, it is. See it. And another thing: I sat in Row J on the aisle and had a perfect vantage point where I could see the visual images and pictures of Panych and his creative team. However, I could not see the expressions on the faces of the actors as I was too far back. I didn’t need to sit up close as the artists performed what they were supposed to do. If future audiences like to see the expressions on the actors’ faces, I’d advise sitting closer to the stage. Be aware that you may not capture the overall visual picture presented onstage. P.S.: As a retired secondary school English teacher, I would endorse seeing the production with students, especially if they study the novel. Seeing the production live would reflect at least one of the Ministry of Education document expectations. Running time: approximately two hours with one intermission. ‘Frankenstein Revived’ runs until October 28 at the Avon Theatre. For tickets, visit stratfordfestival.ca or call the Box Office at 1-800-567-1600. FRANKENSTEIN REVIVED by Morris Panych with Music by David Coulter Based on ‘Frankenstein’ by Mary Shelley Director: Morris Panych Music Director: David Coulter Movement Choreographer: Wendy Gorling Dance Choreographer: Stephen Cota Set Designer: Ken MacDonald Costume Designer: Dana Osborne Lighting Designer: Kimberly Purtell Composer: David Coulter Sound Designer: Jake Rodriguez Performers: Eric Abel, Sean Arbuckle, Carla Bennett, Devon Michael Brown, Laura Condlln, Amanda De Freitas, Mateo G. Torres, Charlie Gallant, Eddie Glen, McKinley Knuckle, Gracie Mack, Ayrin Mackie, Anthony MacPherson, Heather McGuigan, Garrett McKee, Spencer Nicholas McLeod, Kyla Musselman, Marcus Nance, Trevor Patt, Jason Sermonia Previous Next

Where theatre is not only presented on the stage. Back Liza: A Truly Terrific Absolutely True Story. The Canadian Premiere of a Documentary film written, produced and directed by Bruce David Klein Screenings at Toronto's Revue Cinema, 400 Roncesvalles Avenue, February 8, 9 and 11. Courtesy Atlas Media Corp Joe Szekeres “A vivid and resonant documentary gaze into the multi-faceted complexities of the sometimes-unguarded Liza Minnelli.” Liza. There is no need to explain who she is or why she’s known by one name. Why? Her multifaceted nature as an individual and performing artist shines in ‘Liza: A Truly Terrific Absolutely True Story,’ an exceptionally authentic yet complex film written, produced, and directed by Bruce David Klein. Klein skillfully crafts a cinematic love letter to the actress and singer, who continues to cherish the gift of living a good life even as she begins to slow down. He has divided the documentary into nine segments featuring statements from various individuals (the late Chita Rivera, Mia Farrow, Michael Feinstein, and Joel Grey, are just a few) who have helped shape Liza into the legend she is today from her tumultuous, vulnerable, and unguarded early adulthood years. How is she a legend? Well, the private Liza can hold her intent gaze as she converses with you and makes you feel you are of tremendous importance in the conversation. Liza, the entertainer, can also induce an eyebrow-raising gesture of laughter and amusement as she does when she drops an ‘F’ bomb at one point. She also raises her voice rather loudly to grab the attention of one of the crew members. But she’s the daughter of one of the world’s finest film directors. Liza can garner a crew member's attention, regardless of how she approaches it. No argument from me. Liza’s earned that title of legend and is entitled to the accolades that come along with it. Klein’s documentary is particularly noteworthy because Minnelli forged her path independent of her parents’ influence. Throughout the seventies and eighties, the actress and singer faced personal and health struggles, beginning with her mother’s death in June 1969. Snippets of the rising Minnelli are carefully woven together with purpose, showcasing how her rise to legendary stardom in the US and overseas (that understanding of ‘stardom’ does not exist here in Canada). Three influential figures helped shape the unique ‘Liza’—the resilient ‘Liza’ who always bounces back. They were her godmother, Kay Thompson (who took charge at Judy’s funeral), French singer Charles Aznavour (who taught Liza how to interpret a song and let the words speak for themselves), and director Bob Fosse (who taught the young, gangly teen from the Ed Sullivan Show how to stay focused in movement and dance). Why see Klein’s film? For those interested in the waning days of the Golden Age of Entertainment, Liza Minnelli remains one of the last connections to a time when attending movies, theatre performances, or concerts enabled us to truly engage with stories—whether conveyed through dialogue or song. Liza knows she has lived a good life through her struggles and difficulties. She had no hesitation in allowing us to see that personal side of her. The first statement of the film, often attributed to Oscar Wilde, defines who Liza truly is: “Be yourself. Everyone else is already taken.” Perhaps we, the audience, also need to follow this advice. ‘Liza: A Truly Terrific Absolutely True Story’ will be screened at Toronto’s Revue Cinema, 400 Roncesvalles Avenue, on February 8, 9, and 11. I just looked at the website: https://revuecinema.ca/films/ and some other films also deserve a look-see if you can. ZEITGEIST FILMS IN ASSOCIATION WITH KINO LORBER presents a Moving Playful Doc on Legendary Showbiz Icon Liza Minnelli LIZA: A TRULY TERRIFIC ABSOLUTELY TRUE STORY Written, Produced and Directed by: Bruce David Klein Produced by: Alexander J. Goldstein Produced by: Robert Rich Co-Producer: Dana Craig Co-Producers: Tom D’Angora, Manny Klausner, Willette Klausner Executive Producer: Dori Berinstein Line Producers: Sheila Cabano, Abby Strauss Additional Line Producer: Donna Ferry Associate Producers: Nelda Yaw Buckman, Drew Desky, Dane Levens, Alan Seales Directors of Photography: Axel Baumann, Wolfgang Held Editors: Jake Keene, Alexander J. Goldstein Running time: 104 min HD | 16:9 | Stereo 5.1 | English Previous Next

Where we hope to help young people develop an intrest and a passion for a futrure in theatre. Back 'A Year with Frog and Toad' by Robert Reale and Willie Reale Now onstage at Capitol Theatre, Port Hope Credit: Tracey Allison L-R: Haneul Yi and Joel Cumber Dave Rabjohn “It is the performance of Joel Cumber as frog and Yi as toad that invigorates the stage.” Apparently, my five- year- old grandson’s social calendar was too full to attend the theatre with Grandpa. However, taking his place, my wife was as enthusiastic about the performance as he would have been. Embracing the wider audience is the allure of this production of ‘A Year with Frog and Toad’ now playing at the Capitol Theatre in Port Hope, Ontario. Music by Robert Reale and book by Willie Reale, the play is based on the widely popular children's series of books by Arnold Lobel. It begins with an elegant set designed by Brian Dudkiewicz. This is not a cartoonish stage with cardboard flowers and primary colours from a Saturday morning kid’s show. The set is beautifully organic – swampy greenery giving the frog and the toad an authentic environment. Placing the musicians behind the heart of the foliage was a clever decision as the music emanates from nature itself. The cast of five energising performers drives this dynamic tale. The frog and the toad, with mostly an on-again relationship, move through the four seasons and various adventures that challenge and finally galvanize their friendship. Beginning with spring, three birds, complete with luggage announce their arrival after miles of travel. Waking a grumpy toad (Haneul Yi) is the first hurdle to overcome. Summer brings some embarrassment as he swims in a foppish suit. The fall is marked by a brilliant piece of choreography involving rakes. Winter is met with a tobogganing disaster and some tender Christmas moments. Two clever motifs run as threads throughout the performance. The first is a letter from frog to toad that is desperately being delivered by the sluggish snail. Played by Ben Page, his arms move furiously, but his legs can’t keep up – try this at home – it is difficult. The letter finally reaches its mark and the theme of friendship and communication is confirmed. The second thread is the search for a new clock. Time moves on so it is best to build and strengthen those important relationships. As mentioned, the five versatile actors propel this performance. The three ensembles are not just background colour – singing and choreography are top notch. Some lovely harmonies enrich and a lovely voice from Taylor Lovelace highlights the singing. Yunike Soedarmasto stands out as a dancer. As mentioned, Ben Page’s comic turn as the snail delights the audience. But it is the performance of Joel Cumber as frog and Yi as toad that invigorates the stage. Their clowning and dancing give a vaudeville feel that suits the highs and lows of their friendship. Stagecraft highlights include a piece of luggage that roars as the mouth of an evil animal. Scary yellow eyes hovering above the stage delighted (or frightened) the young audience. Fiona Sauder’s direction included some heartfelt tableaux that highlighted many tender moments. Sim Suzer’s creative costume work was punctuated by the aforementioned snail with housing on his back and a turtle with a similar comic shell. Silly perhaps, but not trivial – this energetic performance delivers on the message of enduring friendship throughout the seasons. ‘A Year with Frog and Toad’ by Robert Reale and Willie Reale Performers: Joel Cumber, Taylor Lovelace, Ben Page, Yunike Soedarmasto, Haneul Yi Director: Fiona Sauder Music: Jeff Newberry Set Design: Brian Dudkiewicz Costume Design: Sim Suzer Production runs through June 2, 2024. Tickets: capitoltheatre.com Previous Next

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

Dramas encompass the human response to a created life situation on the stage. Back 'Red Velvet' by Lolita Crow's Theatre John Lauener Geoffrey Coulter, Guest Reviewer (actor, director, arts educator) Get to Toronto’s Crow’s Theatre for an incredible and enlightening performance about a ground-breaking actor no one has heard of! I’ve been an actor, director, educator, and avid student of theatre history most of my life. I thought I knew about or had heard of most of the heavyweights of 19th-century British and American theatre - Edwin Booth (brother of the man who assassinated Abraham Lincoln) Herbert Tree, Edmund Kean, Ellen Terry, Lionel Barrymore, and others. But before last night’s performance of Red Velvet, I had never heard of Ira Aldridge, his life and controversy. The man, who broke barriers in the 19th century and paved the way for fellow African American performers, is brilliantly revived in playwright Lolita Chakrabarti’s timely and thought-provoking 2012 play, ‘Red Velvet’, now playing at the Crow’s Theatre until December 18. New York-born Aldridge was the first black actor to play many of Shakespeare’s leading roles, most notably Othello (typically played by white actors in blackface well into the 20th century) in 1833 at London’s Theatre Royal, Covent Garden. Racist campaigns ensued, due in part to the hostile feelings of the imminent abolition of slavery in the colonies. Although most audiences reacted favourably to Aldridge, most critics were vitriolic in their reviews, wanting to “annihilate” and “drive him from the stage” and decrying his performance as “sacrilege”. Despite these racist diatribes, by the 1840s Aldridge had performed for royalty across Europe, made audiences laugh and weep and was widely regarded as one of the great actors of his age. His career was exceptional, and not just for being a black actor at that time. He travelled farther, was seen by audiences in more countries and won more medals, decorations, and awards than any other actor of his century! How is it that this 19th-century great was all but erased from history? This stellar production sheds some (gas)light. In her notes, Director Cherissa Richards reveals the play explores “great love, deep bonds of friendship, and a hunger to achieve greatness”. She has certainly achieved the latter. Performed by a cast of 8 luminaries (many playing multiple roles) from the likes of the Shaw and Stratford festivals, with spot-on period costumes and props, the play opens in a theatre dressing room in the town of Łódź, Poland in the year 1867. A young female journalist, Halina, has tricked a stagehand into letting her into the room so she can meet the famous actor Aldridge, who has come to perform Lear, in hopes of securing an interview. While Ira at first tries to eject her from his dressing room, he agrees to grant her an interview. Halina mentions Ira’s performance as Othello at Covent Garden, over thirty years earlier. She refuses to drop the subject, and Ira throws her out. From there we are transported to the stage of Theatre Royal, 1833 and Aldridge’s arrival to join the company of ‘Othello’, amidst loud anti-slavery protests outside the theatre and dissension inside amongst the company. Richards adeptly handles abolitionist unrest of pre-Victorian England. Her staging is impeccable (not a bad sightline that I could see) and makes full use of the entire stage with natural blocking and wonderful attention to detail. Lead actors aren’t always the centre of my attention. I like to look at what the supporting characters are up to. Richards created captivating moments from supporting actors who were not the focus of the scene but nonetheless were still in the moment, speaking volumes with their silent facial and physical reactions. Kudos also to the brilliant scene changes, performed exclusively by the company as they whisked furniture and props on and off while interacting with each other and continuing the narrative as they set up for the next scene. Pure genius! On an equal level of genius were the set and props, provided by Julie Fox. The scenes play out mostly on a Victorian-era proscenium stage complete with wood slat floors and brick walls, fly ropes, barrels, boxes, and other backstage paraphernalia adorning the upstage wall. A luxurious red velvet curtain adorning the outermost proscenium harkened images of the Ford’s Theatre where Abraham Lincoln was assassinated in April 1865. Lanterns, chairs, desks, and even the tea service disclosed dedication to authenticity. Costumes by Ming Wong were resplendent and appropriately lavish. Scarlett O-Hara-style dresses on the ladies and vests and tailcoats on the gentlemen were spot-on period-specific. Fervent attention was obvious to the fabric and weight of each costume, especially Aldridge’s Othello and Lear robes. Gorgeous! The muted but stunning lighting design by Arun Srinivasan transported us back and forth through time and space. Until the 1880s theatres were illuminated by oil and gas-lit lanterns and candles. Lighting a play that takes place before the dawn of electric lights using modern instruments is no mean feat. Srinivasan’s recreation of soft, amber tones in the backstage scenes and flickering, shadowy candlelight from the footlights during the Othello scene authentically mimicked the era adding an additional layer of realism and emotion to the scene. Thomas Ryder Payne’s superb and supportive sound design, from the subtle rain effects before the curtain to the musical interludes during scene changes met the challenge of keeping pace with the narrative while elevating the play’s unsettling conclusion. The cast is equally up to the challenge. As Aldridge, Allan Louis certainly has the booming voice, grace, and stage presence worthy of the esteemed actor whom he is portraying. His restrained resentment and vulnerability of an artist long-tortured by prejudice were wonderfully conveyed. His energy and pace were at a continually high level, often with fever-pitch line delivery. Perhaps an added pause here and there could bring more levels to the depth and complexity of his performance. The supporting cast is all likewise up to the task. As Pierre Laporte, manager of the Theatre Royal, Kyle Blair, although often soft-spoken and difficult to hear, beautifully imbues tension in a conflicted ally ship with Aldridge. Ellen Denny, playing Ellen Tree, the ingenue and Desdemona to Aldridge’s Othello, is wonderfully spunky and humorous with just the right amount of unctuous curiosity. Amelia Sargisson, in triumvirate portrayals as Halina/Betty/Margaret, was at once giddy, pensive, and curious, while toggling between multiple languages and accents. Wonderful work, especially as the giddy, self-absorbed Betty. Although more volume and distinctive changes in costume/wigs in her transformation to Margaret would have made her singular portrayals more obvious. Jeff Lillico is perfectly bombastic and repugnant as Charles, the entitled son of Edmund Kean with his puffed-up self-expression, racist diatribes, and all-out temper tantrum. So likably unlikeable! Patrick McManus in dual roles of Aldridge’s valet and dresser Terrence and conservative thespian Bernard, embodies equal parts devotion, stoicism, humour, and volatility. Nathan Howe, also in dual roles as German stagehand Casimir and conservative English actor Henry Forrester, is hilarious. His physical and comedic timing, especially as the foppish Henry, is a standout. His moments shunning Ellen’s romantic advances are priceless. As the ever-present, silent maid Connie, Starr Domingue, brings an understated, indignant portrayal (with a curiously Jamaican patois in her Trinidadian accent!) all the while making the most of her brief scene with Aldridge. Additional shout-outs to the stage management team of Jennifer Parr and Farnoosh Talebpour, who worked so hard having props ready to move on and offstage and making magic with some uber-fast costume changes. Don’t miss this play! ‘Red Velvet’ needs to be seen! The legacy of this ground-breaking and important American needs to be told! It’s never been timelier in today’s world of equity, diversity, and inclusivity! Aldridge’s tale is a love letter to theatre, a captivating tale of racism, stereotyping, tension, tenacity, and achievement. A cautionary tale of how much and how little has changed in almost two hundred years. Running time: approximately two hours and twenty minutes with one intermission. ‘Red Velvet’ runs until December 18 at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets, visit crowstheatre.com or call 647-341-7390 ex. 1010 RED VELVET by Lolita Chakrabarti Cherissa Richards - Director Julie Fox - Set and Props Designer Ming Wong - Costume Designer Arun Srinivasan - Lighting Designer Thomas Ryder Payne - Sound Designer Rais Clarke-Mendes - Assistant Director Siobhan Richardson - Fight Director Lisa Nighswander - Head of Props Chris Faris - Head of Wardrobe Jennifer Parr - Stage Manager Farnoosh Talebpour - Assistant Stage Manager The Cast: Kyle Blair - Pierre Laporte Ellen Denny - Ellen Tree Starr Domingue - Connie Nathan Howe - Casimir / Henry Forrester Patrick McManus - Terrence / Bernard Warde Jeff Lillico - Charles Kean Allan Louis - Ira Aldridge Amelia Sargisson - Halina Wozniak / Betty Lovell / Margaret Aldridge Previous Next

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A deconstruction of an individual's story. 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

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

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

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

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

Where music, song and dance all contribute to an enjoyable plot on stage Back Holiday Inn Shaw Festival David Cooper David Rabjohn The Shaw Festival’s winter program continues with the opening of a sparkling production of ‘Holiday Inn’ with music by Irving Berlin, one of the greatest song writers in history. One could toss a cast into a cornfield and a hit would somehow ensue with Berlin songs. However, the Shaw producers clearly knew how to respect the master’s material and built a stunning show around stunning songs. We often use the term ‘ensemble’ to describe a particularly tight cast, but we can consider this musical to be an ‘ensemble’ of leadership in that every department – music, acting, lighting, sets, choreography, costumes – was on full creative display. Beginning with a joyous welcome ‘Steppin’ Out’ resounds with dance and colour to forecast an ambitious production. Choreographer Allison Plamondon hits the high mark right away and then moves into a spectacular ‘Heat Wave’ – I didn’t say hot. There is not a weakness in the cast as the complex choreography is performed at breakneck speed with polish and ease. The story, as suggested by the title, revolves through one entire year highlighting all major holidays from Thanksgiving to Thanksgiving. Jim, tired of New York and performing, wants to settle on a Connecticut farm with Lila who rejects the idea. As he gets to know the small-town community, he meets Linda who is also a performer. After a number of disappointments, Jim considers using the farm as a performance space for productions run only for each major holiday. The iconic ‘White Christmas’ opens the Christmas season, and the others follow. Performance highlights are everywhere. Kyle Blair, as Jim, performs a top notch ‘Blue Skies’ and Gabrielle Jones, as Louise, turns in spectacular comic sequences highlighted by the rousing ‘Shaking the Blues Away.’ Kristi Frank, as Linda Mason, works some beautiful duets with ‘Let’s Take an Old-Fashioned Walk’ and ‘Be Careful, It’s My Heart.’ Kyle Golemba, as Ted, joins the other two in a spirited ‘Cheek to Cheek’ – one of Berlin’s classics. Young Julia Thompson as Charlie Winslow is a delightful young schemer and is lovely in the reprise of ‘Plenty to be Thankful For.’ Costumes and sets designed by Judith Bowden were as impressive as the performers. Moving through all the principal holidays, Ms. Bowden had a lot of material to cover. From pastels for Thanksgiving to iconic red, white, and blue for Independence Day sewing must have been fast and furious. The greatest sizzle came from formal wear in many of the big numbers with crisp tuxedos and brilliant gowns that spiced up the entire night. For director Kate Hennig, it must have seemed an embarrassment of riches. Having said that, orchestrating so much talent takes a wealth of experience in her craft. Responsibility for a greatest hits list of Berlin songs might seem overwhelming, but Hennig’s result is both commanding and entertaining. ‘Holiday Inn’ by Irving Berlin Book by – Gorden Greenberg, Chad Hodge Director – Kate Hennig Music direction – Paul Sportelli Choreography – Allison Plamondon Set and Costumes – Judith Bowden Lighting – Kevin Lamotte Sound – John Lott Cast – Kyle Blair, Kyle Golemba, Vanessa Sears, Jay Turvey, Julia Thompson, Kristi Frank, Gabrielle Jones. Runs through – December 23, 2021 at The Festival Theatre. Tickets at shawfest.com Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back Dixon Road by Fatuma Adar Produced by The Musical Stage Company in association with Obsidian Theatre and Canadian Stage. Unknown Dave Rabjohn This month marks the world premiere of the musical ‘Dixon Road’ under the beautiful natural canopy of Toronto’s High Park. This remarkable musical journey by Fatuma Adar was five loving years in the making and Toronto audiences will be thrilled with both her incredible work and the powerful performances behind it. Dixon Road is a community in the northwest of the city where many Somali immigrants congregated. This is their story of assimilating into Canada. The strengths of this production are the joyous diversity of Ms. Adar’s music and the backbone of this cast – Germaine Konji as the ambitious daughter Batoul. Batoul is the daughter of Zaki, an affable dreamer and a touch naïve, played with force and a beautiful voice by Gavin Hope. Along with her mother, Safiya, and grandmother, Halima, the family struggles in Somalia to maintain a middle-class lifestyle. In the early 90s, Somalia has just won its independence and Zaki has just won a prime bureaucratic position in the government. War then tears the country apart and the family must move to Canada where family members take them in with an uncertain future. Family tensions increase in cramped quarters and the usual complications of assimilation into an unknown country take their toll. As mentioned, Ms. Adar’s score is rich with diversity, music moving from hip hop to rap to show tunes and Motown. An early example is “Pray” with radiant harmonies from the entire family and a backdrop of rap from Mr. Hope. Moving to Canada, the clever “How to Be Canadian” is irreverent and ironic with some very inventive choreography around a taxi cab – a job the over-qualified Zaki must accept. Batoul sinks into depression but is resilient as she sings the powerful number “Find Me.” Batoul’s release in life is in her writing – she yearns to be a poet and dramatist. The family, at times, both ridicules her dreams and then tries to accept them. Grandmother Halima, portrayed with zest by Shakura S’Aida, remains in the old country but echoes her thoughts over the family. She supports Batoul as she reflects “we are Somali – we are poets.” A most clever scene with “Oprah” literally diving out of a television set represents the detritus of western culture. Batoul struggles with this void, fights it and becomes even more determined to be a professional writer. Further irony is brilliantly portrayed in the second act where the celebrating Somali family ends up in a Chucky Cheese-like restaurant along with dancing waiters and a dancing chipmunk. Aspects of traditional Somali dance pepper the silliness of the moment. Assimilation can often produce comic effects. Director Ray Hogg (also choreographer) is credited with bringing a number of elements together. Working outside with an awkward, multilevel stage is demanding and his rich experience was clearly a motivation to the cast. The set designer, Brian Dudkiewicz, opened the show with a rich backdrop of colourful tapestries in Somalia which cleverly disappeared leaving the bare and leaden elements of cold brick and mortar highrises. Many of the songs deal with the theme of faith – it is the faith in family and neighbours that holds these new immigrants together. At one point someone goes out to buy diapers – “we don’t have a baby” – “yes, but the new family on the second floor does.” Perhaps Zaki, near the end of the play best summarizes their wish to move forward – “there must be another life than just surviving.” This production, with a lavish diversity of music, reflects this ultimate joy of families coming together. ‘Dixon Road’ by Fatuma Adar Performers: Krystle Chance, Starr Domingue, Omar Forrest, Rose-Mary Harbans, Gavin Hope, Germaine Konji, Michael-Lamont Lytle, Dante Prince, Shakura S’Aida, Travae Williams Director/Choreographer – Ray Hogg Music Director – Chris Barillaro Set Design – Brian Dudkiewicz Costume Designer – George Michael Fanfan Previous Next

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