A talk with a professional artist about their career. Back Linda Kash "I sure hope I don't forget my lines in the delivery room." David Leyes Joe Szekeres I've wanted to interview Linda Kash, another Canadian performing arts/theatre scene darling. Yes, she will be eternally known as the iconic Philadelphia (Philly) Cream Cheese Angel from television commercials for years to me. However, she has now gracefully passed the wings on to another individual. There’s more to this delightful lady. I could feel a big smile on my face when I found out where I’d seen her work. For example, she was the lip reader in the Seinfeld episode where George and Jerry want someone to read a person’s lips at a party. Kash has also appeared on ‘Everybody Loves Raymond,’ ‘Third Rock from the Sun’ and ‘Cybill.’ She has also appeared in the films ‘Best in Show’ and ‘Waiting for Guffman.’ In the summer of 2023, I saw Linda’s remarkable work at the Stratford Festival in the ‘Casey and Diana’ premiere.’ It was one of the theatrical highlights of last summer for me. This past January, the production transferred to Soulpepper for a Toronto engagement, and I had the chance to see this incredible cast at work again. She is not one to sit around, however. On Saturday, May 11, at 7 p.m. and Sunday, May 12, at 2 p.m., Linda will be directing a staged reading of Nora and Delia Ephron’s ‘LOVE, LOSS AND WHAT I WORE’ for Peterborough’s New Stages Theatre Company at The Market Hall. This special New Stages event is not just a performance, but a fundraiser for Lumara/Camp Kerry, a bereavement retreat program for families coping with grief and loss. I was thankful she could take a few moments to answer questions via email. When I asked Kash where she completed her artist training, she found the word ‘complete’ interesting. She attended the American Academy of Performing Arts for one year, where she had every intention of completing the three-year program but added: “I became distracted by a Second City workshop as well as a handsome improviser the first summer I came home.” And that was it. Linda was hooked on performance. She considers Second City her formal training and foundation as an actor. Eventually, she returned there and got a chance to direct a Firehall show. Linda also runs an acting studio – The Peterborough Academy of Performing Arts – which has been running for seventeen years. She and her staff teach kids and teens throughout the year. She also runs Drama Day camps for two weeks in the summer. She also teaches adults through a school and production company she co-founded in 2019 called klusterfork. Coaching and teaching in the Peterborough community is fundamental to Kash. She says it’s hugely satisfying and rewarding to watch young talent develop. Kash is also very proud of her work playing Marjorie in ‘Casey and Diana’ at Stratford and Soulpepper. She calls it a privilege in her professional career. She will never forget the rehearsal and performances of ‘Casey’ because: “it was so collaborative and so personal to all of us, including the crew. Everyone was equally and tremendously invested in this story…I think that’s why it resonated so profoundly with the audience.” She also loves directing and seeing the big picture. She calls that process detective work in trying to figure out the playwright’s intentions. Working with a collaborative team to bring a story to life is endless fun. What drew Kash to direct ‘Love, Loss and What I Wore’? “I performed the play when it came to the Panasonic in Toronto. I worked with Cynthia Dale, Wendy Crewson, Jeanne Becker, Lauren Collins and the late great Margot Kidder. It was a special experience…It was like sharing a giant cup of coffee with the audience, chatting about clothing and memory with dynamic women who felt like close friends. I wanted to re-create that feeling. And I think I have with the talent I’ve chosen for Peterborough. Dynamo’s all “ What a cast that has been assembled for the upcoming Market Hall production: Jenni Burke, Maria del Mar, Jane Luk, Kinley Mochrie and Megan Murphy. Will men also find ‘Love, Loss and What I Wore’ interesting: “Men can relate to stories about their mothers and what they wore, to school crushes, wedding days, Messy divorces, and the loss of people we love. I think those themes go well beyond gender.” The fact the play will be performed over Mother’s Day weekend was another deciding factor in staging the production at this time. Linda guarantees that everyone who sees this show will think about their lives and about pieces of clothing that have meaning. And because it’s Mother’s Day weekend, Linda hopes we will take a moment to think about ‘her.’ What’s next for Linda after the staged reading? She boldly states she’s back on the hamster wheel these days happily auditioning for film and TV. She and her brother Daniel will be doing a play together next year, which is thrilling. She’s also running a couple of camps in the summer through her school. Linda also created a pilot for a pre-school children’s show produced in Peterborough. She’s looking for interest to develop it further and considers it all a great adventure. Best of all… Linda’s counting the days before she meets her first grandchild. She has been invited to the delivery room for the arrival. That’s wonderful news. Kash’s sense of humour was still present when she wrote: “I sure hope I don’t forget my lines.” New Stages Peterborough presents Nora and Delia Ephron’s ‘Love, Loss and What I Wore’ on May 11 at 7 pm and May 12 at 2 pm at Peterborough’s Market Hall, 140 Charlotte Street. For tickets to the show and to learn more about New Stages, visit newstages.ca. To purchase tickets over the phone, call the Market Hall Box Office at (705) 775-1503. Previous Next

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

A talk with a professional artist about their career. Back Trudee Romanek Canadian Chat Laura Joy Photography Joe Szekeres I had the opportunity to meet Trudee just this past fall in Port Perry at a reading of one of her plays staged by Port Perry’s Theatre on the Ridge. She is an emerging playwright and award-winning author. In June, her WWII drama Bright Daybreak was presented at Stage One Lunchbox Theatre’s virtual festival of New Canadian Works in Calgary, and she is a co-creator of this summer’s Ghost Watchers: An Augmented Reality Theatrical Adventure for Theatre by the Bay in Barrie. Her one-act youth musical The Tales of Andergrimm was just produced for a third time by the Kempenfelt Players, now as an outdoor, filmed production and, in July, she worked with young actors at Theatre on the Ridge to create the one-act comedy Half Baked. Another comedy, “I” on the Prize, was selected for Theatre on the Ridge (TOTR)’s Snapshots Festival in October, where it received special recognition. Trudee also co-hosts ‘Stage Whispers’, a podcast about theatre in Central Ontario. We conducted our interview via email. Thank you so much for your time, Trudee. I do hope to see more of your work in the future: Since we’ve just celebrated Thanksgiving, tell me about some of the teachers and mentors in your life for whom you are thankful and who brought you to this point in your life as a performing artist. The first person who comes to mind is a high school teacher, Nancy Walsh, in my hometown of Barrie, Ontario. She taught English (before our school had a course for drama), but I didn’t actually have her as a teacher. She was the supervisor or faculty advisor or whatever of the drama club, and she pulled a group of us together every year to prepare something for the Sears Drama Festival. She introduced me to what theatre performance was. She also made performing fun but still focused, and she was the first person to believe in my abilities and encourage me. Nancy is a friend now and I’m so lucky that she is interested in my writing and has attended performances and readings of my work. I’m very thankful for her! I’m also very blessed that, for a community of its size, Barrie has a large number of high-caliber theatre workers. Arkady Spivak at Talk is Free Theatre is a constant inspiration, and I’ve learned so much from actor/director Scott Hurst, as well as Iain Moggach at Theatre by the Bay and, before him, Alex Dault. Carey Nicholson, artistic director at Theatre on the Ridge, is a more recent addition. And then there are others such as Leah Holder, Candy Pryce, Renée Cingolani, Edwina Douglas, Christina Luck — it’s a list that grows larger with each passing day, it seems. Every one of them has contributed to who I am at this moment. I’m trying to think positively that we have, fingers crossed, moved forward in our dealing with Covid. How have you been able to move forward from these last 18 eighteen months on a personal level? How have you been changed or transformed on a personal level? First, I’ve been very fortunate throughout this pandemic and I’m so grateful for that. I’ve continued to work, as has the rest of my family, and no one in my inner circle became ill from COVID. There have been challenges, but so many others have been much more severely impacted. Back in about 2018, before the pandemic began, I realized how ignorant I was and still am to a large degree of Indigenous history in this country. So, during the “great pause” at the beginning of the pandemic, I made a more concerted effort to learn the things I should have been asking questions about for many years. I took some online courses, listened to lots of podcasts, started reading more works by Indigenous writers, joined our local Friendship Centre and started attending or supporting their activities and others in our area. I joined Theatre Passe Muraille’s collective action to read the executive summary of the Truth and Reconciliation report (we’re about halfway through so far). As a non-Indigenous person whose family has been on this land for 200 years, I still have lots to learn, especially about my own ancestors’ roles in the oppression of First Nations people, but I’m trying, and I’ve made a commitment to keep learning. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? It’s been a wild time, but an incredible one for me, professionally. COVID offered a couple of important things: time and geographic opportunity. Via Zoom, I had access to instructors, experts, and other theatre professionals across the country and even beyond it that I hadn’t had beforehand. I sat in on play readings happening in other time zones, and I attended workshops and lectures given by theatre professionals I’ve never connected with before. I was able to work with a cultural consultant in B.C. (Thank you, Abraham Asto!) Would I have thought of connecting with him on Zoom before the pandemic made it such a ubiquitous tool? I’m not sure. I discovered that getting my butt in the chair and writing actually took my mind off the world’s uncertainty and eased my anxiety, so I wrote a lot. In these 18 months I think I’ve written, maybe, six short plays? And rewritten a young adult novel. So, all that writing meant I made a lot of progress toward my goal of being an emerging playwright. For example, I had my first, second, and third workshops and play readings by professional companies. Hand in hand with that was the fact that two local theatre friends and I created a podcast called Stage Whispers. Originally, it was conceived as a way to help people share news of upcoming performances, which back in May and June of 2020, we naively thought might start up again in the fall. Then as we planned and as the pandemic stretched on, we realized that we could instead share with theatre companies exactly what was happening with other companies, how they were coping, and what the future looked like. Since we launched in August of 2020, we’ve released more than 20 episodes and, in the process, I sort of serendipitously networked with many theatre professionals, some of whom, like Carey Nicholson, have ended up helping me further my writing career. Yeah, the pandemic has been very good to me, and I know I’m extremely privileged to be able to say that. In your opinion, do you see the global landscape of the professional Canadian live theatre scene changing at all as a result of these last 18 months? I do see it changing. I feel very optimistic about the shifts that have happened in awareness of marginalized voices and under-represented artists. In many ways I see this as a reckoning that cannot be swept aside. Our industry needs to start taking better care of who gets to share what. We’re already seeing people make space for others and I sincerely hope that that continues. There is so much for us all to learn! Why should we be stuck looking at everything through the same lens we’ve always used? What’s interesting about that? I also think there has been just a ton of creative thinking on the part of companies and artists to find some way, ANY way, to present art in the midst of this, and I don’t think that’s all going to go away once we’re fully back in the traditional theatre buildings. Love it or hate it, Zoom meant that people who felt under the weather could still see a show, audience members who lived a province or two away, or on the other side of the world, could watch the virtual performance. Personally, I held my own private online reading of one of my plays that called for a middle eastern male cast member. So, a young Lebanese actor I know actually took part in the virtual reading — from Lebanon! (Thank you, Maher Sinno!) What excites/intrigues/fascinates/interests you post Covid? I am SO looking forward to hearing and watching more Black stories, more Indigenous stories, more stories from those who are gender fluid or differently abled — like Sandra Caldwell’s Stealth, and Ziigwen Mixemong’s Mno Bmaadiziwin. I’m excited about the many amazing stories that are out there just waiting to be shared with the world. I’m also excited by all of the hybrid forms of art that we’re seeing! In August I got to see (and hear) Blindness in Toronto and I’ve got December tickets to Soulpepper’s virtual reality show Draw Me Close. In the new year I’m off to see Talk is Free Theatre’s immersive dance show A Grimm Night. Of course, I’m thrilled at all of the traditional stagings that are opening up, as well, but these others make the playwright in me think outside the box more than I might otherwise do. What disappoints/unnerves/upsets you post Covid? I find myself very distressed about the enormous chasms that have opened up or grown wider between people over issues like race, mask-wearing, vaccination, politics, the economy. So many people right now seem to be struggling to talk to anyone who has a different viewpoint. I guess I’ve always hoped that the human race was getting wiser and more compassionate. As nerdy, or maybe Pollyanna, as it sounds, I think of Star Trek society as a sort of a fictional ideal goal for real-life humankind. Sure, some of them fight and they’ve got certain problems, but there’s generally a fair bit of mutual respect and a will to provide for those who can’t provide for themselves. And I feel as though this trial we’ve faced has, over the long term, forced us apart instead of drawing us together. That’s a very disheartening thing, and it eats away at me. Where does Trudee, the artist, see herself going next? Hmm... Well, my challenge in this current world is to find a way to be creative while amplifying voices other than my own. As a female, I do have a somewhat marginalized viewpoint to share, because we’re still struggling to achieve gender parity in the theatre industry, but I’m extremely aware that there are voices far more marginalized than my own. So, is there a way for me to support those voices being heard, in my role as an emerging playwright? That’s what I’m exploring now. Where does Trudee, the person, see herself going next? Oh, that’s always a good question! I have elderly parents and also kids still at home, so weeks ago I decided I wouldn’t be doing any more community theatre until some of those responsibilities shifted, that I’d stick to writing for now. But then last week auditions for an exciting straight play were announced, with a director I know and like to work with, and I threw my hat in the ring for a part! So, I’m a bit all over the map. What I do know is that I will keep expanding my horizons and learning about cultural groups other than my own, because I just don’t see any of us moving forward without doing so together, and that requires us to have better understanding of the other folks who share this planet with us. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I give credit to the late James Lipton and ‘Inside the Actors’ Studio’ for this questioning format: If you could say one thing to one of your mentors or favourite teachers who encouraged you to get to this point as an artist, what would it be? Thank you for making me accountable, for making certain I fully committed to what I began. If you could say something to any of the naysayers in your career who didn’t think you would make it as an artist, what would that be? Never dissuade a person from trying something, because they will learn from every experience. What’s your favourite swear word? There’s something about an F-bomb — maybe the fricative “f” and the finality of the “k” — that somehow completely expresses the frustration of the moment. What is a word you love to hear yourself say? “Serendipity” because, for me, the lilt of it perfectly matches its meaning. (See how I snuck it into my one of my earlier responses, ha ha!) What is a word you don’t like to hear yourself say? To be honest, I don’t like to say my own first name! I always seem to turn the “Tr” combination into something more like a “Ch” sound. Other people say it better than I do. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? Believe in yourself. Don’t be afraid to ask questions and put yourself forward. With the professional life experience you’ve gained over the years, what would you now tell the upcoming Trudee from years ago who was just in the throes of beginning a career as a performing artist? View your many unsuccessful attempts as progress, or steps in the journey, rather than failures. What is one thing you still wish to accomplish both personally and professionally? I told myself I’ll bring two of my three passion projects to fruition by my sixtieth birthday, which means I have about 18 months to get one play professionally staged and my second young adult novel published. Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. The moment I wrote the final scene of my first young adult novel, and realized it was the final scene, I was filled with such an incredible excitement and sense of accomplishment I was literally trembling. It felt fantastic. Would Trudee do it all again if given the same opportunities? I often think that if I could do it all again I’d do it faster, on a more direct route, but I am who I am, and I’m not sure I’d be willing to give up any parts of the fun ride I’ve had so far. To connect with Trudee online, visit her website: trudeeromanek.com. You can also follow her on her professional Facebook page: @trudee.romanek.author AND on Twitter: @RomanekTrudee Previous Next

A deconstruction of an individual's story. Back 'Age is a Feeling' written and performed by Haley McGee Now onstage in the Michael Young Theatre at the Young Centre for the Performing Arts in the Distillery District Dahlia Katz Joe Szekeres ‘Haley McGee tells her story with grace, dignity, and wit. ‘Age’ is the perfect play to begin the summer season at Soulpepper.” Playwright and performer Haley McGee did not introduce the subject content of ‘Age is a Feeling’ in her programme note. She and her late friend Adam Brace (the original director and dramaturg of ‘Age’) made a good choice not to do that. They both agreed that the play should speak for itself. This North American premiere of ‘Age is a Feeling’ does that, at least for me. According to the programme, ‘Age’ has made waves at the Edinburgh Fringe, garnering an Olivier nomination, a Fringe First Award, and two sold-out runs at London, England’s Soho Theatre. I just trusted Haley, in her charming and calm manner, to tell the story of her life beginning on her 25th birthday and moving forward from that point on. The play centres around one’s mortality. That’s the emotional appeal of this opening-night production. It's a hard reality, but whether that triggers some does not stop the fact that death comes for us all, as Thomas More tells his daughter in ‘A Man for All Seasons’ before he was beheaded. Each performance of ‘Age’ is unique on each particular day. No two performances will ever be the same. Thanks to Mitchell Cushman's astute, sensitive, and in-tune direction, ‘Age Is a Feeling’ does not feel or become preachy. Haley did not engage in histrionics. She rarely moves as she makes us move closer and listen; if she does move, there’s a purpose and reason behind it. ‘Age’ celebrates life through laughter, tears, toil, stress, grind, family struggles, divorce, friendships, passion, children, and, most importantly, love. The reference to a white pubic hair sent the audience into gales of laughter. Periodically, her dry wit and sense of humour instill a sense of calm in a heightened dramatic moment. Near the end of the play, a blasted cell phone ring went off from the audience. McGee didn’t allow that moment to faze her. Instead, she collectedly turned the moment back on the audience member. The tone in Haley’s voice said it all. Even though she appeared unfazed, I thought Haley was not pleased that a particular audience member did not silence her phone even after reminders. Sigh!!!! Digression over. But why does this celebration of life begin with the 25th birthday? Well, that’s the age when the adult human brain becomes fully developed. Each of us will deal with his/her mortality in their manner and time. Hopefully, by the age of 25, individuals can and should recognize this precious gift of life each of us has been given and how quickly time can take this gift away. What we do with that gift of life in time becomes the show's focus. That’s a Christian theme; one slight quibble - a couple of times, Haley elevates earthly things and places them above God. That’s not what the Christian believes. Zoë Hurwitz’s set design includes a lifeguard chair one would find on a beach centre stage. The chair is encircled by twelve floral tall, stemmed topiaries. On each floral arrangement are individual words such as DOG, FLOWERS etc. Haley takes certain words, moves to the stage’s apron and asks an audience member to pick two words. These are the words from which she will begin to tell a story from her life at a particular age. Some words will not be used at that performance, but that does not mean they will not be used in future shows. At the top of the show, Haley sits on the chair and appears to peer out over the audience, looking at something. She says nothing for a few minutes but just watches. There’s dirt on her Capri pants. She wears a white top. Her hair looks windblown. She’s barefoot. But she’s wise, oh, so wise, for what she has experienced and felt at the various ages in her life. McGee delivers a bravura performance of skill, intensity, and silence, all perfectly timed for maximum emotional impact. And Another Thought: Given the recent death of my mother two weeks ago and her mass of Christian burial, ‘Age Is a Feeling’ quietly re-emphasized once again to me how precious the gift of life truly is for all of us. Thank you, Haley, Mitchell, and Soulpepper, for that joyful reminder to celebrate what life can, does and will continue to give to us. Running time: approximately 75 minutes with no intermission. ‘Age is a Feeling’ runs until June 23 in the Michael Young Theatre in the Young Centre for the Performing Arts, 50 Tank House Lane, Toronto’s Distillery District. For tickets, soulpepper.ca or call (416) 866-8666. SOULPEPPER PRESENTS THE SOHO THEATRE AND HALEY MCGEE PRODUCTION IN ASSOCIATION WITH LUMINATO FESTIVAL, TORONTO ‘Age Is a Feeling’ written and performed by Haley McGee Director: Mitchell Cushman Original direction and Dramaturgy: Adam Brace Scenic Designer: Zoë Hurwitz Lighting Designer: Daniel Carter-Brennan Sound Designer: Robert Moutrey Stage Manager: Meghan Speakman Producer: Derrick Chua Previous Next BACK TO TOP

Where music, song and dance all contribute to an enjoyable plot on stage Back 'The Wild Rovers' Now onstage until November 5 at Toronto's Winter Garden Theatre, 189 Yonge Street Credit: Ritche Perez. Pictured: Members of The Wild Rovers' Ensemble Joe Szekeres "It’s not a total train wreck of an opening night. The terrific-sounding harmonies in some songs, the fantastic band led by conductor Kelly-Ann Evans, and some clever drama school staging make up for the insipidly silly plot." Like all kids who grew up in the sixties and seventies, I remember ‘The Irish Rovers’ on CBC television. The only song I remember was ‘The Unicorn.’ Fast forward to The University of Western Ontario in the late 70s/early 80s, and ‘Wasn’t That a Party’ was the anthem for most first and second-year undergraduates. Feeling nostalgic, I took to heart Executive Producer Bob Hallett’s programme note. ‘The Wild Rovers’ would not focus on the actual band members or their lives but instead capture their larger-than-life magic, incredible charm, and easy humour. Canadian East Coasters have this gregarious, ‘joie-de-vivre’ nature when they gather and sing at kitchen parties or pubs. Granted, the beer and wine must also help. I discovered that when I visited Newfoundland a few years ago. We Ontarians don’t seem to espouse this joy of life as the East Coasters. And as for the opening night of ‘The Wild Rovers’… “Well”, (as Samantha Stephens used to say on ‘Bewitched’). Younger readers may have to Google her. Readers my age and older will hopefully get the reference. Outside of the terrific-sounding harmonies, the fantastic band led by conductor Kelly-Ann Evans, and a couple of clever drama school staging techniques, this ‘meh’ jukebox musical didn’t capture more of the charm and spirit for me as I had hoped. Steve Cochrane’s book becomes confusingly silly, and I soon lose interest in the plot. But I push through. In the opening, we meet pseudo-story narrator Maggie (Sean Panting). A bit of a groaner as to why he’s called Maggie, and I won’t spoil it here. The story begins waaayyyy back in 19 89 (c’mon, now you’re starting to grate on my suspension of disbelief). We then meet ‘The Wild Rovers’ – Billy (Steve Maloney), Jordy (Philip Goodridge), Josephine (Julia Dunne) and the bus driver, Sheila (Vicki Harnett). The band is on its way to Grand Falls, Newfoundland, when they oddly encounter Maggie and somehow enter a portal and are whisked away to a magical world called Athunia, not to be mixed up with their sworn enemies, Ethunia (and yes, the two terms are pronounced similarly). “Uh oh!” (another ‘Bewitched’ reference from Samantha Stephens. Google it if you must). This ‘madcap’ plot challenge tests my suspension of disbelief even more. I’m trying to remain focused, but I’m losing interest. Quickly. Somehow, amid all this transport back in time, we meet those who live in Athunia/Euthania. Since the pronunciation sounds similar, I couldn’t tell where they were from. Princess Hiya (Melanie O’Brien) will soon marry Prince Farid (Powell Nobert). After this, I lost interest in this ‘magical story’ and no longer cared about these characters. But onward, I tried to decipher as best I could. Somehow, a magical egg is found (?), and courtier Roguish Rick Castley (Liam Lynch) will help find this egg. And then there’s a reference to a dragon that didn’t interest me. God, I don’t care about the book’s plot anymore. Is there something that can save this opening night for me? Do I need a beer or a glass of wine to keep me going? Some of the musical numbers save the show from being a train wreck. The actors are pouring their hearts out in song, and now it becomes ‘magical’ for me to listen to them sing. The opening number: ‘The Orange and the Green’ is lovely. Other highlights: ‘Donald, Where’s Your Troosers?’, ‘Drunken Sailor’, ‘The Unicorn’ and ‘Black Velvet Band.’ At one point, artist Liam Lynch demonstrated an impressive falsetto range. Director Jason Byrne has staged some clever drama school techniques that nicely worked for me. The use of cardboard to show the band travelling via bus is clever. When the plot switches to a ship at sea, some of the cast move a board with a sailboat on it up and down to indicate the waves in the water. Again, drama school technique, but it works here. Final Comments: I had seen the production of ‘Let’s Dance the Musical’ staged by Terra Bruce. It was another jukebox musical, but I enjoyed that one because I could look past some of the flaws in the book. After all, the singing and the choreography on that opening night did make for good theatre for me. The terrific songs and harmonies and the onstage band in ‘The Wild Rovers’ are splendid. I wish more were going for the production in the insipidly silly plot. Running time: approximately one hour and 40 minutes with no intermission. The production runs until November 5 at The Winter Garden Theatre, 189 Yonge Street, Toronto. For tickets, call (416) 314-2901 or visit ticketmaster.com or terrabruce.com to learn more about the company. Walter Schroeder and Terra Bruce Productions present ‘The Wild Rovers’ Book by Steve Cochrane, Inspired by the Music and Magic of The Irish Rovers Book Writer: Steve Cochrane Director: Jason Byrne Musical Directors/Arrangers, Additional Music: Kelly-Ann Evans and Josh Ward Production Design: Graham McMonagle Lighting Design: Leigh-Ann Vardy Sound Design: Don Ellis Puppet Direction & Design: Baptiste Neis Performers: Julia Dunne, Philip Goodridge, Vicki Harnett, Liam Lynch, Steve Maloney, Powell Nobert, Melanie O’Brien, Sean Panting, Nicole Underhay Band: Alex Abbott, Sultan Dharamshi, Keith Doiron, Kelly-Ann Evans, Grant King, Paul Kinsman, Dan Smith, Josh Ward Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back & Juliet Broadway Bound production now onstage at Toronto's Princess of Wales Matthew Murphy Joe Szekeres An imaginative and unique new idea about a ‘What-if’ situation involving two of Shakespeare’s star-crossed lovers (Updated July 11 for correction of information) In exiting the Princess of Wales Theatre after seeing an extraordinary ‘& Juliet’, I turned to Marg, my high school friend who accompanied me, and called out to her the Food Basics catchphrase we all know: WOWZA! There’s flashy pizzazz, lots of glitter, and raucous spectacle which add to the heaping mound of the excitement of this first-class experience of sight and sound in this behemoth of a play within a play musical, but I stripped away all of that to see if there is a story underneath. Is there a story, a good one at that? Absolutely!!! ‘& Juliet’ becomes a rollicking, boisterous, uniquely clever panoply of incredible music set against the backdrop of envisioning Juliet did not die at the end of Shakespeare’s most famous tragedy. Instead, we are led through Verona and on to Paris, France, where the young heroine begins her life again first under her parents’ (terrific work of understated proportion by Nicholas Edwards and Veronica Otim) tyrannical rule. That all changes as the story progresses. ‘& Juliet’ is a stunning twenty-first-century imaginative coming-of-age tale where the central character begins to accept life on her own terms and become her own person. Lorna Courtney is marvelous. Her majestic vocal pipes nearly blew the roof off the theatre. I’m trying not to spoil too much as future audiences must experience this hell of a ride themselves. But here goes: We are introduced to Shakespeare (a dashing Stark Sands) who wonders whether the ending to ‘R & J’ needs to be re-written. Enter his wife, Anne Hathaway (a bold and sassy Betsy Wolfe) who got a babysitter for their two children while she and her husband engage in the re-writing of the text. And the task to create is underway. The plot details go back and forth in time where we meet Romeo (Ben Jackson Walker) who laughingly at one point referred to himself as a tight, six-pack muscular guy who really isn’t the man we initially thought he was. We also meet Juliet’s Nurse (an audacious and plucky performance by Melanie LaBarrie) who continues as her lady’s beloved confidante while showcasing and revealing her true innermost thoughts and feelings to the events around her as they all move forward into the next chapter. Amid this back and forth in time, we meet other characters who become linked with Juliet in her new life: Francois (Philippe Arroyo) a suave debonair gentleman who is set to marry Juliet so that she can begin her life again. Francois’s wise father Lance (Paulo Szot) wants what’s best for his son while harbouring a past that made me laugh out loud once we know what occurred. Juliet’s gender-fluid friend May (Justin David Sullivan) becomes an important modern element of this modern take on the love story and what this emotion truly means for an audience. Can’t forget the superlatively energetic Company of Players. What struck me so keenly at first was the diversity of individuals of various heights and sizes. This lively energetic and spirited troupe attacked Jennifer Weber’s to die-for choreography with focused strength and supple agility. I haven’t seen break dance movements like this in a very long time. I’m not that huge a fan of rap. Nevertheless, when you take these tunes and score them to incorporate break dance, all I can say is: “Hot damn, clear the floor and let these people strut their stuff” which they do with confident aplomb. About halfway through the first act, one thing struck me about this Broadway-bound production. It is staged productions like ‘& Juliet’ that will bring young people into the theatre and get them loving the art form so much they will want to learn more. As a retired teacher of English who had taught ‘Romeo & Juliet’ for many years, I would highly recommend teachers to bring classes to see the production after having finished and studied the play. Students will not get many of the ‘in jokes’ throughout until they understand the context in which these one-liners and zingers are delivered. Scenic designer Soutra Gilmour’s visual look remains stylistically impressive. Upon entering the auditorium during the preshow, the larger-than-life logo is centre staged. Andrzej Goulding’s visual projections on the back wall and side walls contain those earth-coloured tones reminiscent of the Elizabethan era. Goulding then effectively incorporates multi-coloured tones for many of the choral/company numbers. Pay close attention in the second act to ‘The Bois Band’ (you’ll get the joke when you see the show). Slightly angled stage right is a jukebox with the letter E propped against it. The visual impact of the jukebox at the conclusion of the show remains in my mind. What appears to be an architect’s workstation desktop can be found stage right with the letter O propped against it. Around the stage are other letters you can probably guess that will spell someone’s name from the show. Paloma Young’s Costume Designs reminded me of a cross between a punk/steampunk clothing style which looked great. Howard Hudson and Gareth Owens Lighting and Sound Designs vividly encapsulate crowd scenes or heart-to-heart conversations between two people. I gotta hand it to Bill Sherman as Music Supervisor, Orchestrations and Arrangements. Hearing all these Max Martin tunes blew me away and left me speechless. During many of the company numbers, many around me were waving their arms in the air as if we were all attending a concert. It all seemed natural and convincing in the way the songs were introduced in the story. Advice to future audiences: just sit back, watch, listen, hear, and enjoy. Finally, Luke Sheppard’s inspired direction remained intently focused on two elements he successfully accomplished: to tell a good story and to make sure audiences had a good time. Sheppard more than succeeded. He lovingly gave back to an adoring Covid weary theatre crowd who just wanted to have one hell of a good time. I know I did. Running time: approximately 2 hours and 30 minutes. ‘& Juliet’ runs to August 14 at Toronto’s Princess of Wales Theatre, 300 King Street West. For tickets, visit mirvish.com or call 1-800-461-3333 & JULIET Music and Lyrics by Max Martin and Friends. Book by David West Read Directed by Luke Sheppard Music Supervisor, Orchestrations & Arrangements: Bill Sherman Cast: Lorna Courtney, Paulo Szot, Betsy Wolfe, Stark Sands, Justin David Sullivan, Melanie LaBarrie, Ben Jackson Walker, Philippe Arroyo, Brandon Antonio, Michael Ivan Carrier, Nico DeJesus, Nicholas Edwards, Virgil Gadson, Katy Geraghty, Bobby “Pocket” Horner, Joomin Hwang, Alaina Vi Maderal, Daniel J. Maldonado, Joe Moeller, Brittany Nicholas, Veronice Otim, Jasmine Rafael, Matt Raffy, Tiernan Tunnicliffe, Rachel Webb. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Casey and Diana' by Nick Green Now onstage at the Studio Theatre at the Stratford Festival Cylla von Tiedemann. Krystin Pellerin and Sean Arbuckle Joe Szekeres VOICE CHOICE 'Casey and Diana' serves as a masterclass in acting from start to finish. It is a powerful, inspiring, emotional, and hopeful experience. Toronto’s Casey House opened in 1988 and was one of the first hospices in the world to provide palliative care and support for people living with HIV/AIDS. In October 1991, the late Diana, Princess of Wales, visited the hospice. Her historic visit helped to change public attitudes toward people living with HIV/AIDS. The late Princess was photographed shaking and holding hands with one of the residents. The picture went viral in newspapers worldwide putting a recognizable human face of care and compassion against the anxiety and homophobia at that time. Playwright Nick Green’s world premiere of ‘Casey and Diana’ dramatizes the Princess’s (Krystin Pellerin) visit. The play opens that morning. Excitement builds as the residents and the caretakers realize how significant this moment truly is, especially Thomas (Sean Arbuckle) who is fascinated with the British royal family. He remembers everything about Diana’s wedding to the then Prince Charles. ‘Casey and Diana’ also incorporates flashbacks where Thomas meets his new roommate André (Davinder Malhi). We also meet hospice nurse Vera (Sophia Walker) and volunteer Marjorie (Linda Kash). Thomas’s sister, Pauline (Laura Condlln), also becomes an important individual in the story. The hospice room designed by Joshua Quinlan for Thomas and André is spacious. The stained-glass artwork reminded me of the pieces found at Casey House from pictures I've seen. The lighting design by Louise Guinand expertly captured the emotional highlights of the production, including a visually stunning moment where several characters were individually spotlighted. Debashis Sinha’s work as Composer and Sound Designer is noteworthy. The selection of the choral singing of "I Am Who I Am" from "La Cage Aux Folles," heightens the drama and adds to the overall beauty of the performance. Andrew Kushnir's gentle direction of Nick Green's extraordinary script exudes unparalleled human compassion towards the subject matter. This exceptional production evokes an important message from Anne Frank's diary: "In spite of everything, I still believe people are good at heart." Despite the fear and homophobia at that time, the goodness radiating from each of the characters' hearts left many in tears around me. The entire production remains an acting masterclass from beginning to end. Sean Arbuckle's Thomas is a unique blend of a grumpy old man and a stylishly sassy individual, as evidenced by his sarcastic humour and clever banter. His references to the popular TV show 'The Golden Girls' and the film 'Steel Magnolias' are strategically placed for comic relief and hit home with their poignant message. As Thomas’s often petty and bitchy sister, Pauline, Laura Condlln meanness remains palpably cruel. Davinder Malhi’s André exhibits a palpable sense of unease regarding his stay at Casey House, as well as the challenging circumstances in store for him. Nevertheless, André displays a mischievous wit that elicits laughter from the audience during a well-timed "gotcha" moment with Thomas. Krystin Pellerin emanates the same kind of magnanimity that Princess Diana was known for. At the beginning of the play, Pellerin conveys immense warmth and kindness towards Arbuckle when she first meets him. That iconic handholding between Thomas and the Princess is truly breathtaking as there is a great deal conveyed in that silent moment. 'Casey and Diana' is remarkable for its ability to establish a connection with and understand healthcare workers at Casey House who tirelessly provide care despite facing homophobia and stigma related to the HIV/AIDS virus at that time. This message is especially relevant today, given the ongoing effects of the Covid pandemic and the heroic efforts of healthcare workers that deserve appreciation. The play's message is timeless and has a profound impact. Vera, portrayed by Sophia Walker, exudes a professional and efficient demeanour as a nurse who acknowledges the need to maintain emotional distance from the residents' struggles. Despite her composed appearance, Walker effectively conveys Vera's underlying emotional distress when expressing her apprehension about confronting individuals like Thomas's sister, Pauline, who can be cruel. Meanwhile, Linda Kash delivers a convincing portrayal of the at-times bubbly and chipper Marjorie who has suffered the loss of numerous friends to AIDS/HIV. Despite this, Marjorie remains optimistic and resilient, recognizing the importance of moving forward amidst the turmoil both inside and outside of Casey House. Vera and Marjorie allow themselves to grieve their losses at their own pace, but they draw strength from their sense of purpose and their commitment to connecting with the residents and maintaining a hopeful attitude. Despite the challenges, they persevere. It’s not easy, though. There is one rather poignant moment in the second act when Kash's wrenching response tugs at the heartstrings. Final Comments: A tremendously moving story of tears and laughter, ‘Casey and Diana’ will most assuredly become an important part of the Canadian theatre canon. While there is a sense of beautiful finality as the story has concluded, Nick Green’s story will continue to remain within the heart long after the curtain has come down and the audience leaves. A story not to be missed. I hear some performances have been added so check the website as the play closes soon. Running time: approximately two hours and forty minutes with one interval. ‘Casey and Diana’ runs to June 17 at the Studio Theatre, 34 George Street, Stratford. For tickets, visit stratfordfestival.ca or call 1-800-567-1600. ‘CASEY AND DIANA’ by Nick Green World Premiere of a Stratford Festival Commission Director: Andrew Kushnir Designer: Joshua Quinlan Lighting Designer: Louise Guinand Composer and Sound Designer: Debashis Sinha Producer: Dave Auster Stage Manager: Michael Hart Performers: Sean Arbuckle, Laura Condlln, Linda Kash, Davinder Malhi, Krystin Pellerin, Sophia Walker. Previous Next

Where theatre is not only presented on the stage. Back 'In Seven Days' by Jordi Mand. World Premiere of a comedy about death A Co-production with Harold Green Jewish Theatre Company. Now onstage at London's Grand Theatre Credit: Dahlia Katz. Pictured: Mairi Babb and Ron Lea Joe Szekeres ‘A commendable and smart world premiere that tackles life and death issues with grace, wit and dignity.’ Philip Akin shares in his Director’s Programme Note that ‘In Seven Days’ is a play of fine balance between people, between families and the seriousness of life and the laughter of that same life. One of the characters from the play states: “Sometimes things change when they change.” Isn’t that the truth? The valued principle of upholding the preciousness of life has now flipped upside down on its head in playwright Jordi Mand’s story. That sacred gift can now be terminated immediately and efficiently with the consent of any adult individual and supporting medical team. Heavy stuff to consider for a world premiere, whether one approves or disproves of the action. The bottom line is: Does this delicate subject matter make for good theatre? Under Director Philip Akin’s skillful hands, this wonderful ensemble cast tells Mand’s affecting story with grace, wit and dignity. The production never feels rushed in its pacing. Set in present-day London, Ontario, thirty-year-old Rachel (Shaina Silver-Baird), a big-time successful Toronto lawyer, has returned home for Shabbat dinner to see her ill father, Sam (Ron Lea), who lives with his much younger girlfriend and partner Shelley (Mairi Babb). Rachel is very close to her father. Her personal life is in upheaval. She and her DJ boyfriend, Darren (Brendan McMurtry-Howlett), are estranged. He has moved out. Upon her arrival, Rachel brings six bags of poppy seed bagels, which sends Shelley into highly comical paranoia of frenzy because it’s her turn to bring snacks to temple. Very few people at the synagogue don’t care for the poppyseed bagels and prefer sesame seeds. Watching these two ladies bicker over the bagels' differences is a hilarious opening. The story takes a serious turn when Sam enters. His health has deteriorated over the last few years. Sam has been in remission from cancer twice; however, he’s finding it more and more challenging to carry on because he’s in constant pain. He has chosen to die by medically assisted death in seven days. Even his dear friend and Rabbi Eli (Ralph Small) finds it difficult to talk to Sam about his choice. ‘In Seven Days’ confronts the audience with a serious question – do loved ones try to change the minds of those who have chosen to travel this path as Rachel does, or should the wishes of the ailing Sam be honoured? Sean Mulchahy has created an extraordinary set design of the upscale living room in Sam and Shelley’s home, beautifully lit by designer Siobhán Sleath. Mulchahy has also selected appropriate clothing for each character, from Shelley’s designer-looking fashion to Darren’s DJ grunge t-shirt, torn jeans, and sneakers. Lyon Smith’s sound design is perfectly timed for a comical effect with telephones (yes, there is a landline in the kitchen) after Sam announces wanting to end his life. When serious and complicated moments rear their heads (as they often do), it’s vital to maintain as much of a genuinely compassionate perspective as possible. Akin continues to underscore this reminder gently many times throughout the play. At one point, a heated discussion ensues between Rachel and Shelley over her father’s care. One complication arises for Rachel: is Shelley only interested in Sam for what she can gain financially in this common-law relationship? That may sound harsh since personal emotions are running high, but it’s also a fair question for any family member to ask. Mairi Babb handles that moment with class and self-respect as Shelley, and the look on Shaina Silver-Baird’s face as Rachel indicates how genuinely touched she is with the response. Wonderful work. This strong ensemble cast is the reason to see the production. They perform in believable synchronicity, listen to each other genuinely and respond believably. At the end of each scene, Siobhán Sleath places one of the characters in the spotlight, which I found visually appealing. That character has been most affected by events from that scene. Thankfully, Ron Lea does not play Sam as curmudgeonly. Instead, his Sam heartrendingly shows gradual exhaustion in his physical stance on stage, and that’s not easy to do. At the top of the show, he walks with one cane, but as the seven days pass, the character saunters with two canes. Lea’s Sam is gruff and point-blank. He either likes or dislikes a person, as there’s no in-between. Sam likes to call the shot even though he may be wrong periodically. Rachel’s mother died while she and Sam were separated, but they never divorced. For that reason, Sam calls himself a widower. Well, legally speaking, he is. At first, Sam never cared for Rachel’s estranged boyfriend, Darren, because he wasn’t Jewish. That drew a few giggles from people sitting around me, but there’s more behind Sam's feelings about Darren. As Darren, Brendan McMurtry-Howlett is hesitant. He instinctively knows Sam doesn’t care for him because he’s not of the faith. Near the end of the play, that all changes. There is an amusing episode of ‘male bonding’ over a tub of ice cream shared between the two, where each begins to understand and accept the other for who he is. This moment does not become teary-eyed because, realistically, that’s not how men would behave. Instead, Lea and McMurtry-Howlett emanate tremendous respect for each other through their facial expressions. Once again, wonderful work to watch. The religious faith perspective behind this touchy issue is bravely handled in Ralph Small’s Rabbi Eli, one of Sam’s oldest friends since childhood. As a religious leader in the faith, Small’s Eli is kind and sympathetic and genuinely wants what’s best for his friend. However, there is also the humane side. Eli and Sam are old friends. Eli tries hard to listen and accept his friend’s request, but it’s tough. Again, a top-notch stage moment of respectful male conversation between Small and Lea is strongly shown. The two keep their emotions in check as men do. However, I noticed Small possibly wiping a tear from his eye. Smartly handled if so because the reference is felt without emotional overkill. There’s strength and resilience behind the two important women in Sam’s life. Shaina Silver-Baird’s Rachel loves her father dearly and only wants the best for him. She’s a fighter and wants Sam to ‘Rage, rage against the dying of the light’ as poet Dylan Thomas once wrote. Mairi Babb’s Shelley is every bit of a fighter who indeed reveals her strength, resilience and love for Sam. Babb’s Shelley is not a pushover, nevertheless. As mentioned earlier, that moment between the two women over the insinuation of a gold-digger becomes pure stage magic. And Another Thought: I always believed the Hippocratic Oath by medical professionals is to prevent disease whenever possible with obligations to all human beings, those of sound mind and body, and the infirm. ‘In Seven Days’ alters this thinking. The subject material of medically assisted death charters into a world of more unknowns post-pandemic. This is good theatre. If you get a chance to attend a talkback following the performance, I hope you walk away further enlightened about an issue in our country that will continue to pose challenges no matter what we may think. Running time: approximately one hour and 45 minutes with no interval. ‘In Seven Days’ runs until March 2 on the Spriet Stage at The Grand Theatre, 471 Richmond Street, London. For tickets, grandtheatre.com or call the Box Office at (519) 672-8800. IN SEVEN DAYS by Jordi Mand. The World Premiere A Co-Production with Harold Green Jewish Theatre Company Directed by Philip Akin Set & Costume Design: Sean Mulchahy Lighting Design: Siobhán Sleath Sound Design: Lyon Smith Religious Consultant: Rabbi Debra Dressler Stage Manager: Suzanne McArthur Performers: Mairi Babb, Ron Lea, Brendan McMurtry-Howlett, Shaina Silver-Baird, Ralph Small Previous Next

A talk with a professional artist about their career. Back Eric Woolfe "I find theatre artists are often really conservative in their imagination...We’re reluctant as theatre artists to engage the imagination of our audiences" Dahlia Katz Joe Szekeres Artistic Director Eric Woolfe of Eldritch Theatre thinks of himself as a guy who works in show business. He tries not to refer to himself as an artist. Born into the performing arts profession, Eric grew up in London, Ontario, and worked at the Grand Theatre. His first professional job at ten was in the Grand’s production of ‘A Christmas Carol,’ given to him by Director Bernard Hopkins in 1982. Actor Barry Morse appeared as Scrooge as did London Ontario actor Tom McCamus as Bob Cratchit. By age fifteen, Eric took semesters off school and worked across the country for the last forty-some years. Eldritch bills itself as Toronto’s only theatre company specializing in ghoulishly giddy tales of horror and the uncanny. During our Zoom call, Eric enlightened me further, saying ‘Eldritch’ is an old archaic word that means ‘strange and eerie.’ It became a bit of a joke that the name Eldritch was used as the title of the theatre company: “Our first show was for the Summerworks Festival almost 25 years ago. It was called ‘The Strange & Eerie Memoirs of Billy Wuthergloom.” We were running overtime by about a half hour for the time limit the Festival gave us, so I came in with a hacked piece of the version of the script which fit in the time. Just as a joke for the director, I crossed out the title and wrote ‘Billy’s Eldritch Diary’ to shorten it, and we thought, why not call the company The Eldritch Theatre?” Eldritch Theatre operates from Toronto’s Queen Street East’s Red Sandcastle Theatre. They were two separate entities until they married when Eldritch took over the space in December 2021. The art form of puppetry remains an important part of Eldritch Theatre. The first show performed by Eldritch was a one-person show. Rod Beattie travelled with the Wingfield plays nationwide. Eric thought if he did a one-person show, he would play all the different characters while Rod did his own show. Woolfe compared it to writing symphonies in Vienna in the time of Beethoven. Eldritch puppets are both strangely grotesque yet beautifully alluring simultaneously. That’s the trump suit for Eric. Yes, puppetry is an art form, but he quickly discovered that it exists in the audience's mind. In turn, it is the audience that creates the performance: “A puppet is an inanimate object being wiggled by someone. It doesn’t have sentience. It doesn’t move on its own and we know it … Nobody is fooled, but the audience creates the existence of that puppet character in your mind when you’re watching it...we imbue that inanimate thing with life.” Woolfe’s extensive knowledge of puppetry kept me on his every word. Since the supernatural and horror plays into Eldritch’s season, using a puppet can connect further with an audience, more so than, say, a character in a costume. Eric spoke about an earlier play from Eldritch about Jack the Ripper. The first scene was a dream sequence of one of the last victims who was having a nightmare about Alice in Wonderland and a giant, 15-foot-tall caterpillar puppet. That puppet could be funny one moment, threatening, sexual, aggressive, angry, weird, and jump from these different tones and from word to word and line to line because he was a puppet. If that exact text were done with an actor in a giant caterpillar costume, the only thing that caterpillar could be would be vaguely stupid. There’s no same ability to stretch tone and get under people’s skin when using human beings. Often puppetry and magic go together at Eldritch: “Magic is an opposite art form of puppetry…if it’s a puppetry performance, we are complicit to suspend disbelief to make that puppet come to life because wonder has been created. If it’s a magic trick, it works when the audience resists suspending their disbelief and has no other ability to explain what has just been seen.” The last three years for the theatre industry have been challenging for commercial theatre. Eric refers to himself as ‘the angry outsider.’ He despairs and feels terrible for those theatre companies that find it challenging. Woolfe doesn’t find many things terrible right now in the larger sense regarding the industry for Eldritch. Everything has been pretty good. Eldritch shows are selling well at Red Sandcastle. The audience demographics for Eldritch are not all dying or people in their 80s. Eldritch audiences are leaving their houses and coming to see shows. People come because they feel the Sandcastle Auditorium is not a COVID trap. His upcoming show at Eldritch is ‘Macbeth: A Tale Told by An Idiot.’ Directed by Dylan Trowbridge and coinciding with the 400th anniversary of the play’s premiere, show dates run from February 8 – 24 inclusive; Eric told me that Dylan has been pushing for a few years now that Eldritch should present a Shakespearean play. Woolfe calls this ‘Macbeth’ a one-person, surreal, classic comic telling of the Bard’s classic with puppets and magic. He’s terrified about the upcoming production because it’s a lot. He plays every single character. Here’s what he had to say about the state of the theatre: “The real truth is I don’t like a lot of theatre. I find theatre artists are often really conservative in their imagination. I think in Canada, there are way too many plays set in kitchens and way too many stories about a broken family getting together at their father’s funeral. We’re reluctant as theatre artists to engage the imagination of our audiences…People interested in conservative theatre from years ago are not coming out anymore.” Woolfe even believes that when tackling the classics, often, when theatre companies present Shakespeare, what they’re really presenting is a kind of museum piece where it isn’t even really the play they’re doing. It’s a comment on other performances of another production of another play. For example, Eric said there have been pieces from ‘Hamlet’ handed down from generation to generation. Assumptions have been based on the text that are not based on the text. Instead, these scenes are based on performances of actors making choices that are copied and copied and copied. Younger, diverse audiences have not been reached yet, according to Eric. Why? The style of plays still echoes this old model of theatre viable in the 1960s and 1970s. Yes, ‘Macbeth’ is slated to begin performances shortly, but it’s a weird Macbeth. Eldritch’s idea is to blow up that preconceived notion of the old model of Shakespeare’s classic tragedy. I’m most certain that, under Director Trowbridge’s artistic vision, ‘Macbeth’ will be ‘aggressively unconventional yet still rooted in the actual words.” The Scottish play was one of my favourites to teach because there are witches, ghosts, and magic. It’s also Woolfe’s favourite; however, he has never really liked any production he has seen. Instead, he likes versions of Shakespeare that upset people because the plays don’t obey the rules, don’t bluster, or don’t attempt to entertain. He then made a most appropriate analogy: “As people make theatre, we try to worry that it’s good for you. We’re trying to make healthy plays, and sometimes in theatre, we’re like restaurants: “We have the best broccoli. Come and get the broccoli. Eat our broccoli; it’s good for you, and all we’re selling anybody is broccoli.” Broccoli is great, but it’s only one thing on the plate. There are all these other tastes and things you can serve. If the food happens to be good for you, that’s fantastic, but you don’t have to tell people. It shouldn’t be the selling point. The selling point is that this meal is wonderful and has broccoli that will taste good. Eldritch’s ‘Macbeth’ will be approached like this. It’s a horror play about fear with puppets and cartoon noises, and it’s everything that should be in a Macbeth without the bluster and stuffiness and attempting to do it properly. There are four sold-out school matinees. A steadily growing demand for tickets extends the production to February 24. Does he listen to feedback from audience members, reviewers, critics, and bloggers? Woolfe prefaced his answer by saying he was always the kid in school who never liked to do the assignment the way the teacher asked. For example, if he wrote an essay, he would try to do something slightly different than the assignment. He spent a lot of time on it and did more work. Why did he do this? He thought the assignment may have been stupid or lacking any reason why it had to be done. So, when the graded assignment was returned, Eric was always that kid who was a tad annoyed when the teachers said he didn’t follow the conventions for the work. Eric reads the reviews. He listens to honest feedback. If every feedback or review is five stars, no one will pay much attention to what is said in the article. Woolfe remembers every bad review as opposed to the good ones, but the thing to answer regarding feedback, whether it be from audience members, reviewers, critics, or bloggers: “We are entering a world where people expect to be able to get entertainment that appeals to their specific tailored individual tastes...Theatre has to reflect this. Over the years at Eldritch, we are building our little niche market and our growing fanbase of weird nerds who don’t go to all theatre but like the horror stuff of comic books, Dungeons and Dragons, sci-fi movies and strange things with puppets and Tarot cards…This is our audience base. Everybody is welcome here at Eldritch Theatre, but it is a specific tent.” What’s next for Eric once ‘Macbeth: A Tale Told by An Idiot’ concludes its run? A series of play readings of some older plays from early on in Eldritch’s existence is happening through February and March. The season's final show is ‘The House at Poe Corner,’ from April 11-21, 2024, written by Woolfe and Michael O’Brien. To learn more about Eldritch Theatre, visit eldritchtheatre.ca. You can also find the company on Facebook. Tickets for ‘Macbeth: A Tale Told by An Idiot’: https://www.ticketscene.ca/events/45534/ Previous Next

A talk with a professional artist about their career. Back Jessica B. Hill Theatre Conversation in a Covid World Ann Baggley Joe Szekeres I’ve seen some of the extraordinary work from The Stratford Festival in which Jessica performed: Mother’s Daughter, All My Sons and one of my favourites: ‘The Crucible’ Jessica is an actor and writer. She holds a BA from McGill University in English Theatre Studies and is a graduate of Stratford Festival’s Birmingham Conservatory for Classical Theatre. She has been a member of the Stratford Festival for the last five seasons. Performing lead roles in The Comedy of Errors, Brontë: The World Without and Mother’s Daughter, and appearing in The Crucible, Paradise Lost, The Changeling, All My Sons, and Bunny. When Covid closed the theatres last March, she was entering her sixth season with the Festival and preparing to play Lady Anne in Richard III and Helena in All’s Well That Ends Well. Film and TV credits include The Boys, What We Do In The Shadows, Slaxx, On the Basis of Sex, and Hero: The Life and Times of Ulric Cross. She’s a recipient of the Mary Savidge Award that recognizes an actress who has shown outstanding dedication to her craft. Fluently bilingual, she works both in English and French in theatre, voice, film, and television. Her first play, The Dark Lady, is currently being co-developed with Shakespeare in the Ruins and The Stratford Festival, with support from the Manitoba Association of Playwrights and Shakespeare on the Saskatchewan. It imagines a modern take on Emilia Bassano, the woman who allegedly inspired Shakespeare’s Dark Lady sonnets. The idea began as an intertextual poetry reading put on as part of the outdoor Here for Now Theatre Festival in Stratford, last summer. We conducted our conversation through Zoom. Thank you once again, Jessica, for the opportunity to hear and to listen to your voice about these important issues. 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? (a frustrated sigh first from her)…Let’s go with okay. I think we’ve been very, very lucky. My immediate family and I are healthy. We’re taking every precaution we can navigating through this. Of course, we get cabin fever, we get bored and sometimes depressed and frustrated but we’re getting better at dealing with it and helping each other deal with it. Sometimes it’s as easy as, “Oh, let’s go for a walk”, and other times it takes a bit more time. It comes in waves; I think everyone is starting to feel that. It’s not always easy to stay focused or motivated but I feel very, very lucky that I have my family nearby here in Montreal. The curfew is still in place here. We’ve don’t have any real reason to leave the house after 8 pm here in Montreal so that hasn’t really affected us, but it’s more the idea of the curfew which is sometimes hard. How have you been spending your time since the theatre industry has been locked up tight as a drum? Oh, boy, okay. I guess I should start from the top. Well, the first few months of spring were terrible. We had been going full speed ahead in rehearsals at Stratford and suddenly it honestly felt like slamming into a brick wall. It was shock. It took a while to overcome and to get my bearings back. What really saved me creatively was suddenly having to write a play on a tight deadline. The Here for Now Festival is based in Stratford. They reached out to me in June, I think, and asked if I had something I was working on they’d like to present for the small outdoor crowd in July. They were banking on the fact we could still gather outside, and I had nothing, but I said, Yes, anyway. Whether it was Insanity, depression or yearning, and I spent a month pouring myself into an idea I guess I always been thinking about but never crystallized into a proper idea, but now I had the time to delve into the script. It was a really interesting time because the Here for Now Festival in Stratford was probably one of the first outdoor performances coming out of lockdown, and everyone was still feeling quite tentative. We got to perform the script four times to this amazing and generous crowd of people, just the sweetest audience, so so generous. I think that was the spark I needed to keep the fire burning for me. It reminded me of how important and special it was to gather, that magic of sharing an experience with an audience. I thought, “Well, just because I can’t perform doesn’t mean I can’t work.” This idea of writing and generating the work allowed me to work on my craft in an exciting new way and to develop as an artist even if I can’t perform. Just because there is no performance doesn’t mean there is no theatre. 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 call it an escape. A break from performance, but theatre, storytelling and ideas are everywhere all the time. I use the word ‘reflection’ or in French we use the word ‘ressourcement’, the idea of returning back to sources of inspiration. Covid has given us a lot of time to reflect, to take stock, and to contemplate and replenish our creativity as much as we can. We never wish for this much time between gigs as we always have this frenetic pace in going from one job to the next. So, it’s un-stabilizing to have this much time and uncertainty. Since we’ve been given this time, I can’t help but want to use it as best I can. 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 can’t make that call as I have no idea. I’d love for this to be wrong and to be pleasantly surprised. If Covid has taught us anything, there’s nothing set in stone, right? I think it’ll be bumpy and lopsided as we return. We’re not all in the same boat, but we’re in the same storm. Because of the fluctuating protocols and case numbers and vaccine roll outs now, some theatres might re-open before others. There’ll probably be a game of stop and start as well, so I don’t think we can see it as a linear path just yet. 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? Transformed is the word, but it’s a metamorphosis. It’s a feeling of the experience itself before it becomes wisdom (if that makes any sense), knowing something is important while it’s happening but not quite sure what part of the story you should be holding onto. I feel like I’m a completely different person from whom I was last March, and I’m sure I’m not the only one who says that. The most important coming out of this, for me, is a sense of responsibility. I’ve been thinking a lot about the stories we tell in the theatre and how we choose to tell them. What is that responsibility that comes next? We’ve been given this time to re-imagine what theatre is and can be. It’s going to be transcendent. 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? Well, the danger should be in the work, and not in the reality. For the work to be dangerous, we have to feel trust, security and safety in the rehearsal space. No good theatre will come out of actors fearing for their lives or for their loved ones. This also ties into how do we come back with precautions on how to return as safely as we can. It’s going to take time probably to feel safe again. I think the fear, the grief, the isolation, the frustration, that sense of danger you’re talking about, can’t help but make its way into an artist’s work, the ethos, I’m not sure how yet as we’re still in the thick of it, but I’ll have to see where and how it comes. The optimist in me wants to think that all that danger we’re living through will help create the most extraordinary and electric and profoundly intimate art. After months and months of isolation, watching people connect on stage will be healing and exhilarating. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre? I had trouble with this question….Hmmmmm….. There’s an openness that I felt; this willingness to just let the feelings do their thing – to be vulnerable, authentic, ugly, brutally honest. And it’s a realization, upon a realization, upon a realization that you can only really live in the present moment. I keep thinking of Rilke’s poem: “Let everything happen/Beauty and terror/Just keep going/No feeling is final.” It’s all material; it’s all raw - the stuff of what you can build out of (if that makes sense). It’s all raw material that you can source from later on. I’m already a sensitive person to begin with. I’m a hugger and I don’t just hug out of formality. I need to feel a connection to the other person. I need to feel that fleeting moment of a shared presence like, ‘Yah, that’s here.” Hugs might be gone for awhile. We’re going to have to open ourselves for a new definition of theatre when we get back because it’s going to take time. Outdoor theatre is where it starts. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? Oh, hugely so because I’ve always wanted to write and I’ve never given myself the time to do so. The fall and winter has been developing my curiosity in my playwright’s voice. I’m developing a whole other side and artistic practice. It’s all curiosity. It is what has been keeping me going and getting curious about connection between different art forms, about different sources of inspiration and letting ideas bounce off each other. Things that don’t necessarily connect are now interconnecting in ways I hadn’t thought possible which surprise me and excite me. There’s so much baggage from Covid. It’s isolated us as a community, everything from meeting each other to practicing what we love. There’s so much time right now to get curious about things and that’s the silver lining to this whole thing of Covid. When things get going again, I still want to hold onto that feeling of openness in being curious about other things. I’m back into drawing and sketching. Follow Jessica on Instagram: @jessicabhill AND Twitter: @bhilljessica Follow Jessica on her website: www.jessicabhill.com . Previous Next

A talk with a professional artist about their career. Back Bahareh Yaraghi Self Isolated Artist Anita Alberto Joe Szekeres The first time I had seen Bahareh Yaraghi’s work onstage was during Stratford Festival’s 2018 production of Oscar Wilde’s ‘An Ideal Husband’. Her confident performance as conniving Laura Cheveley certainly made me pay attention to this character and to the story itself since Wilde’s tale of the context of cheating in Victorian England took on a different meaning in our #metoo world today. I then saw Ms. Yaraghi as daughter Emmy in ‘A Doll’s House Part 2’ when central character, Nora, knocks on that same door she slammed years ago. For me, it was interesting to watch from an acting perspective just how Ms. Yaraghi approached the daughter-mother relationship in ‘A Doll’s House Part 2’. Well, the mother-daughter relationship was taken to an entirely complex level of intrigue in female empowerment when I saw Bahareh’s divine performance (as I called it in my review) in ‘Oil’ at ARC just this past February. The audience viscerally witnesses a mother’s tumultuous relationship with her child (as a baby waiting to be born, a young person and adult) at three extremely different time frames. For me, Ms. Yaraghi has always captured a natural and convincing vocal delivery which makes me want to listen to the story she is telling and the journey she is about to take me on with her. I am most certainly looking forward to her next performance once the pandemic is lifted. She received her BA from McGill University and then trained at Humber Theatre School. A six time Dora award nominee, Ms. Yaraghi has performed on numerous stages in Toronto and across the country. She has been an ARC company member since 2012 and has appeared in past ARC productions since then including ‘Bea’ ‘Moment’ and ‘Pomona’. We conducted our interview via email: 1. How have you been keeping during this crisis? How has your immediate family been keeping during this crisis? I’m grateful to say that all my family and loved ones are all safe and healthy around the globe. We are so privileged in so many ways to be living in Canada, so my husband and I try to keep our focus on the positives, as opposed to all the uncertainties and sadness out there in the world. I’ve learned that if I literally take it one day at a time, my spirit feels much happier that way. 2. As a performing artist, what has/have been the most challenging and difficult element (s) for you? I MISS PEOPLE!!!! I miss interacting, hugging, talking, and collaborating with PEOPLE! Ok, I got that out of my system. As an artist, one of my biggest joys is to be in a room filled with fellow artists, creating work together and ultimately sharing that work with our community. Not being able to do that right now – or for the unforeseeable future – is of course extremely challenging and scary. But all artists around the globe are in the exact same position – so, staying patient and shifting my focus to my TODAY is what is most important right now. The rest will fall back into place when the time is right. 3. Were you in rehearsals, pre-production or performances of any production was the pandemic was declared and a quarantine was imposed? What has or will become of any of those productions in which you involved directly or indirectly? Yes, I was in the middle of ARC’s production of OIL. We had begun the 2nd week of our run, when we quickly realized we had to make the tough, but necessary, decision to cancel our 3rd week of performances. It was such a beast of a show and I was so proud to be telling it with such a wonderful group of humans. It was heartbreaking to have to close it early, but we considered ourselves very lucky to have had 2 weeks with it and to be able to share it. I was also supposed to start rehearsals for Soulpepper/Necessary Angel’s WINTER SOLSTICE that following week which, of course, was sadly cancelled as well. Fingers crossed you will see both productions programmed in the future. 4. What have you been doing during this time to keep yourself busy? I’ve kept myself quite active, socially. Zoom, phone, and FaceTime conversations with friends and family that I always feel I don’t have enough time for. Now I do and that’s a great feeling. I’m finding that physical exercise and meditation are vital to me right now, and they help me feel strong, calm and light. Otherwise, lots of cooking!! Which I absolutely love (I read cookbooks like they’re novels), lots of catching up on movies/tv shows with my husband, and lastly, I’ve been keeping busy working on the future of ARC with my fellow collaborators. There’s lots of exciting ARC news in the works, so stay tuned! 5. Do you have any words of wisdom or sage advice to other performing artists/actors who have been hit hard by this pandemic? Any words of advice to new actors out of theatre schools? The other day a good friend of mine said, “I don’t think I’ve got this covid thing figured out yet.” I understood exactly what he meant: he doesn’t know how he’s ‘supposed’ to feel, how he’s ‘supposed’ to use all this new-found free time, how he’s ‘supposed’ to feel creative when he’s not necessarily inspired, how his perspective ‘should’ be changing because of all this world change. However, I don’t think most of us do. My only advice to anyone would be to keep yourself strong and healthy – physically and mentally – as best you can. Stay hyper-sensitive to the things that truly bring you joy and peace, that truly enrich your spirit, and perhaps start contemplating on the things you will choose to reintroduce back into my life, or the things you’re ready to part ways with, when life and society picks back up. I think this “covid thing” can be a great opportunity for change. But it will require great thought, great strength, great belief and bravery. OR… Netflix and a bag of chips to ease the soul is also time well spent in my books! 6. Do you see anything positive stemming from COVID 19? The earth and the animals are much happier. The air quality is much more refreshing. And the rat race has been calmed. There’s so much relief in all of that. On a simple level, what I love is that we’re being reminded over and over again that we are all connected, that we need one another, and that we need to take care of each other otherwise we all fall. 7. In your opinion, will COVID 19 have some impact on the Canadian performing arts scene? I have no idea what the future of theatre looks like. Or sport events. Or concerts. Or any event where the energy from a live audience changes everyone’s experience. All I know is that we need immense patience. And the need, desire and hunger to tell and hear stories will come back strong and it will be powerful. I look forward to the re-emergence. 8. Some performing artists have turned to online streaming or You Tube presentations to showcase and/or share their work. In your opinion, is there any value to this presentation format? Will online streaming or You Tube presentations become part of the ‘new normal’ for performing artists? I haven’t watched any of them. I haven’t had the desire yet. I admire the artists testing the waters and finding new ways of sharing their work. Some artists may need to keep creating; and some artists might need stillness and time to process. Everyone has their own pace and might need different creative outlets (or none at all) during these extraordinary times. There is no right answer. But the search is necessary, and I appreciate that very much. 9. What is it about the performing arts community that you still love even though it has been tremendously affected by this pandemic? Oh, it’s one of the best communities in the world! I feel so lucky that I’ve devoted my life to it, even with all its challenges. My husband is not in the performing arts community and he always says, “theatre artists are some of the most intelligent, humble, hilarious, compassionate, well-spoken, and worldly people I’ve ever met.” And it’s true. The theatre community is rich in heart. And if your heart is full, it gives you a different kind of energy. And that energy remains strong, even through a pandemic. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests usually at the conclusion of the presentation: 1. What is your favourite word? Love 2. What is your least favourite word? (It’s two) Shut up 3. What turns you on? Wisdom 4. What turns you off? Excuses 5. What sound or noise do you love? Laughter 6. What sound or noise bothers you? Someone in pain that I cannot help 7. What is your favourite curse word? F**K 8. Other than your own at this moment, what other profession would you have liked to do? I wish my parents had put me in dance when I was a child. I think I’d be good at it. 9. What profession could you not see yourself doing? A surgeon 10. If Heaven exists, what do you think God will say to you as you approach the Pearly Gates? “Let’s dance, B”. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back Cottagers and Indians by Drew Hayden Taylor Staged by Port Perry Ontario's Theatre on the Ridge Joe Szekeres Joe Szekeres There are moments when I’ve stopped making notes during a performance, put the pen away, and simply revelled in watching and listening to fantastic story telling take place before me. Port Perry’s Theatre on the Ridge’s production of Drew Hayden Taylor’s ‘Cottagers and Indians’ is another of these plays where it occurred once again. I did not want to miss anything, not even for a second, if I averted my eyes from the stage to write something down. This ‘Cottagers and Indians’ is wonderful story telling at its finest deftly handled by two actors of solid accomplishment. Carey Nicholson acutely directs the playwright’s 2019 script with perceptive care as Hayden Taylor incorporates humour and wit periodically to get the audience to face head on the, at times, extremely sensitive elements of environmentalism versus consumerism and Indigenous versus non-Indigenous issues. ‘Cottagers and Indians’ introduces Indigenous man, Arthur Copper (James Dallas Smith) who decides to repopulate the nearby Kawartha Lakes Region with wild rice, known among the Anishinaabe as manoomin. Non-Indigenous cottager Maureen Poole (Amanda Jane Smith) disapproves sharply of Arthur’s decision. She feels the planting of the wild rice interferes with boating, fishing, swimming, and is generally an eyesore that brings down the property values of her cottage and those of her neighbours. Ms. Nicholson designed and used the outdoor playing space to full and maximum effect. It’s a multi level set on embedded rock which actually makes it appear as if I was transported right to a cottage lakeside setting. There is a red canoe down stage right. Up left is a circular barbecue with a side table containing a bottle of wine, a wine glass and barbecue tongs. Just slightly off-centre left is a colourful Muskoka chair with what appeared to me to be a white coat draped over the back which I’m assuming is the cottage of Maureen Poole. Liquid blue drapery along the front of the playing space represents the lake water. Both Ms. Smith and Mr. Smith (no relation to each other) create distinctly unique personas initially just through their physical appearance even before the story begins. He sports what looks to be a Tilley hat, aviator sunglasses, khaki cargo shorts, bright red sneakers, a blue t shirt and a khaki looking vest. She wears white capri pants and a striped white and red summery looking blouse/shirt with comfortable looking blue and white fuzzy house slippers. They both bring to life intriguing people whom I wanted to get to know even more. Mr. Smith’s Arthur Copper is self-assured, confident and, at times, rather smug but with good reason upon delving further into the plot. Ms. Smith’s Maureen Poole is racist, pompous as well as self-righteous. Both actors maintain a consistent, natural pacing in their dialogue exchange. When tempers flare, attitudes are heated, and tension is palpably hot, that’s when Ms. Smith and Mr. Smith reveal their exceptional prowess in performance level. I saw flesh and blood individuals in front of me who made me laugh, made me think, made me pause and made me aware that all individuals are not cut and dried and that not every thing can be considered black and white. There will always be unique grey areas when we encounter unaffected human emotion coupled with honest behaviour and, as Hayden Taylor told us in the audience talkback following the performance, that’s where he finds the drama that makes for articulate and interesting character development. This was especially true near the play’s conclusion. As Arthur sits in his canoe and Maureen on the rock, each exchange emotionally heartfelt and poignant words resulting in complete silence among the audience members. I could sense each of us was on every clear word uttered by these two terrific actors and wondering how they might respond to the other. Good stuff happening on that stage. Don’t miss this one. Running Time: approximately 80 minutes with no intermission As of Friday July 16 extreme weather will no longer be an issue when selecting your performance night. Now that Ontario enters Step 3 of the province’s re-opening plan, Theatre on the Ridge will be able to provide an alternate venue for any performances that may be impacted by severe weather. ‘Cottagers and Indians’ by Drew Hayden Taylor Production Staged by Theatre on The Ridge with the generous support of the Mississaugas of Scugog Island First Nation Producer and Director: Carey Nicholson; Stage Manager: Christina Naumovski Sound: Lyle Corrigan; Lighting: Andy Williamson Performers: Amanda Jane Smith, James Dallas Smith Performances: July 17, 20, 21, 22, 23 and 24 at 7 pm in the West End of Water Street Parking Lot #5 (Water and North Streets), Port Perry. To purchase tickets online: http://www.theatreontheridge.ca/whats-on.html. Theatre on the Ridge is a member of the Safe Travels Stamp program and observes all current mandated Covid gathering protocols and restrictions. Previous Next

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

A talk with a professional artist about their career. Back Ted Dykstra and Diana Bentley The Self Isolated Artists Melissa Renwick/Toronto Star File Photo Joe Szekeres When I received an email from Ted Dykstra (Chief Engineer) today, I noticed at the bottom under his name he calls his Coal Mine Theatre, “Off-off Broadview theatre”. Very classy and clever, indeed, as he and his wife, Diana Bentley (Co-Chief Engineer of Coal Mine) have modelled their 80 seat theatre after the intimate, exciting and often daring productions that can be found in New York City’s ‘off-off Broadway scene’. To this day, I have never, ever, been disappointed with any of the intriguing and enthralling productions I have reviewed at Coal Mine. I must attribute its success to Diana and Ted, their dynamite slate of plays, and the outstanding actors/production crew members who continue to grace the stage here on Danforth Avenue. I have had the honour to have seen both Ms. Bentley and Mr. Dykstra perform at some of Canada’s finest theatres, and I must include Coal Mine here as well. Ms. Bentley gave a daring and brave performance as Filigree at Coal Mine in ‘Category E’. I will always remember how moved I was the first time I saw Mr. Dykstra’s co-creation of, what I believe is, one of Canada’s most famous plays, ‘Two Pianos, Four Hands’. I was pleased when they agreed to be interviewed via email: 1. How have you and the kids been doing during this tumultuous time of change and upheaval? Ted: Pretty well. We have an 18-month-old named Henry who thinks he hit the jackpot, as he of course has us to himself 24/7. Diana: I think, like most people, there are good days and then there are harder days. We are enjoying having this time at home together and with Henry, but of course we miss the other parts of our lives that we love like the Coal Mine. 2. What has been the most difficult or challenging for you during this isolation? What have you been doing to keep yourself busy during the time? (I know with children your attention will have to be on them first and foremost) Ted.: My son and daughter Theo and Rosie are with their mom, and we miss them very much. They miss us too, but I think they and Henry miss each other most of all! The other thing would be speculating on the future, which is “a mug’s game” but I sometimes do it anyway. Diana: We split the days so that one of us takes care of Henry while the other works. Right now I’m working on a television show that I’ve been wanting to pitch for a few years, and a one woman show that I have had sitting inside me for a year. Both are exciting and I’m happy for the time to draw my focus to them, but also trying to be gentle with myself. Right now we’re gearing up for a Coal Mine Zoom Board meeting so we’re still working too! 3. I believe ‘Cost of Living’ was in pre-production and intensive rehearsals when the pandemic was declared, and the quarantine imposed. How many weeks were you into rehearsals? Can you possibly see ‘Cost’ perhaps being part of this upcoming 2020-2021 season or a later season? Ted: We were to start rehearsals March 17. Our New York based actor Christine Bruno arrived March 15, a Sunday. We had her set up in an air bnb close to the theatre, had rented her a mobility scooter, (the play involves two characters who are physically disabled) and stocked her place with groceries. Because she needed to isolate for two weeks on arriving from the states, we decided that we would delay the whole show by a week. So she would isolate for a week, then we would begin rehearsals at the theatre, skyping her in for the first week. But two days after she arrived, we knew it was game over due to the acceleration of the virus’ spread. So we sent her back on the Tuesday. It was very sad of course. Diana: We are very committed to making sure ‘Cost of Living’ happens. The big question is when, but that’s the question for everything right now. When we return to making live theatre, when audiences feel safe to come back and then of course what shows we will program. Lots of questions and bridges to cross 4. Any words of wisdom or sage advice to performers/artists/actors who have been hit hard during this time? I’m sure this pandemic has hit hard on the new graduates of theatre schools. Any words of wisdom for them? Ted: Our jobs have never been assured, by anyone. This is a golden opportunity to learn this. I don’t think any of my neighbours in East York have thought once that they miss the theatre at this time. Rightly so. They have far more important things on their minds. So why are you wanting to do it? It’s an important thing to know for yourself. Good time to think about it! And if you have to do something else other than your heart’s desire to live for however long, like the rest of the world does, show yourself and the world you can do it well and without complaining. We are so lucky to be living the lives we are. And you can still write, read, create, dream - all the things you love. Don’t stop. Diana: Have faith. Go inward. Listen. 5. Do you see anything positive stemming from COVID 19? Will COVID 19 have some lasting impact and influence on the Canadian performing arts scene? Ted: Well if I were the environment, I’d be wishing the virus would stay a good long time, so there’s that! A life doing theatre has taught me a lot about humankind. Unfortunately, one of the conclusions I have reached is that no society, country, nation, continent has ever learned the lessons necessary to stave off their end. And this is, I think, a truth about humanity. We survive. We change, but usually only because we have to. As soon as we stop “having to”, we start to forget why we were doing it, and comfort and greed once again come to the foreground. Flip side of that? We keep inventing, writing, discovering, expanding in as many good ways as bad. But there isn’t anything we know now about being human on the inside then the Greeks knew 2500 years ago. Maybe we are waiting for a worldwide “aha!” moment. I sure hope it comes. But any time soon? I don’t think so… And would I love to be wrong? Of course! Theatre will continue, and some great plays will come of this time, as they have of every other time. But that’s nothing different. That’s what theatre does. So it will continue to do that. Diana: Gratitude and not taking anything for granted. 6. Some performing artists have turned to streaming and/or online/You Tube presentations to showcase or perform their work. In your opinion and estimation, is there any value to this during this time? What about in the future when we return to a sense of a new normal. Will streaming and online productions be the media go to? Ted: It’s not my cup of tea. Theatre to me is meant to be experienced in a room full of people. Theatrical performances are meant to take place in front of people. This raises the stakes, makes it so much more exciting. Watching a live play online, where actors are performing for no one, is what I would call television. And real television is an awful lot better. In fact it’s fantastic right now in terms of variety and excellence. No contest. Diana: For some people/ artists I am sure that will be exciting and essential. For Ted and I the Coal Mine is very much about the live experience so I’m not sure we’ll follow suit- but anything is possible! 7. What is it about performing and the arts scene that you still always adore? Ted: Great plays. The community. Great artists. My colleagues, friends. Memories. Moments. The anticipation excitement and hope on the first day of rehearsal. Working with designers, volunteers, stage managers, bartenders who are all infinitely better at their jobs than I could ever be. And the audience. The people who pay good money to see what we do because they love it and want it in their lives. Without them we are nothing. And after 45 years doing this, I can say without reservation that no matter what happens to The Coal Mine, we have been blessed with the finest patrons I have ever had the privilege of working for! Diana: The artists. I miss them so much. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests at the conclusion of his interview: 1. What is your favourite word? Ted: Geselig. It’s a Dutch word that has no direct translation that describes the feeling of comfort, coziness, acceptance, serenity given by say a fireplace in the winter with your favourite drink in hand and a blanket and two or three of your most favourite people in the room who share the feeling and are enjoying it as much as you, with no worries present whatsoever. And it’s snowing outside. The big, slow, thick flakes. Diana: Cantankerous 2. What is your least favourite word? Ted: The N word. Diana: Bitch 3. What turns you on? Ted: My wife. Diana: The Giggles 4. What turns you off? Ted: People who can’t laugh at themselves Diana: Narcissism 5. What sound or noise do you love? Ted: My kids’ laughter. Diana: The sound of our son talking to himself in his crib in the morning. 6. What sound or noise bothers you? Ted: Anything whatsoever no matter how small that I can hear when trying to go to sleep. Diana: Loud crunching. 7. What is your favourite curse word? Ted: It’s a phrase I came up with when I was directing Shakespeare in Calgary. “Fuck my balls.” Diana: F**k 8. What profession, other than your own, would you have like to do? Ted: Astronaut. Diana : Fiction writer. 9. What profession could you not see yourself doing? Ted: Easy. Stage Management. Diana: Dentist 10. If Heaven exists, what would you hope God will say to you as you approach the Pearly Gates? Ted: “You were a good dad, so we’re gonna let the other stuff slide.” Diana: “High Five!” Photo of Ted Dykstra and Diana Bentley by Melissa Renwick/Toronto Star File Photo To learn more about Coal Mine Theatre and its upcoming season, visit www.coalminetheatre.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

A talk with a professional artist about their career. Back Marcus Nance Theatre Conversation in a Covid World Jerald Bezener Joe Szekeres Marcus Nance’s name is one I’ve heard in the Canadian professional theatre circuit for some time, but I never had the opportunity to see him perform. When he agreed to be interviewed and sent me his bio, I most certainly want to see this gentleman perform in future as his credentials and credits reveal extraordinarily fine work. American-Canadian bass-baritone Marcus Nance is equally at home in opera, musical theatre, concert, and cabaret. The New York Times described him as “a thrillingly powerful bass-baritone” while the Globe and Mail says he “has a rich voice and strong stage presence”. Marcus Nance garnered international attention as Malcolm in the world premiere of Atom Egoyan’s opera ‘Elsewhereless’ with Tapestry New Opera Works which earned him a Dora Mavor Moore Award nomination for Most Outstanding Male Performer. For Queen of Puddings Music Theatre, he created the role of Moses in the world premiere of the epic opera ‘Beatrice Chancy’, performing alongside opera superstar Measha Bruggergosman. His other opera credits include Porgy in excerpts from ‘Porgy and Bess’ with the Nathanial Dett Choral and the Toronto Symphony, Sparafucile in ‘Rigoletto’ with the Tacoma Opera, Compere in ‘Four Saints in Three Acts’ with Chicago Opera Theatre and an array of exciting roles and concerts with Santa Fe Opera, Glimmerglass Opera, Pacific Opera Victoria, Chautauqua Opera, Vancouver New Music, The National Arts Centre, Shreveport Opera, Ash-Lawn-Highland Summer Festival, Natchez Opera Festival, Orchestra London, Victoria Symphony, North York Symphony, Chautauqua Symphony, Fairbanks Festival Orchestra, Windsor Symphony, the Monterey Bay Symphony, the National Arts Centre Orchestra, Hawaii Opera Theatre, London Symphony, and the Monterey Bay Opera. New York audiences saw Marcus Nance on Broadway as Caiaphas in ‘Jesus Christ Superstar’, in Baz Luhrman’s Tony Award winning production of ‘La Boheme’, in New York City Centre ENCORES! productions of ‘Kismet’ and ‘Of Thee I Sing’, as Alidoro in ‘Cenerentola’ with New York City Opera Education and in concert at the Metropolitan Room. Recent projects include Rev. Alltalk in Volcano Theatre’s workshop of the reimagined production of Scott Joplin’s ‘Treemonisha’, Van Helsing in Innerchamber’s concert version of ‘Dracula’, and as Judge Turpin in the Shaw Festival’s production of ‘Sweeney Todd’ where the Toronto Star proclaimed that he “gives the production’s standout performance as the corrupt Judge Turpin: with his stunning singing voice and commanding physical presence, he is horribly convincing as a man who aborts justice and tramples morality…”. He has spent nine seasons at the prestigious Stratford Festival where his assignments have included the monster in ‘Frankenstein Revived’, Bill Bobstay in ‘H.M.S. Pinafore’, Caiaphas in ‘Jesus Christ Superstar’, Queequeg in Morris Panych’s ‘Moby Dick’ and Rev. J.D. Montgomery in Gershwin’s ‘My One and Only’. He has also made seen as the Mikado in ‘The Mikado’ for Drayton Entertainment, and Clairborne in Charlottetown Festival’s world premiere of ‘Evangeline’. Expanding further his creativity and artistic horizons, Marcus Nance has has made his film debut as the Singing Accountant in Mel Brooke’s feature film ‘The Producers ’ starring Nathan Lane and Matthew Broderick and his television debut as Rev. Moses in the opera ‘Beatrice Chancey’. He has also appeared in concert at the Cornwall Concert Series, Primavera Concerts, Elora Festival, Toronto’s Jazz Bistro, the Metropolitan Room in New York City, Stratford Summer Music, the Elora Festival, the Toronto Jazz Festival and as a regular guest with the Ottawa Jazz Orchestra. We conducted our conversation via email, but I had the opportunity to speak with Marcus briefly 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? By nature, I am a positive and happy person. So, a year ago when rehearsals at the Stratford Festival abruptly stopped, my goal was to make good use of my time and to not sit around and wallow in self-pity. It was easy at the beginning because I never dreamed that a year later, I would still be waiting to get back into the theatre. So, between that day and now I have had my ups and downs. Days of panic and days of joyful discoveries about life and purpose. The biggest disappointment was not being able to play the monster in Morris Panych’s production of ‘Frankenstein’ in the new Tom Patterson Theatre at the Stratford Festival. I was so excited to be asked to play this character. It was an opportunity of a lifetime for me. But as the death toll from the Coronavirus began to rise, I got over myself and realized that just being alive at this time in history was a greater gift than any role I could ever be offered. I am heartbroken at all the lives we have lost. How have you been spending your time since the theatre industry has been locked up tight as a drum? I have actually stayed busy doing a number of different things. One: My husband (music director Franklin Brasz) and I always work in the summer. So to have a summer off is highly unusual. We decided to make lemonade out of lemons, and we bought a tiny trailer. We spent the summer and fall camping all over Ontario. I absolutely loved it. I love cooking outside, going on hikes, hanging out on the beach, and drinking gin and tonics all night. I can honestly say that camping saved us and kept us from falling into depression. In the end it has made this a summer to remember. A life highlight. Two: Many years ago, I tried to get involved in the tv/film world, but an experience of blatant homophobia caused me to flee that world with no intention to ever go back. When COVID hit, my agent wrote me and suggested I be submitted for tv/film as that industry was still able to produce safely. I figured I had nothing to lose so I said yes. To my shock this has kept me busy all year. I never thought it was possible, but the opportunities empowered me and helped to erase the negative experiences I had to deal with earlier in my career. It really made me happy to know that the world is changing for gay people. Three: I started teaching voice again. I was asked to give masterclasses in Nevada, California, and Colorado. I also rejoined the faculty of Sheridan College and started giving private voice lessons from my home (via Zoom of course). I love working with young artists. Four: I started modelling again! I contacted a modelling agency I had worked with many years ago and they were thrilled to have me back. I shot two fun campaigns. At 56 years old who would have thought? Five: Lastly, I was given some incredible opportunities to film performances for online streaming. Highlights being a Christmas concert for Stratford Summer Music filmed at the beautiful Knox Church in downtown Stratford, and filming my cabaret “Voice of a Preacher’s Son” on the Stratford Festival stage for their upcoming series “Up Close and Musical” for stratfest@home 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? COVID, an escape? No! Covid didn’t allow me to escape because it gave me too much free time to think. I was consumed with BLM and the racism that was being exposed all around me. I was consumed with the racist US president and with those that supported him. I was consumed with watching people die while others were protes7ng masks. Had I been performing eight shows a week at the Stratford Festival, I would have had a place to escape from the world. I would have put my energy into performing and laughing in the wings with my friends. So COVID was not an escape for me. 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? That sounds about right. My gut is telling me that the world needs another year to get everything in order. The new strains of COVID, the lack of enough vaccine, the COVID deniers… yes, we need another year to fix all this and allow ourselves and our audiences the 7me needed to allow everyone to feel comfortable coming back to the theatre. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? I have more appreciation for what I do. Not that I didn’t appreciate art before but having been in the business for over 30 years, one does start to take it for granted… feeling that it will always be there. I now know that that’s not true. Anything can be lost to us at any 7me. I have spent a lot of hours on YouTube as of late, watching ballet dancers, opera singers, orchestral performers and theatre performers and I can’t help but feel the pain of all these amazing people who suddenly lost their jobs because of COVID. All the work that goes into perfecting their crafts and suddenly they have nowhere to share that talent. I don’t think anyone of these people will take their art for granted ever again. 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? COVID is dangerous, so yes, I have felt a sense of danger for me and for others. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre? This time of COVID has forced us to sit still and to listen. I am sensitive by nature, but my heart is more open than it ever was to the world and to those in need of being heard or acknowledged. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? I will answer this by saying that I have always been curious about what it means to “follow one’s own path” and COVID has forced me to do that. To be creative, to try new things, to work toward the impossible to see if it’s actually possible. In the last year I feel that I have done these things and I have discovered so much about myself. This pandemic is not over and this next year will most definitely test us. Can we continue to strive and grow? Do we have it in us to stay healthy and hopeful for another year? I think so and I hope so. To learn more about Marcus, visit his website: www.marcusnance.com . Previous Next

A deconstruction of an individual's story. Back shaniqua in abstraction Presented by Crow's Theatre in association with paul watson productions & Obsidian Theatre. Now onstage in the Studio Theatre at Crow's. Roya DelSol Joe Szekeres ‘A compelling, complex, and carefully nuanced experience. bahia watson becomes one of our country’s finest storytellers.” I have always been fascinated by the titles of plays and novels. When I’m in a bookstore (how many of those are left?), I always pick up the text if the title fascinates me. The title of bahia watson’s solo performance, ‘shaniqua in abstraction, ' immediately stands out. Its unique use of lowercase letters and the word 'abstraction' sparked my curiosity. Press material describes the one-woman show as ‘defiantly pushing back the boundaries defining Black womanhood.' I’ve always been intrigued by watson’s use of lowercase letters in her name. Is this her signature trademark? If so, it makes me pay attention whenever I see her name listed in show credits. She’s a charismatic force on stage, as evidenced by her role as Sonya in ‘Uncle Vanya’, which she played last year at Crow’s and this year at Mirvish. I’ve seen watson’s work on stage, and she becomes a tremendous force in bringing characters to life, which is remarkable to watch as an audience member. watson is shaniqua, an actor who has come for a casting call and (according to the press release) slips into a musing multiverse of narrative stories. The intermission-less, one-woman 90-minute sharing of perspectives ultimately leads the audience to a kaleidoscopic explosion that spins into a big black hole called shaniqua. Sabryn Rock directs the production with controlled precision. She allows watson to leave her indelible impression as shaniqua. The result of all this? watson delivers a compelling, complex, and carefully nuanced performance of many varied characters. One is an enjoyable highlight which sets the titular character as a comic television show host of SISTAHOOD. The word ‘abstraction’ caught my eye when I knew I would be at the theatre. I rarely see that word today, so I researched online like a good student to ensure I knew what it meant. Collins defines it: “Abstraction: the act of taking away or separating; withdrawal.” A lot is going on here that challenges me, and that’s what good theatre is supposed to do. It challenges audiences to think. And ‘shaniqua’ does just that. For one, as a male, I greatly appreciate women's uniqueness. But can only women honestly know what makes them unique compared to men? I haven’t made up my mind about this question yet. As a white male, do I or can I truly understand the boundaries of defining Black womanhood to which watson defiantly pushes back? I haven’t experienced that in my life at all. There are moments in Bahia’s characterizations where I can sense this understanding of Black womanhood could explode – loudly. Thirdly, watson (the artist) is in the process of removing and separating herself from the white gaze of producers who are considering her for roles on the stage or in film. The varied characters she creates on stage become the performance's integral focus. Echo Zhou (Set), Kimberly Purtell (Lighting), Thomas Ryder Payne (Sound), and Laura Warren (Video) seamlessly combine a visual look and sound that strongly accentuates watson’s varied characters. Costume Consultant Des’ree Gray has selected an orange jumpsuit and pink blazer for bahia to keep the audience’s focus on her physicality. At the same time, she strides and glides around the stage courtesy of Jaz Fairy J’s sharp choreographed movement. And Another Thought: ‘shaniqua’ becomes a vital character study of an assertive woman who begins to understand her place. shaniqua is not just one woman. She is connected to assertive women who want to mark their place in the world even though the voice in the theatre tells her to stick to the script presented to her. The production becomes coarse, gritty, and rough at times; however, when such personal feelings are explored with genuine truth and in the capable hands of bahia watson, then the live experience becomes worth it. Running time: approximately 90 minutes with no interval/intermission. ‘shaniqua in abstraction’ runs until April 28 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. Call the Box Office at (647) 341-7390 or visit crowstheatre.com for tickets. CROW’S THEATRE, in association with paul watson productions & Obsidian Theatre, present shaniqua in abstraction, written and performed by bahia watson Directed by Sabryn Rock Set Designer: Echo Zhou Lighting Designer: Kimberly Purtell Video Designer: Laura Warren Choreographer: Jaz Fairy J Stage Manager: Loralie Pollard Previous Next BACK TO TOP

What makes a comedy work - plot, characters, setting and theme. Back 'Cock' by Mike Bartlett Produced by Barrie's Talk Is Free Theatre and now onstage at 80 Bradford Street, Barrie. Produced by Barrie's Talk Is Free Theatre and now onstage at 80 Bradford Street, Barrie. Joe Szekeres (Photo Credit: Matthew MacQuarrie-Cottle. L-R: Michael Torontow and Jakob Ehman) “Mike Bartlett’s play is ‘Cock of the Walk’ in Barrie.” I have to hand it again to Barrie’s Talk Is Free Theatre. TIFT pushes boundaries to provoke its audiences' thinking and nudge them out of their comfort zones. Artistic Producer Arkady Spivak pointed out in his pre-show remarks that the play’s title cocked a few heads in Barrie. That’s a good thing when theatre can do that. TIFT’s latest unabashed production of British playwright Mike Bartlett’s darkly comic ‘Cock’ made me do the same thing a few times on this opening night. John (Jakob Ehman) is a gay man who has been in a relationship with his partner, ‘M’ (Michael Torontow), for seven years. They have quarrelled lately, and John has moved out of the apartment. But when he meets and falls in love with a woman, ‘W’ (Tess Benger), John is forced to contemplate the boundaries of his identity and decide what he wants for his future. A dinner party that ‘M’ holds at the apartment to finally see if John is serious about his future intentions becomes the climax for his future choices. ‘M’ has invited his father, ‘F’ (Kevin Bundy), for moral support. The play examines an important question: are fidelity and monogamy still possible in a permissive twenty-first-century context? That’s puzzling when you look at Bartlett’s script. For instance, after being sexually intimate twice with ‘W,’ John is head over heels for her and then runs back to ‘M’ to be forgiven. Is John hinting that he’s no longer gay? Is that why he runs back to ‘M’ to be forgiven? I didn’t think one can be cured of being gay. This comes across as selfishly unfaithful. Three out of the four characters are identified as initials. Many people will have the same initials, so there’s no sense of individuality, whereas a name like John denotes a particular character. Therefore, does using initials instead of names mean people are dispensable and thrown away once we’ve used them? How is it possible to remain monogamous, then, in a world where initials identify many people? It finally dawned on me why Bartlett’s script is not puzzling. It’s not afraid to hit right at the heart of a permissive society and ask point-blank questions. By doing so, it’s riveting, gutsy and sexy theatre. It’s the ‘Cock of the Walk’ in Barrie. First, let’s not get all schoolgirl giggly and intimating the play’s title means only the male appendage. British slang indicates ‘cock’ is a rooster. A cock fight is two roosters battling. Cock can also be used as a derogatory term towards someone else, usually from one male to another male. It also means to tilt one’s head to the side (see example above). Cock also means to get a gun ready for firing. These meanings have been intricately woven into director Dylan Trowbridge’s bold treatment of a play that he believes concerns the human heart. His vision deals with love’s capacity to make us feel euphoric, joy, brutal pain, desperate fear, and overwhelming confusion. Love transcends sexuality and gender. It ignites primal fear both between individuals and within individuals. This theatrical vision has been courageously and confidently stamped on TIFT’s production, which Trowbridge believes will differ in each performance. Production designer Kathleen Black does not set ‘Cock’ in an upper-class-looking setting of familiarity. Instead, it plays in the underground dust, dust bunnies, and cement storage space at 80 Bradford Street. We gather in front of a garage door. An audience member knocks, and John (Jakob Ehman) opens the door. Dressed in a white undershirt, silver pants, and black dress shoes, John stares at each audience member as we enter. There’s a sense of discomfort walking past him. What’s he thinking about each of us? It appears John has ensconced himself as the first cock of the evening. It’s a tightly intimate theatre in the round performance space. The audience is up close to the action. A white drop sheet at the front allows some plot action to occur behind. Periodically, I like to mention when I can sense a production becomes an actor’s play. ‘Cock’ is one of them. What makes it easy and challenging for any theatre company? There are no cumbersome sets, props galore, or flashy costumes. There is the odd miming at the ‘dinner’ table. The challenge would be to ensure ‘Cock’ does not become the typical sitcom fare of a screaming and shouting match in playing for control of the moment. Trowbridge does not allow that to happen. He confidently ensures his actors focus on the words' meanings and connotations, what they add to each moment, and how to deliver them so the context is clear. These four talented artists measure up to this mammoth task of telling a good story using words. Jakob Ehman and Michael Torontow open the show with gritty rawness and candour. There’s a sense of sexual chemistry of ‘hawtness’ (yes, I did teach high school for 30 years) and guts between John and M. They try to one-up each other while vying to become the cock of the moment to control. Torontow’s height, dark, swarthy Freddy Mercury look, complete with black nail polish, tattoos, and muscles, contrast robustly with Ehman’s shorter height, lighter-coloured pants, a white undershirt, and dress shoes. As ‘W,’ Tess Benger becomes an appropriate foil to Torontow’s ‘M.’ Torontow is demanding and overbearing, while Benger is inviting and patient. John and ‘W’s sexual activity is most definitely euphoric in its static staging. It’s not graphic in its depiction on stage, yet it allows Benger and Ehman to use words and guttural sounds to indicate their pleasurable ecstasy. This encounter would set ‘M’ ready to fire a gun out of jealous rage. Kevin Bundy ‘F’ is father to ‘M.’ Although he only appears in the final scene, ‘F’ is not of secondary importance but becomes more of a peripheral understanding of Trowbridge’s vision of the capacity of love transcending. A widower, ‘M’ has experienced confusion and difficulty in accepting his son’s relationship but is appreciative of what John has brought to ‘M’s’ life. However, one of ‘W’s’ conversation starters towards ‘F’ changes the course of events. The ending of ‘Cock’ is visually powerful. The look on Ehman’s face when ‘M’ asks him a question to do something remains haunting. Will he or won’t he? I’m not saying a word. You have to see it for yourself. And Another Thought: In the Programme, Talk is Free states it doesn’t just make theatre in Barrie. It works to redefine it, to redefine our relationship to it, and to redefine how artists thrive as they create it. When you’ve solid Canadian theatre artists at work in Barrie, driving outside Toronto to see terrific work makes it all the more worthwhile. That’s why you should go to Barrie to see ‘Cock.’ Running time: approximately 90 minutes with no interval/intermission. ‘Cock’ runs until April 27 at 80 Bradford Street, Barrie. Enter via Sign #3. For further information, visit tift.ca or call (705) 792-1949. Talk is Free Theatre presents ‘Cock’ by Mike Bartlett Director: Dylan Trowbridge Assistant Director/Sound Designer: Nolan Moberly Production Designer: Kathleen Black Production Supervisor: Crystal Lee Stage Manager: Koh Lauren Quan Performers: Tess Benger, Kevin Bundy, Jakob Ehman, Michael Torontow Previous Next

A talk with a professional artist about their career. Back Dennis Garnhum Self Isolated Artist Courtesy of Grand Theatre, London, Ontario Joe Szekeres The four years pursuing my undergraduate Arts Degree at King’s College, University of Western Ontario (now known as Western University) solidly shaped my personal and professional interests in the Arts. One of those areas where I still believe the city holds its appeal is in the performing arts sector. When I attended Western, Purple Patches was one of the central student theatre groups on campus which provided a creative outlet for likeminded individuals. I also remember the extraordinary Grand Theatre where I saw some wonderful productions nearly forty years ago. When I started reviewing for On Stage, I wanted to make sure the Grand was included. I have seen some terrific world class professional theatre there recently, and I am always grateful when the invitation has been extended to me to come to London to review their opening night performance The Current Covid pandemic has thrown the professional performing arts sector into a tailspin that has many, who hold a vested interest in it, still reeling from the devastating impact. It’s going to take an extraordinarily calm and clear-headed individual to sift through with a firm grasp and clear vision to move forward into an unknown and uncertain future. I spoke about this quality trait in an earlier profile regarding the Stratford Festival’s Director, Antoni Cimolino. I also place The Grand Theatre’s Artistic Director, Dennis Garnhum, in this same category with Mr. Cimolino. Mr. Garnhum became Artistic Director of the Grand in the fall of 2016. His credentials have been profoundly notable within the theatre community. Since his arrival and return home to London, Dennis has created several new programs with the Grand. He has also launched a new partnership with Sheridan College’s Canadian Music Theatre Program that now positions The Grand’s High School for its next phase of development. Across Canada, Dennis has directed many plays, musicals, and operas with a number of companies. At the Grand Theatre, he directed Timothy Findley’s ‘The Wars’, ‘Prom Queen’ and ‘Cabaret’. He was set to direct the premiere of ‘Grow’ before it was cancelled on account of the Covid pandemic. Dennis and I held our interview via email: 1. How have you and your family been keeping during this two-month isolation? We have found some creative ways to fill our days: I work for the Grand in the basement, my husband’s office and broadcast studio (he’s a journalist) is the bedroom, and our daughters bedroom doubles as her school room. We started tiny school: 4 kids, 5 parents all on zoom. One class a day taught by a different parent. I teach drama and art! 2. What has been most challenging and difficult for you and your family during this time? What have you all been doing to keep yourselves busy? The most difficult thing is to not be able to reach out and touch and play. Our daughter, Abby, is most affected by it. We always have a minimum hour of outdoor time daily and I have organized and reorganized the house a few times. 3. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts scene and on the city of London itself? We will refer to the time before and the time after COVID no doubt. Ultimately, I think the ultimate impact will be positive: streamlining, priorities and abundant passion. We will focus on doing less, better, and with more imagination and thrill. The City of London too will learn from these things, and I do believe prosper. People will discover London is a perfect city to live in: it has a lot more space than the larger cities, combined with great things to do: Population will rise. 4. Do you have any words of wisdom to build hope and faith in those performing artists and employees of The Grand who have been hit hard as a result of COVID 19? Any words of fatherly advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? First of all, I have great compassion for the loyal Grand team whose jobs and lives were interrupted with very little notice. People who work at the Grand live in London and make their lives mostly around being with us - so that is without doubt the most painful thing of this time - not being able to continue to make theatre. My hope is that we return to work sooner than later, that we will return to a company and a city willing to enjoy live theatre. The last thing we did was to have a staff breakfast on that fateful day (March 13) and one of the first things we will do will be to sit together and share a meal again. I miss these beautiful people. This past year the Grand Theatre’s production of GROW was workshopped at Sheridan College and at Goodspeed Opera House. Both events used incredibly talented graduating students. They are now out in the world - waiting. I can see their bright faces. My advice is just to be clear with one thought: We’ll return. You’ve lived this dream this long - keep it in your heart - don’t focus on the dark thoughts - and think how glorious it will be when you are able to be on our stages. And you will. 5. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? Only positive things. Everything will be reconsidered. The best part, I think, is how we will appreciate what we had to a greater extent. I think it will make for extraordinary conversations. 6. I’ve spoken with some individuals who believe that online streaming and You Tube presentations destroy the theatrical impact of those who have gathered with anticipation to watch a performance. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? I think online streaming was a brilliant first effort and reaction to a need. What do we have? Computers - and go! I think it’s usefulness is nearly done - and won’t play an important part in live theatre in the future. It’s film. I think it will speed up meetings and allow for some very creative shoutouts etc. But, live theatre is live theatre: people sharing stories in a room. 7. What is it about the Grand Theatre that you still adore in your role as Artistic Director? Well, I adore everything about this role. Everything. What I appreciate the most right now, is that it is a complete honour to be working at the Grand Theatre during this point in history - and I know my role is to be part of team who sees it through to bright, bright, better days. With a respectful acknowledgement to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: 1. What is your favourite word? Beautiful. 2. What is your least favourite word? No. 3. What turns you on? People. 4. What turns you off? Long lines. 5. What sound or noise do you love? My family laughing at the same time. 6. What sound or noise bothers you? Car horns. 7. What is your favourite curse word? Dang. 8. Other than your current profession now, what other profession would you have liked to attempt? Architect. 9. What profession could you not see yourself doing? Giving out parking tickets - too stressful. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “I have a Muskoka chair by the lake waiting.” To learn more about the Grand Theatre, visit www.grandtheatre.com . Previous Next

Where we deconstruct a piece step by step. Back Seulement Toi/Only You As part of Torque '22 at Toronto's Harbourfront Fleck Dance Theatre Mary Rozzi Joe Szekeres Please Note: I hold no background or education in the field or study of dance. Instead, I will comment on the theatricality of the production I’ve noticed a few elements from the last few dance productions I’ve attended. There’s a great deal of simplicity in their set designs which is very important as the focus must remain on the dancers and their work. Anne Plamondon’s ‘Seulement Toi/Only You’ continues in that same vein of simplicity in set design at Harbourfront’s Fleck Dance Theatre. From my vantage point in the audience, on the darkened upstage looked what I thought were seven flats appropriately placed side by side each other. The last two flats stage right were placed slightly downstage for a possible entrance and exit for artists Anne Plamondon and James Gregg during their performance. I was pleasantly surprised at the set design by Marilène Bastien, Anne Plamondon and visual artist, Hua Jin. Once the performance began, what I thought were flats appeared to be scrims I could see through with the most intricate detailing of what appeared to be trees and foliage. Nicolas Descôteaux’s subtle whispered lighting at various moments of the piece created an almost beatific lighting around Plamondon and Gregg. Olivier Fairfield’s sound design incorporating the music of several artists (whom I will list at the conclusion of this article) enchantingly underscored the movement of the piece. The programme stated this evening’s work is an exploration of everything that brings us together or separates us from one another. I had the opportunity to profile Anne this week as part of a column series last week. She stated: dance is “a language of the body, of touching, reunion and communicating through the body from one person to the other.” The placement of hands, the feet, the head are all of prime importance in creating a visual experiential journey. In watching this performance last night, I can now understand Anne’s sentiment with her above statement. This sensually, intimate communication between partners in dance becomes strongly evoked in ‘Seulement Toi/Only You’ where, according to the programme that through dance, “the protagonists gradually remove invisible veils between each other to unmask the truth.” Plamondon and her dance partner, James Gregg, took me on a lushly, corporeal experience of movement through sight, touch and the occasional musical sound provided by the artists listed below. At this Toronto opening performance re-scheduled from March 2020, I witnessed two performers who were in love with the artistry of dance through their sinewed, strength, supple, powerful, and harsh creative movements and moments. During our online conversation last week, Anne wanted individuals like myself who have no background in dance that it is something that is worthwhile to experience. Yes, dance can tell a narrative and sometimes a story does not need to be present in the moment. Instead it is most likely an audience member can be swept away in a visual picture created in a split second on one part of the stage. It might be something that caught your eye momentarily. In other words, it’s not necessary to understand everything about dance. And that’s why it’s worthwhile to see ‘Only You’ tonight. What made this production work for me was the fact that Plamondon and Gregg are not merely just artists, take their bow at the end and walk away. Before they are artists, they are humans first. I loved this re-iteration. At the top of the show after the stage is lit up, we see both Plamondon and Gregg are at opposite ends of the scrims dimly lit, and it appears they are removing and putting on certain clothes knowing they will be spending time in an activity they cherishingly respect. The almost erotic touch both have in removing and placing on various clothing pieces lets us in on the fact that we can expect more from these two in their dance. Gregg then crosses over to meet Plamondon in her space, and it looked from my perspective as the lights went down they were both ready and fit to enter into a sacred space of dance. Their 60-minute movement in creative dance, of sensual appeal and of sometimes erotic touching of hands and fingers created a divine sacred space of worship for this art. Glorious to watch. SEULEMENT TOI/ONLY YOU by Anne Plamondon Productions As part of Torque ‘22 Performance this evening at 7:30 pm followed by a question-and-answer period with the artists at the Fleck Dance Theatre, 207 Queens Quay West, Toronto’s Harbourfront Centre. For tickets: 416-973-4000 or harbourfrontcentre.com Performers: Anne Plamondon and James Gregg. Choreography: Anne Plamondon Sound Design: Olivier Fairfield with additional music by Ezio Bosso, Ben Frost, Daniel Bjarnason, Nina Simone, Dimitri Tiomkin, Ned Washington Lighting Design: Nicolas Descôteaux Costumes: Marilène Bastien Technical Direction: Pierre Lavioe Previous Next

A talk with a professional artist about their career. Back Quincy Armourer Self Isolated Artist La Presse, Montréal Joe Szekeres When I was in Montreal the last couple of years to review shows, I remember seeing Black Theatre Workshop’s (BTW) name on several posters around the city announcing upcoming productions. I had reviewed ‘Angelique’ at Toronto’s Factory Theatre, presented by Factory and Obsidian Theatre Company (in co-production with BTW and Tableau D’Hote Theatre), and I wanted to learn more about these two Montreal based theatre companies. I was so pleased that, when I reached out to both companies, they have responded back in kind and have welcomed the opportunity to share their story of ‘The Self-Isolated Artist’ in their company. Tableau D’Hote Theatre Company’s profile will appear shortly. Artistic Director of BTW, Quincy Armorer, and I conducted our interview via email. Quincy was to have appeared in August Wilson’s ‘Fences’ at The Centaur before the lock down. The On Stage Blog reviewers were really looking forward to the production as all of us wanted to attend, but only one of us would be able to review. That’s a nice feeling when you have reviewers who really want to see something. Thank you, Quincy, for this interview. I certainly hope that Our Theatre Voice can be of service to BTW in future: 1. How have you been doing during this period of isolation and quarantine? Is your family doing well? My family is doing well, thanks. It’s been difficult to spend so much time away from them, but luckily everyone is healthy and doing fine. It’s been hills and valleys for me, I think. When the quarantine began and we didn’t quite realize how long it would last, I tried to give myself a bit of down time. And at first, I didn’t mind the shift to working from home. Now that we’re at three months with no clear end in sight, it feels very different. Also, the recent incidents of anti-Black racism that have sparked outrage across the world in the past couple of weeks have made being stuck in isolation especially hard. 2. Were any productions in rehearsal for BTW at the time of the lockdown? Were they far from premiering? Will these productions become part of any future slate(s) for BTW? Just as the lock down made its way to Montreal, we were about to present one show and begin rehearsals on another. We were bringing in the Toronto production of ‘Obaaberima’ produced by Buddies in Bad Times Theatre, to present it with our partners Espace Libre in English with French surtitles, but it was quickly cancelled. This was the second time that we were working with Espace Libre to bring in a Buddies show (the first was ‘Black Boys’ back in 2018) and its a great collaboration between our three companies to bring Black queer content to Montreal that is accessible to both anglophone and francophone audiences. We are definitely planning to find time in a future season for ‘Obaaberima’. Our other project was a co-production of August Wilson’s ‘Fences’ with Centaur Theatre. We were just a week away from beginning rehearsals and, not yet fully understanding the extent of Covid-19, thought that we could save the show by simply delaying production for a month. Well, that plan wasn’t going to work either, so Centaur Theatre’s Artistic Director Eda Holmes and I made the decision to postpone the show indefinitely. We are both fully committed to seeing the project through, and as soon as we can safely and responsibly make it happen, we absolutely will. 3. What has been the most challenging part of the isolation and quarantine for you personally and professionally? Personally, I miss my family. And I miss hugs. I really do. But I think what has been most challenging for me is also what has been the most rewarding. I’ve been very introspective lately and it’s stirred up a lot of thoughts and emotions within in a very real and profound way. It hasn’t been easy, but it’s been very enlightening and I’m grateful for the opportunity to turn inward for awhile in a way that I normally don’t. I’ve enjoyed that quite a bit. Professionally, there are a number of things. One of the hardest parts has been the uncertainty of knowing what if anything we will be able to present next season. It’s a milestone year for us – our 50th anniversary – and we’ve been planning it for some time, so this limbo that we’ve been forced into right now is certainly a challenge for us. I also want our artists to feel safe and confident and for them to know whether or not – or at least when – the projects they have been preparing for and looking forward to will happen. There’s also been the challenge of potentially shifting ‘online’ and deciding how much content to offer and what that content should be. But most importantly, our Black communities need support right now. We have to ensure that we are properly providing for them, listening to them and creating space for them, which is made that much more difficult by quarantine and isolation. I’d give anything to be able to open up our doors and invite everyone in and create a safe space for us to talk, share, vent, cry, support, hug – whatever we need. We can’t do it in person right now, so we’ll do what we can from a distance. 4. What have you been doing to keep yourself busy during this time of lock down? Working. Our office is closed, but our full staff has been working very hard from home since the middle of March. In many ways it feels like we are busier than we’ve ever been. Our 50th season was intended to be one of our most ambitious to date, although now we’re still not sure how much of that season we’ll actually be able to deliver. Preparing for our launch, exploring other artistic activities, as well as revisiting and revamping our seasons to come has kept me quite occupied. I also jumped on the bandwagon! My folks are from Trinidad, and in our family, mom is the cook and dad is the baker. I had to try my hand at my dad’s Coconut Bake, and I have to say it turned out pretty good! I now understand that place my dad disappears into whenever he gets his hands in dough. It’s meditative. I like it. It’s been a welcome escape. 5. What advice would you give to other performing artists who are concerned about the impact of COVID-19? What words of advice would you give to the new graduates emerging from the National Theatre School? Make lemonade! We have to work with what we’ve got, so when the world gives you lemons, that’s what you do. There’s no denying that this is the world we are now living in. What we have to do is find the opportunities hidden behind the obstacles. The work is still the work and the craft is still the craft. That won’t change. Keep working on what you can, when you can. We’re on hiatus. Be ready when hiatus is over. 6. Do you see anything positive coming out of this pandemic? I hope people come away from this with a greater appreciation for art in general and live performance in particular. When the lockdown began, everyone was turning to art and artists entertainment and humour and comfort and connection. We needed it. I think a lot of people didn’t realize just how important it is in their lives until they no longer had access to it. I’d love to know that in certain circles, the value of what we do now requires less explanation. But beyond that, I just want all of us to be kinder to each other. None of us is exempt from this pandemic, and it would be unfortunate if something this global, something this devastating but potentially unifying would find more ways of dividing us rather than bringing us together. What a shame that would be. 7. Do you believe or can you see if the Quebec and Canadian performing arts scene will somehow be changed or impacted as a result of COVID – 19? It already has. I can’t imagine that there wouldn’t be significant impact. Covid-19 has changed how we interact as a species. Our relationship to proximity and touch and intimacy isn’t what it was three months ago, and it won’t just disappear once we’re allowed to gather again at the theatre. Audiences are going to be receiving what they see on stage through a post-covid lens. Creators and producers can’t help but be affected by our current reality either. We have to embrace it. What are the stories that our audiences will want to see? What, if anything, do we need to do differently to tell them? It’s not a question of ‘will it change’ but rather ‘how will it change’. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts and comments about this? Are there any advantages or disadvantages? Will streaming/online/ You Tube performances be part of a ‘new normal’ for the live theatre/performing arts scene? It seems like there was a mad rush for many companies to begin producing online content to stay connected to their audience, and some fared better than others. I don’t think there should be a blanket rule because it’s not going to work for everyone. Some companies have more resources available to them and can create high-quality content in little time. Others just simply don’t have the means. I think some of the work that has been put out there is a nice complement to what we do, but there’s no substitute for the shared experience of being in the same space together. You can’t replace that. That being said, streaming and online performances allow companies to reach a much broader audience. We have our Artist Mentorship Program at BTW that culminates each year with a live Industry Showcase in May, which this year we had to cancel. Instead, we created an online showcase which has allowed us to share the work of our emerging artists with potential engagers not only in Montreal but across the country. It’s a new initiative that we hope to make a permanent addition to the program. 9. As Artistic Director, where do you see the future of Black Theatre Workshop headed as a result of this life changing event for all of us? Our approaching milestone anniversary has been a time of deep reflection for us. It’s made us look back on all that we’ve accomplished over the past fifty years, but also on what we want the next fifty years to be. BTW has had to fight against systemic anti-Black racism for decades, and, over the years, we have built a profound legacy of maintaining our relevance in a world and industry that are ever revolving around us. That certainly is the case now. I want us to continue amplifying Black voices and telling our stories because, let’s face it, the current state of the world right now is showing us that we need these stories now more than ever. There are multiple voices, diverse voices, still under-represented voices within the Diaspora, and BTW will be a place where they can all be given a platform. We will continue to be an example of the open door that we ourselves have been seeking. With a respectful acknowledgment 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: 1. What is your favourite word? Kind 2. What is your least favourite word? Bland 3. What turns you on? Sincerity 4. What turns you off? Crowds 5. What sound or noise do you love? Crashing waves 6. What sound or noise bothers you? Construction 7. What is your favourite curse word? Fuck 8. What profession, other than your own, would you have liked to attempt? Grade schoolteacher. 9. What profession would you not like to do? Medical examiner (despite my name) 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? ‘What’s up, Girl?” To learn more about Black Theatre Workshop (BTW), visit their website: www.blacktheatreworkshop.ca . You can also visit their Facebook page: Black Theatre Workshop Twitter: @TheatreBTW Instagram: @theatrebtw Previous Next

A talk with a professional artist about their career. Back Liz Callaway Moving Forward --- Joe Szekeres Actress, singer and recording artist Liz Callaway put me at ease so quickly during our conversation today that I even said to her, halfway through, I felt like I was having a cup of tea with her while we chatted about so many things. And you will see from her answers Liz has been through a great deal over the last seven months. I had the good fortune to have seen Liz perform in the original Broadway company of ‘Miss Saigon’ many years ago. She also appeared for five years in the Broadway run of ‘Cats’ as Grizabella and sang the iconic ‘Memory’. Liz sang the Academy Award nominated song “Journey to the Past” in the animated feature Anastasia and is also the singing voice of Princess Jasmine in Disney’s Aladdin and the King of Thieves and The Return of Jafar. Other film work includes the singing voice of the title character in The Swan Princess, Lion King 2: Simba’s Pride, Beauty and the Beast, The Brave Little Toaster Goes to Mars and The Rewrite with Hugh Grant. I did not know that Liz sang back up vocals to the theme song of television’s ‘The Nanny’ (Fran Drescher). The theme song was written and lead vocals by Liz’s sister, Ann Hampton Callaway. She is a strong advocate for people to vote, especially for this upcoming US election. Liz and I conversed through Zoom. Thank you so much, kind lady, for taking the time: It has been an exceptional and nearly seven long months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? During this crazy time, I enjoy hearing what people are doing and how they’re feeling during the pandemic. It’s very comforting to me to read that. It helps. I was on a Zoom with Lucie (Arnaz) recently and I let her know how much I enjoyed reading her profile. And yet, this is so scary that the numbers are going up. I live about an hour north of New York City and where I live right now, it’s okay. But you can just see the numbers are creeping up everywhere. I have a big anniversary coming up on Monday. My husband (Dan Foster) and I for the last year were saying we were going to go somewhere and do something really special. I blocked off time, and now you can’t go anywhere. There’s a spike happening everywhere. I don’t know how soon we will emerge to a new way of living. For the longest time, it felt like, “Ok, this is just a pause.” I finally came to grips with “No, this is life. This is the new normal.” And we have to accept it. Every day I read something new about a show might be opening, or this is going to happen and keeping tabs on what’s happening not just in the States, but in London, England as well for theatre and concerts. I think it’s going to be quite some time, and I don’t know if it will ever totally be the same. But I think it will start in baby steps. I’m possibly looking ahead to next summer. I hope I’m wrong, and even then, who’s to say as that’s what is so hard about all of this as there is such uncertainty. We all like to feel in control and we can’t control this. But I don’t know when people and audience members are going to feel comfortable being close together. Financially, it’s incredibly difficult for theatres, for club owners to operate and restaurants at a diminished capacity. It also makes me feel so bad to think that singing is one of the most dangerous things to do. We have to keep people safe. I was supposed to go into Manhattan yesterday as we were to perform a socially distant Broadway style song in Times Square. Over the weekend I came down with a dry cough and I didn’t want to take any chances. I got a Covid test and it was negative, but I still didn’t want to sing even with a mask and the whole plastic shield. I don’t want to take the chance that I could infect anyone. I’m sure we will re-emerge, and boy can you imagine what it’s going to be like to be able to go hear music and go to a show? I can’t wait to be able to sing for people. But will we ever be the same? I don’t know. Theatre will come back eventually, but there will be a lot of changes. How have you been faring? How has your immediate family been doing during these last seven months? As a performer, I haven’t been on an airplane since March. I’ve travelled into Manhattan for a couple of recordings but I’m still nervous about all of this. There are going to be some amazingly creative things as we come out of all this. My husband, Dan, was in a serious car accident on his way home in May from picking up Mother’s Day flowers for me. He was in the hospital for a week. He broke 12 ribs and his ankle. It was very, very scary. He came home and is doing really well. That just changed us. It was incredibly stressful but a miracle that he is okay. For the first month or two after the accident I was taking care of him. Our son, Nicholas, was home for the first three months of the pandemic. He’s in graduate school and lives in Brooklyn Heights. That was a gift to have time with our son, and he was home when Dan had his car accident. Every day I thank my lucky stars that Dan is okay and that we have this time together because we begin to realize that you just don’t know if or when things could change. That has been really hard, but at the same time I felt so blessed and relieved Dan was okay. I miss my sister (singer Ann Hampton Callaway) terribly. She moved to Tucson a few years ago. We used to be 5 minutes from each other. We talk almost everyday, but I keep thinking that I have to get out to Arizona. I’ll put on a hazmat suit, fly out to Arizona and see her, but if the numbers keep going up that won’t be happening. I find Zoom and FaceTime emotionally exhausting even though they are wonderful technological advancements. I sometimes think old fashioned phone calls have been nice during all of this. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Personally, not being able to see my sister. We had a lot of gigs planned together for the summer. I miss my friends. Many of my closest friends don’t live in New York. Dan’s car accident has also been really challenging this last while. Professionally, one of the things that is tricky is we’ve all had to become technicians. When this first started, everyone wanted to create things, live streaming, and I’ve done a lot of things for The Actors’ Fund, The Stars in the House. These organizations are amazing and people are opening their hearts and their wallets and contributing to all of these charities that need help. I’ve had so many requests for chatting, podcasts, discussions that I’ve found it overwhelming at times just because the act of setting everything up and the lighting and trying to upload things which at my house takes a bit longer than usual. It’s not a big deal as I’ve learned to be creative about it, but there’s something so sad about it. I find that I’ve said No to a majority of the things. I mean, I want to help and when I can to do something for charity, but I find the physical act of doing these little things which can be and as they get slicker is a lot. A lot goes into it when you’re recording something as I did this week of two recordings in my closet. The whole technical process behind all of this is challenging. I have my own projects I’ve been working on – before all this started I wanted to learn more about video editing and I’m trying to set up a home studio for recording and I think it would be the safest way to do more and more of this from home. I’m going to come out of this with more skills, but we all have to remain prolific and creative. It’s hard and I feel bad that I can’t say yes to more things. I feel fragile during this time right now and I need to protect. Sometimes doing too many things isn’t the answer either. I miss the travel to different gigs, going to places and seeing people. 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? All my gigs were cancelled. I have a few in December, but I don’t know if they’re still going to happen. I have quite a few things next year and I hope they do happen. I was supposed to do two concerts in San Francisco in March. My March, April and May were packed with concerts and appearances. The morning before I left for San Francisco, I kept thinking to myself, ‘Are you sure this is going to happen?’. I was a little nervous about travelling but so excited to sing for people. It was a show I had done in New York, my tribute to women who have inspired me. It was called ‘A Hymn to Her’. I re-learned the show and was so excited to do it in San Francisco. When I fly, I don’t do internet, but I thought I’ll get internet for about an hour. So, about an hour into the flight to San Francisco, I received a text the concert was cancelled. My husband was with me and all these years I’ve been singing in San Francisco, he was never able to go with me. We landed and I thought, ‘Well, we can go into the city, it’s a really nice hotel, have a nice dinner and come home the next day.” And then I thought that it wasn’t a good idea, so we immediately flew home and took the red eye home. That was the last time we had flown. Our son had joined us at home about four days later and it was very, very strange. It felt like we were preparing for a storm when this pandemic was declared. I had some trips planned. I was working on album that’s going to take longer. I recorded a single, I’m going to record a Christmas single or two. I’m in the midst of having Christmas music all over the place. At the beginning of the year, I started working on my You Tube channel. I shoot a lot of videos and shoot music with my car videos. I wasn’t driving a lot during the pandemic but when I started driving Dan to his physical therapy after his car accident, well I’m back in the car. I’ve always sung in my car and thought it would be a hoot to film it since I’ve a new phone with a holder on the dash. The reaction was tremendous, and it was fun. I’ve about 12 songs called ‘Autotunes’. I’m really trying to make my You Tube channel a home for interesting content to shoot songs at home for fun, my car songs. It makes me happy, gives me a forum and creating content. It’s something I can do safely. Little goals like this are helpful. What have you been doing to keep yourself busy during this time? I’ve been caring for Dan since his accident and creating a lot of videos. I would love your viewers to check out my You Tube videos. I’ve been doing some question and answers. I haven’t really done teaching as of yet except one day things. I try to take a long walk everyday. I love to cook and have been really cooking a lot. With the days being so similar, it helps to have a new recipe and something new to eat. I’ve also been doing a bit of song writing, playing around and experimenting with writing and then probably drinking too much vodka. I was really happy when we had baseball for a short period of time. My husband and I are finding the shows we’re watching on tv are foreign: some French. There’s a Swedish one called ‘The Restaurant’. Watching things with subtitles, I feel like I go to another place. I also did one big live stream concert with Seth Rudetsky. I really want to do more recording, learning to do more recording at home, a Christmas single or two. On top of the pandemic and our lives being uprooted, we have the upcoming election, and I’m encouraging everyone, and I mean everyone, to get out there and vote. It is unspeakable what is happening in the United States. We don’t have any leadership, and we have a crazy person as our President now running our country and this is all so stressful and horrible as many people enable him. People know how I feel about things. I don’t usually tell people how to vote but, in this case, (and she sings from the song ‘Once Upon a December’…) “I’m urging you please vote blue on the 3rd of November.” I can’t be quiet on this issue. This is too important. Literally, our country and lives are at stake. What we do and what happens in the US affects everyone. This is a time when we should all be working together for the pandemic and climate change, everything. I can understand if people voted for Trump the first time. He fooled them, they wanted change. Maybe people didn’t like Hilary, whatever. He was very persuasive. But to re-elect him? Nope. That’s unacceptable. After what he’s done and all the things he said, I don’t understand. My hope is people will vote. To quote from ‘Singing in the Rain’ – “I can’t stand him”. My father was a well known, renowned television journalist in Chicago. He worked for PBS and had his own show. Our father never told us who he voted for. We knew who he voted for, but he didn’t tell us. My father had an amazing way about him. I do believe have the right to vote for who they want to, but in this case it’s just unspeakable about what has happened. I feel like I have to speak out. If through any of my songs or encouragement, if I’ve encouraged at least one person to vote who may have been uncertain whether to do it or not, then I will feel as if I’ve accomplished what I set out to do. 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? (Liz sighed before she answered) Oh, gosh, I feel for you guys [new grads]. In many ways, it has to be harder for them than for those of us who have been around. We’re all struggling to make a living. I do collect unemployment when I’ve not been hired to do something. I guess I would say this is a time to be entrepreneurial. That’s something I discovered in myself six years ago that I had this real entrepreneurial side. I’ve produced two albums, three singles and am really enjoying that side of me. You have to create your own work and find ways of being creative. Also, this is a good time to learn different skills. I do believe we are put on this earth to do many things not just theatre, not just music. We are to have many different careers, chapters, jobs. Ultimately all of these different chapters will make you a better actor and performer. Know you’re not alone. Even the successful people right now are wondering what are we going to do? Is this ever going to come back? I don’t have any real wisdom. I just send hugs to you and keep working. Keep acting, singing, dancing. I’m so impressed with dancers in their tiny apartments and they’re still doing their barre exercises. It helps to have goals and try to learn new things. Keep a journal. Sometimes writing your feelings down sometimes gets it out of your body. We just have to make the best of it. Do you see anything positive stemming from Covid 19? I will say that with all the protests, starting with the horrific and outrageous murder of George Floyd and the dialogue we have now, I don’t know if the pandemic had happened if there would have been such outrage and if people would have necessarily spoken up the way they have. Something positive coming out of this? The whole discussion of race and police brutality. If the pandemic hadn’t happened would people have taken to the streets and the occurring dialogue theatres have had with many groups? Would that have happened? I don’t know, it might have to a lesser degree, but I think we will make changes. It’s going to be hard, but I feel confident that this is our best shot. Part of what this pandemic has taught me is we only have this day. My husband’s accident has also taught me this as well. I’m savouring the little things and live each day for each day. Every day is a gift. Throughout all of this I’ve realized how much I love to sing. When I’ve been anxious, singing calms me down particularly if I’m in my car. It feels good. That’s a way of self care. Do you think Covid 19 will have some lasting impact on the Broadway/North American performing arts scene? It’s going to take quite a long time for Broadway to bounce back, but I do think it will. We almost need to have a vaccine that we know works. People have to take it. You can’t do Broadway financially with people 6 feet apart. It’s eye opening to look at the condition of the theatres running. My fear is it’s either all or nothing. It’ll really come back when it’s safe to have 1000 people in a theatre. That is heartbreaking because it’s not just the actors, but everyone from behind the scenes, the musicians, the ushers, the technical crew to the restaurants and businesses surrounding the theatres. I think regional theatres will have a better chance of bouncing back sooner. Maybe still having to do a combination. I feel for all the theatres and businesses as to how to make it work financially. God bless the people who contribute and help. Maybe there’s a way to do certain things in a smaller way. Unions and everyone will have to come together to figure out how to make it work financially. Something else that will come out of this is great art. The things that have come out of terrible times in history were some great art, great music, tremendous theatre. A lot will depend on this election looking at jobs now and in the future. For the future, and not just the arts, people are giving of their talents to people who need it. We need diversion right now. A lot of audience members really appreciate it and some who don’t realize the incredibly important role the arts play during the pandemic. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? That’s been a real challenge in all of this. The concert I did with Seth was the only thing I’ve done where basically there was a price of $25.00 for it. So much of what we’ve been doing and what I’ve been doing is to raise money for The Actors’ Fund and Broadway Cares. You want to give and yet you still have to make a living. I think that is a challenge and dance we’re all dealing with. My sister does a wonderful concert series once a month from her home. It’s called ‘The Callaway Hideaway’. She can play the piano herself, so she has an advantage. But watching too much streaming? There is something emotional about it. Seeing something live is good but it also makes me sad. But streaming is something that we have right now. I miss the applause, the audience there. I put some of my stuffed animals around for an audience, but my cat, Lenny, is not terribly interested in my performances. Despite all this fraught tension, drama and confusion of the time, what is it about performing that Covid will never destroy for you? It can’t destroy the feeling of knowing in singing or acting that you’re giving or, as an audience member, receiving the love and the heart of everyone who performs. It’s a two-way street. It makes me appreciate singing even more. Covid can’t take away how you feel when you sing or when you’re in a play, and we are going to appreciate it even more the next time we gather together again. The audience and the performers are one. That’s the reason why we do what we do. My mantra: “Nothing to prove, only to share.” In the meantime when I did my live stream concert, I could feel the audience even though I couldn’t see them. We are all going through this, and I’m really lucky that I can sing. Singing makes me happy and makes other people happy to hear me sing. It’s a gift to give our music and a gift to receive other people’s music. No one can ever take away that gift. You can learn more about Liz Callaway by visiting her personal web page: www.lizcallaway.com . Visit Liz’s You Tube Channel and her social media handles Twitter/Instagram: @LizGoesOn. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back "Four Minutes Twelve Seconds' by James Fritz Now onstage in the Extraspace at Tarragon Theatre Credit: Dahlia Katz. Pictured: Megan Follows and Sergio Di Zio Joe Szekeres VOICE CHOICE Tight direction and a masterclass in acting performances. Disturbing. An absorbing production of character nuance and surprising plot twists, Studio 180 Theatre’s opening night performance of James Fritz’s ‘Four Minutes Twelve Seconds’ elicits nervous laughter at one point and shocked gasps of disbelief the next. That’s real life for me. Playwright James Fritz’s Olivier Award-nominated drama is extremely dark and unusually comical. The script contains surprising plot twists that made me do some double takes, as they did to others sitting around me in Tarragon’s Extraspace Theatre. I’m trying my best not to spoil anything about the plot. You must experience this story live. Given ‘Four Minutes’ has been nominated for an Olivier award, I would have to assume many place references in Fritz’s script are from the UK. Here, the story takes place in Scarborough. These script changes didn’t bother me at all. Fritz’s themes of moral incertitude, consent, injustice, privilege, deception, and the horrific consequences of modern technology remain universal. The Studio 180 Theatre production becomes an alarming reminder this story can be any parent’s possible worst nightmare in a world of instantaneous feedback to gain online followers. Dave (Sergio Di Zio) and Di (Megan Follows) are the parents of seventeen-year-old Jack. Jack is a good kid, but like many young adults, he sometimes makes poor choices regarding his actions and friends. The production opens with Di holding a bloodied private schoolboy’s shirt. Jack has been involved in a fight outside the school grounds. This event threatens everything Dave and Diane have strived for with their son, as they only want what is best for him. Jack is up in his room, afraid to speak with his mother. Having spoken privately to him about what happened, Dave wants to speak to Di about that conversation. With events resulting from this fight spiralling out of control, it appears that Dave and Di may be unable to trust Jack, his closest friends Nick (Tavaree Daniel-Simms), Cara (Jadyn Nasato), or even themselves. The creative team has made many good choices in staging this North American premiere. Using Tarragon Theatre’s intimate Extraspace is the first. Jackie Chau’s set design is unchanging but allows the actors to move across the stage effortlessly. The diamond point shape at the apex closest to the audience places us right in the action. Logan Raju Cracknell’s lighting sharply focuses attention where needed. Two spotlit moments highlight Megan Follows beautifully. Lyon Smith has created exciting sound designs to invoke the rising tension. Mark McGrinder directs with controlled and tight precision. As a parent, he understands young people's actions and what makes them behave as they sometimes do. Every action, reaction, and response by the four characters has a valid reason for occurring. McGrinder exposes the harsh reality of raising a family in the twenty-first century amid virtual reality. It’s often challenging and complicated. It’s not pretty. McGrinder’s awesome cast makes him proud. As Jack’s friends Nick and Cara, Tavaree Daniel-Simms and Jadyn Nasato remain entirely genuine and convincing as young high schoolers about to graduate. Daniel-Simms’s initial shyness with Di as she comes to speak with him makes the young man appear very likable. He wants to remain neutral and stay out of any trouble himself. I was siding immediately with Nick and became annoyed that Di bothered the young man on his way home from school. Nasato, as Cara, has more of a direct connection and interest in what has occurred. To put it bluntly, she’s pissed about what has happened; however, that does not give Cara the right to be flippant towards a caring mother who wants to get to the bottom of what happened. There are moments where Cara’s treatment of Di becomes downright disrespectful. Nevertheless, Nasato effectively makes this irreverence work entirely in her favour as the story unfolds further. To explain further is to spoil what happens. Nasato is spot-on in her performance. Sergio Di Zio’s David is at first puzzling. He and Di don’t seem to be on the same page in raising their teenage son. Di calls David the ‘hippie’ and good-time father who wants his boy to experience what boys do and behave as they usually do. How long has this parental division been going on? Di Zio’s voice and personal stance appear nonchalant as a parental figure compared to his wife, who remains firmly grounded in her view that her son is still a good kid. Sergio makes this work to his advantage. Masterfully. His pauses and timing as David become stronger and more believable. Even eye-opening as the story continues. Megan Follows is utterly convincing as Di and is the reason to get tickets to see this production. She rarely leaves the stage and intently focuses on each person with whom she shares the scene. She delivers a remarkable performance as a confused mother and a tad overwhelming wife who learns disturbing truths about her son and husband. Grounded in a fiery and feisty spirit, Follows rears her mama bear temperament with gusto and zeal while never overplaying the emotional peaks and valleys. I walked with her step by step as she climbed that mountain of recognition that perhaps young people in the twenty-first century are not as innocent as they might appear. And Another Thought: In his Director’s Program Note, McGrinder calls ‘Four Minutes’ a play of questions—troubling questions, human questions. That becomes abundantly clear in Follows's last unsettling moment on stage, which is disquieting. Her final line delivery and state of mind took my breath away. Good theatre is supposed to do that. ‘Four Minutes Twelve Seconds’ is exceptionally good theatre. Running time: approximately 85 minutes with no interval/intermission. ‘Four Minutes Twelve Seconds’ runs until May 12 in the Extraspace at Tarragon Theatre, 30 Bridgman Avenue. For tickets, call the Box Office at (416) 531-1827 or visit: https://studio180theatre.com/productions/four-minutes-twelve-seconds/ STUDIO 180 Theatre in association with Tarragon Theatre present the North American premiere of: ‘Four Minutes Twelve Seconds’ by James Fritz Directed by Mark McGrinder Assistant Director: Chantelle Han Set and Costume Designer: Jackie Chau Lighting Designer: Logan Raju Cracknell Sound Designer: Lyon Smith Stage Manager: Sandi Becker Production Manager: Charissa Wilcox Performers: Megan Follows, Sergio Di Zio, Tavaree Daniel-Simms, Jadyn Nasato Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Cockroach' by Ho Ka Kei (Jeff Ho) Now onstage at Tarragon Theatre Anton Ling and Karl Ang. Photo by Joy von Tiedemann Joe Szekeres ‘Cockroach’ becomes a tightly compact emotional script of tremendous sensory highs and lows that rarely allows time to breathe. At times it became intensely riveting while at other moments I went into overload and couldn’t process it as quickly as I could. You’ll have to pay close attention because Ho Ka Kei’s script is jam-packed with layers upon layers of xenophobia, prejudice, and racism. We meet three resolutely focused individuals: Cockroach (Steven Hao), Bard (Karl Ang) and Boy (Anton Ling). That intentional reference to Bard is William Shakespeare. We follow Boy’s story and what happens to him during a traumatic evening. Director Mike Payette never allows the emotional intensity to unravel out of control. Instead, he and Hanna Kiel maintain a clear focus on Ho Ka Kei’s sharp dialogue and reactive, yet carefully choreographed, movement and allow their visceral intensity to speak for themselves. And it spoke to me most certainly as a theatre admirer. However, there were times when I lost focus because so much back story and plot was delivered to me through these (what director Payette calls in his programme note) ‘extreme’ sensory highs and lows that I got tired of watching the production periodically. I really had to study Christine Ting-Huan Urquhart’s set for a few moments during the pre-show and tried to make sense of the playing space. There is an entryway centre stage with two towers the actors will climb on throughout the show. Bard and Boy make their initial entrance through two transparent-looking moving platforms. During the production, Arun Srinivasan’s sharply confined lighting design gorgeously adds to the darkness of Ho Ka Kei’s story. I walked out of the Mainspace theatre opening night strongly affected by two stagecraft elements woven meticulously together that became engrossingly hypnotic for me. The incorporation of silence while intimately linked to dance and movement conveyed a rather grandiose meaning. What might have appeared to look initially as a movement that men may not perform is handled with such grace and ease. There was complete silence in the house as we watched the movement. After a complete blackout, approximately the first ten minutes involve tremendous physical movement where I felt myself holding my breath in awe of what I was witnessing. We are then introduced to Cockroach’s world of how he arrived in North America and what his place is within this society. Steven Hao’s grounded-in-the-moment performance as Cockroach made me fearful of him in the beginning. There are specific times when Hao speaks so quickly that I’m sure I lost a few elements of the plot. Why would a playwright want to call a character ‘Cockroach’? When we, as North Americans, hear this word, all these horrific pictures come to our minds about these insects. Make sure you read the Audience Advisory Guide for background about the word ‘cockroach’ in Asian BIPOC culture and where this term was used derogatorily by the police in Hong Kong. Enlightening indeed, and I do hope this information is also shared in any talkbacks following performances. Karl Ang’s Bard becomes a masterful storyteller of forceful precision who, like Steven Hao’s Cockroach, also commands the stage when required. We do know the Bard is a renowned storyteller who instinctively just writes extremely well. But the caveat –Bard’s stories for some reason are not truly universal. Anton Ling’s Boy and their experiences during this traumatic male sexual assault are heartbreaking to witness. They uses their eyes in conveying a poignant depth of anger, hurt, fear and shame. Their resulting tears I believe have stemmed from Ling digging deep into his very being to convey such power. Final Comments: In his Director’s Note in the programme, Mike Payette writes the following that made me wonder if I should return to see ‘Cockroach’ again: “The extremes [of survival in the world] exist synchronously within us…it is a complex negotiated journey…Sometimes we simply need to be reminded of what we have in order to redeem what was lost.” Perhaps it’s time to return to see ‘Cockroach’ again and attend when there is an Audience talkback to learn more. Running time: approximately 80 minutes with no intermission. ‘Cockroach’ runs to October 9 at Tarragon Theatre, Mainspace, 30 Bridgman Avenue, Toronto. To purchase tickets and other information call the Box Office (416) 531-1827 or visit tarragontheatre.com. ‘Cockroach’ by Ho Ka Kei (Jeff Ho) Directed by Mike Payette Choreographed by Hanna Kiel Set and Costume Design: Christine Ting-Huan Urquhart Lighting Design: Arun Srinivasan Sound Design and Original Score: Deanna H. Choi Stage Manager: Emilie Aubin Performers: Karl Ang, Steven Hao, Anton Ling Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Indecent' by Paula Vogel David Mirvish presents A Studio 180 Theatre Production at CAA Theatre Cylla von Tiedemann Joe Szekeres An intricately astounding and artfully crafted story of forward-thinking ideology Even though the title is ‘Indecent’, it truly is a decent show but it’s more than just that. In 1923, after widely celebrated productions of Sholem Asch’s ‘God of Vengeance’ in Europe, the production finally opened on Broadway in an English translation where audiences found the play disturbing and were shocked and disgusted by the plot. Asch’s work explored religious hypocrisy which garnered so much attention that the entire cast of that New York production was arrested and charged with obscenity. When the play first arrived in New York, however, it was presented in Yiddish Theatre where it was respected. In 2015, playwright Paula Vogel debuted ‘Indecent’ where her play focused on what was going on behind the scenes of the 1923 controversial production. Vogel’s play explores what is the nature of theatre, anti-Semitism, censorship, and homophobia. Absolutely marvelous to watch this production with a powerful ensemble of actors who play several roles and who are ready to share this story with dignity and respect. Laetitia Francoz-Levesque, Emilyn Stam and John David Williams exquisitely underscore and enhance the unfolding story through music. Directed with the utmost ultimate care by Joel Greenberg who took me back to a time in the early twentieth century when things were just ‘different’ compared to the world we know, I left the CAA Theatre opening night in complete astonishment at seeing how the creation of art can be viewed from different extremes of unique individuals. Not that these extremes of opposing viewpoints of artistic freedom are considered either right or wrong. ‘Indecent’ is that reminder of just how art truly does influence all of us right down to our very soul and core of our being. Ken Mackenzie’s set design for me evoked that era of the early twentieth-century setting. The riser most amply allowed for excellent sightlines throughout the entire auditorium. A video projection along the top included the title of the play and underneath read ‘the true story of a little Jewish play.’ This is more than just a little Jewish play in my opinion. It is an epic one of proportions regarding art and censorship hidden behind homophobia and anti-Semitism all encapsulated within the vehicular realm of the theatre. One of the stagecraft elements that caught my eye was in the opening when Lemml the stage manager of ‘God of Vengeance’ introduces the cast to us. It looks as if ashes are streaming out of not only his hands but also of the others actor as they step forward to speak to us. Highly effective image in my humble opinion. I kept being reminded of the phoenix rising from the ashes in the new world. And then the short statement projected at the top of the stage: ‘from ashes they rise’. Powerful and haunting. The ensemble cast is primo from start to finish. Matt Barram’s Lemml, the stage manager of ‘God of Vengeance’, breaks the fourth wall to speak to us about this contentious play and the events which follow. Known as Lou when he comes to America, Barram’s welcoming demeanour to enter, at least for the moment, the safe area to learn more about what transpired during this time. This unflinching and determined ensemble in playing several roles truthfully conveys the heart of the piece. Jonathan Gould plays the playwright of ‘God of Vengeance’ Sholem Asch whose unwavering determination in 1906 to get his play read in an upscale salon hits a brick wall when the lesbian love affair is revealed. She’s listed in the programme as Chana, but Jessica Greenberg plays Majde, Sholem’s extremely supportive wife, with passionate ardour. Jessica Greenberg and Tracy Michaildis play the women who fall in love with each other both in the play and in real-time in the play. Both Greenberg and Michaildis bravely and securely seize the moment which pushes all of us into forward-thinking mode about the lives and loves of ALL people both in art and in real life. Dov Mickelson, Sarah Orenstein, and Nicholas Rice play offer strong supporting performances as the effects of ‘God of Vengeance’ become strongly felt. Final Comments: Another ‘must see’ for your fall things theatrical. Running Time: approximately one hour and 40 minutes with no intermission. ‘Indecent’ runs until November 6 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. David Mirvish presents ‘Indecent’ by Paula Vogel A Studio 180 Theatre Production Set Designer: Ken Mackenzie Lighting Designer: Kimberly Purtell Projection Designer: Cameron Davis Costume Designer: Michelle Tracey Sound Designer: Thomas Ryder Payne Music Director: Emily Stam Performers: Matt Baram, Jonathan Gould, Jessica Greenberg, Tracy Michaildis, Dov Michelson, Sarah Orenstein, Nicholas Rice Musicians: Laetitia Francoz-Levesque, Emily Stam, John David Williams. Previous Next

Community Theatres are uniquely diffrent from professional and Equity based companies, but are important to society Back August: Osage County Now on stage at the Oshawa Little Theatre, Russett Avenue Theatre Program Joe Szekeres SZEKERES SAYS… Tracey Letts’ tome-like ‘August: Osage County’ plays at the Oshawa Little Theatre. This nearly three-hour, dialogue-heavy tragi-comedy is directed by Michael Serres, who approaches the sensitive subject matter with care and compassion. He has assembled a diverse group of local actors from the Oshawa, Durham, Scugog, and Sunderland regions, some of whom have previously taken on roles in other productions of ‘August.’ There are moments when the show is dramatically effective. The dinner scene in Act 2 is one. The silence at the performance I attended indicated that the audience listened intently to the dialogue and observed the characters evolve. Individual performance levels vary, however. Some are solid, while others are still finding their footing. I’m confident these performers will continue to develop believability and authenticity as the performances progress. ‘August’ is a challenging play to stage and to watch. Serres has diligently prepared to ensure that the story’s themes of familial dysfunction, alcoholism, loneliness, and heartache resonate in the 350-seat theatre (which wasn’t full on this ACT CO adjudication night). The show’s pacing is occasionally slow, and the actors must work hard to regain momentum after scene changes. That too, I’m sure, will improve as performances continue into the second and third weeks. Running time: three hours. The show runs until February 8 at the Oshawa Little Theatre on Russett Avenue. Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back X Charlie and the Chocolate Factory Now onstage at London's Grand Theatre Credit: Dahlia Katz. Pictured: Mark Uhre as Willy Wonka Joe Szekeres "Even adults can learn life messages from stories that seemingly only appeal to children. That forgotten thought becomes abundantly clear watching this slick ‘Charlie and the Chocolate Factory’ now onstage at The Grand." I owe the memory of Roald Dahl the sincerest of apologies over these last years. I was never a fan of his children’s books and considered them odd growing up. I wasn’t interested in watching the 1971 film where Gene Wilder plays Willy Wonka, either. What an unimaginative choice to make on my part. Be imaginative, you colossal fool. This slick opening night production of ‘Charlie and the Chocolate Factory’ at London’s Grand Theatre allows audiences to return to the childhood wonder of imagination. Although the musical is not at the top of my must-see lists, ‘Charlie’ is worth doing, especially since I’ve never seen the show. There are tuneful songs like ‘The Candy Man’ and ‘Pure Imagination’. There are some glitzy dance numbers to see. Much work has gone into the Grand’s production, and it shows. But why the apology to Roald Dahl’s memory? ‘Charlie’ becomes a teachable reminder to all, youth and senior, never to lose sight of tapping into imagination at any age. I did. Sometimes, being imaginative can help cope with daily life’s complex, actual, and often harsh realities. The story focuses on a selfless and compassionate Charlie Bucket (a precocious and adorable Greyson Reign Armer at this performance) who dreams of acquiring one of the five golden tickets to tour Willy Wonka’s (Mark Uhre) Chocolate Factory. Charlie is among the last to find the ticket in a candy bar he purchases. He can’t believe his luck when it finally happens. Let’s look past this immediate gratification of childhood wants for the moment. What the young Charlie does not recognize to be his luck are the adult role models in his life who care about him. Yes, the father figure is absent. However, he has a mother (poignant moments by Melissa Mackenzie) who works hard because she knows she must do so. She loves her son very much. Although they may not be as sprightly as they once were, Charlie has his two sets of grandparents alive who love him very much: Grandma Georgina (Krystle Chance), Grandma Josephine (Barbara Fulton), Grandpa George (Salvatore Scozzari) and Grandpa Joe (a doting, adventurous David Talbot) who accompanies the young lad on the tour even though he doesn’t feel well. The other four winners to tour the factory represent deadly vices. There is the gluttonous Bavarian Augustus Gloop (Nathanael Judah), accompanied by his mother (Krystle Chance), and the petulant and greedy Veruca Salt (an over-the-top demanding Nicole Norsworthy) accompanied by her patsy of a father (Salvatore Scozzari) who gives his daughter anything she demands. We also meet the world champion gum-chewing dancing celebrity Violet Beauregarde (Mikela Marcellin), who is fascinated with fame and achievement no matter the cost. She is accompanied by her father (Aadin Church). There is Mike TeaVee (Elena ‘Elm’ Reyes), a hyper computer hacker who represents the vice of sloth. He is accompanied by his mother (Meg Buchanan-Lunn). Each of these supporting characters has their moment to shine in some terrific song and dance numbers backed by a lively ensemble of dancers. ‘Veruca’s Nutcracker Sweet’ and ‘Auf Wiedersehen Augustus’ are only two examples. When the five contest winners attend the tour, their parents must sign a dubious and unclear contract. Everyone has no idea what they’re getting themselves into. Couple this with the reality that Wonka does not appear to be what he seems to be on the outside – as the story goes on, we discover that he might be, in fact, a rather dangerous individual. Scott Penner’s set design remains visually impressive, especially in the second act when everyone finally enters Wonka’s factory. The colours, shapes, and sizes are extraordinary. Every inch of space on the Spriet stage is used to the full extent, and it works. Nothing ever appears cramped. Siobhán Sleath captures gorgeous lighting designs throughout the show with beautiful hues and tints. Sound is also vital in this production to ensure everything can be heard. For the most part, it is thanks to Brian Kenny’s work. The spoken dialogue is clear. There are moments in a few of the musical numbers where I couldn’t hear all the lyrics. I’m not concerned about this quibble; I’m sure it will be rectified now that the show is running. Cameron Fraser’s projection designs nicely transport us to another world. Skylar Fox’s magic designs are perfectly timed. Something happens in the first act that flies over the audience’s heads and just disappears. Truly outstanding to watch. Joseph Abetria’s vibrant costume designs are truly remarkable as they help delineate who the characters are. The Oompa Loompas’ costumes are only one example of Abetria’s fine choices he makes. Director Jan Alexandra Smith, Music Director Alexandra Kane, and Choreographer Robin Calvert joyfully transport the audience to another time with a knowing wink, a tuneful ditty, and a jig of a dance. I liked the introduction of The Candy Man (Mark Uhre in an effective disguise) at the top of Act One. He is an oddity who owns the local candy store. Everyone likes candy; however, Smith, Kane and Calvert cleverly use this opening scene as a teaching moment. Maintain your sense of humour when things get a bit odd in life, as they sometimes will. It’s okay to indulge in a bit of chocolate. Don’t sacrifice your health in the meantime as the contest winners do. Mark Uhre is a theatrical gem as Wonka. He dances and moves with tremendous fluidity and ease. But Uhre purposefully reveals a dark side to Wonka, as do all humans. This becomes another teaching moment. Uhre shows that some people may not appear the same on the inside when we see them from the outside. For example, when some contest winners get their just deserts for not following instructions or not listening carefully, Uhre simply gives a suggestive stare to the others of “I told you not to do that” and simply moves on as if the individual did not exist. Harsh, callous, and cold are only three adjectives that may come to mind, but they are reminders to all, as Republican Candace Owens recently told a group of entitled young college sophomores – “Life’s tough. Get a helmet.” Final Comments: Just because the Christmas/holiday season fast approaches does not mean people will not experience the challenges of daily life that we all face. They will. Yes, it’s a wonderful time of the year. It’s a filling to the belly time of year. It’s also a grim reminder that life may be harsh for some. “Charlie and the Chocolate Factory’ is that theatrical reminder of this fact. London’s Grand Theatre made a solid choice to stage this production as the holiday season approaches for its razzle-dazzle excitement of colour, song and dance. Don’t forget the critical messages lying underneath the text. Running time: approximately two hours and 30 minutes. The production runs until December 24 on the Spriet Stage at the Grand Theatre, 471 Richmond Street, London, Ontario. Call the Box Office (519) 672-8800 or visit grandtheatre.com for tickets. GRAND THEATRE presents Roald Dahl’s ‘Charlie and the Chocolate Factory’ Book by David Greig, Music by Marc Shaiman with Lyrics by Scott Wittman/Marc Shaiman Based on the novel by Roald Dahl Songs from the Motion Picture by Leslie Bricusse/Anthony Newley Orchestrations by Doug Besterman and arrangements by Marc Shaiman Directed by Jan Alexandra Smith Music Director: Alexandra Kane Choreographer: Robin Calvert Set Design: Scott Penner Costume Designer: Joseph Abetria Lighting Designer: Siobhán Sleath Sound Designer: Brian Kenny Projections Designer: Cameron Fraser Magic and Illusions Designer: Skylar Fox Stage Manager: Kelly Luft Performers: Greyson Reign Armer/Neela Noble, Matthew Armet, Kih Becke, Meg Buchanan-Lunn, Krystle Chance, Aadin Church, Barbara Fulton, Nathanael Judah, Christopher Lucas, Amanda Lundgren, Mikela Marcellin, Jamie Murray, Nicole Norsworthy, Melissa Mackenzie, Elena “Elm” Reyes, Salvatore Scozzari, Julius Sermonia, Michele Shuster, David Talbot, Mark Uhre. 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A talk with a professional artist about their career. Back Steven Elliott Jackson Looking Ahead Provided by Steven Elliott Jackson Joe Szekeres In the Covid summer of 2020, I had the opportunity to watch my first online Fringe production where I was introduced to the world of playwright Steven Elliott Jackson and his fascinating historical audio drama: ‘Sarah/Frank’. Summer 2021’s online Fringe production of his play ‘The Laughter’ featured Kate McArthur and Brandon Knox who played respectively TWO of entertainment’s biggest names in the biz, as they say – Lucille Ball and Lou Costello. What’s that adage? Three times a charm? Well, I’m certainly hoping so when I heard Steven’s latest play ‘Three Ordinary Men’ produced by Cahoots Theatre will be staged at Toronto’s The Theatre Centre in June. Steven had participated via email in an earlier Profile Pandemic series I compiled back in 2020. When I had heard about ‘Three Ordinary Men’, I wanted to speak to him again because the plot intrigued me a lot especially considering so much societal change in the last two years. More about the plot of ‘Three Ordinary Men’ shortly. And what a life Jackson’s leading right now. First off, he’s one of the jurors in the General Category for this year’s Dora Mavor Moore Awards. Wow! That would be another personal bucket wish list item for me. Steven then shared some rather humorous personal anecdotes about his involvement with the Doras which had me in fits of laughter. One thing he did say about his involvement as Juror: “I’m tougher when it comes to the General category as you really have to impress me.” Regarding the re-emergence of life in the theatre, Steven says he hasn’t been less creative because he writes A LOT. Sometimes he can come back with a play four days later. During Covid, he moved to Kitchener. He then shared another humorous moment where he heard of some writers who were uncertain and didn’t know how to proceed during this time. Steven’s response is brief, curt and to the point, but he says it best: “You’re a writer, you write. You find a way to work through it and you do it. Move on.” Covid changed things for him as Steven moved on. The theatre industry in his words: “went over to one side”. He recognizes it’s going to take some time to find stability and be realistic in the Toronto theatre scene again but followed his own advice during the pandemic and kept busy with projects. If he doesn’t have a project to work on, Steven will find one whether it be play readings or preparing for summer Fringe shows. Jackson stated how he and Cahoots’ Artistic Director, Tanisha Taitt, (who is scheduled to direct ‘Three Ordinary Men’) have a great relationship. How did the two of them meet? Tanisha was on the jury for the new play contest as part of Fringe when Steven had submitted his script ‘The Seat Next to the King’. She had picked this play as number one for her. Right after the contest, she kept thinking about the play as she loved it so much and wanted to direct it, even though she had no intention of directing a Fringe play ever again. But she did direct ‘Seat’ and, with fondness, Steven recalls how the two of them developed such a positive and healthy director/playwright relationship during the rehearsal process as he quotes: “We both get each other”. They were honest with each other; they were able to take critique from each other; they had to listen to each other and realize they may not be able to get what they want, but that was alright with him. It was during rehearsals for ‘Seat’ that Jackson recalled doing some research about ‘Three Ordinary Men’. He recalled being blown away by his research and says this story of the three civil rights activists who were murdered became even more relevant after the tragedy of the killing of George Floyd. Going forward, ‘Men’ seems to be more and more relevant for Jackson as it is a necessary story we need to see and to hear in how we bring forth social issues. He felt it and ‘The Laughter’ were both organic as their different plots are “one of coming together and connection to others who are not from the same world but must come together and do something.” That’s what Jackson likes about the theatre industry. What excites him the most about this return to live theatre (but still in Covid) is the connection and the thrill with what’s happening on stage and you forget about distractions around you. He compared the experience of being at the theatre as meditative because you become absorbed with what is playing in front of you. Steven loves plays about people dealing with stuff onstage. He loves opposites and controversial figures. He loves when audiences say about a character: “I hate you, but I understand where you’re coming from.” What fascinated Jackson when he started to write ‘Three Ordinary Men’? Everything he read mostly relayed to what happened after the murders of these three individuals and not who the people were. Yes, these events were shocking, but Steven says he wanted to know more about who these men were and what made them want to change the world in the way they were doing it. This was more fascinating to write which in turn led to uplifting messages in the script. However, Steven’s not sure if we have that same kind of energy now that these characters exude in the play. That’s something of which audiences will have to be aware as opening night approaches. It took five days to write ‘Three Ordinary Men’, a scene per night, but the last scene took the longest to complete as it was really hard. Jackson recalled writing the play at the Toronto Reference Library and tears welling in his eyes as he was typing away the last scene on his I Pad because it was so difficult as it was such a tragic ending to these men’s lives. Steven stated he was a tad naïve a bit because he didn’t realize just how strong, powerful and personal this story of the three civil right activists was for Tanisha. She is so eloquent herself, and Jackson values and respects that about Tanisha. While she’s passionate about what she believes, Tanisha can also see the sides in the story. Again, he recalled how she read the first stage direction and then called Steven saying: “You wrote a play about them; you wrote a play about them.” To which Steven simply said: “Yes, it’s the last day of their lives. That’s what the play is, and not knowing that you’re going to die.” The two of them had quite a profound moment talking about these men, the tragedy in the loss of their lives and the script itself. Steven then entered ‘Three Ordinary Men’ in the Hamilton Play Contest. He once told an aspiring playwright that if he couldn’t handle rejection in writing plays probably 95% of the time, then walk away right now. Steven followed that same advice regarding ‘Men’. He submitted it and waited to see what would happen because people will either take the play or not take it. And then he and I shared a good laugh about reviews of plays and decided that would be discussion for another evening. ‘Three Ordinary Men’ won the New Play Contest in Hamilton. Although he believes he writes a lot of American stuff, the story transcends the border. Then Covid happened and he was approached to stage ‘Men’ digitally which was a definite No for Steven at that time. He and Tanisha had no idea if theatres would be open and then considered perhaps a digital show might be possible, but ‘Men’ deserves to be seen live. It may be filmed in the future, but that’s not up for discussion right now. There was also discussion if the play would reflect Cahoots’ mandate when Tanisha assumed leadership of the company three months before the pandemic hit. Steven said his feelings would not be hurt if Tanisha felt the script could not be performed at this time. Again, Jackson spoke of the respect the two of them have for each other in not pushing each other. ‘Three Ordinary Men’ had a first reading a few weeks ago and Steven said it was glorious to hear the words read aloud. Hearing the ending crushed all of them at that first reading as Jackson didn’t believe there could be that much silence on a Zoom camera. What’s next post ‘Three Ordinary Men’? He goes right into Fringe with two shows. The first ‘The Garden of Alla’ is the story of silent film star Alla Nazimova in the 1920s and the making of ‘Salome’ and what happens to Alla, her husband and her lover. Steven calls the play a glorious time of sexual freedom that was happening before the world of censors and scandal robbed us of it. For him, there are some gloriously very different queer lives coming together and having the freedom to be who they were, not necessarily on the screen. The second ‘The Prince’s Big Adventurer’ is a kid’s show Steven wrote years ago that he has wanted to do for so long. It’s a story of a prince who is forced by his dad to rescue a princess from a tower. His dad knows his son is not good at this sort of thing, so the father hires an adventurer from the town and chaos ensues. Steven calls this one “A Gay Fairy Tale”. ‘Three Ordinary Men’ opens June 14 and runs to June 26 in The Incubator at The Theatre Centre, 1115 Queen Street West. To purchase tickets: https://theatrecentre.org/event/three-ordinary-men/ To learn more about Steven, visit his webpage: https://www.stevenelliottjackson.ca/ Previous Next

A talk with a professional artist about their career. Back Steffi DiDomenicantonio Moving Forward Jasper Savage Joe Szekeres What an enjoyable conversation I had today with the bubbly and effervescent Steffi D. who truly is thankful and grateful for the many opportunities where her career has led her. I did a bit of online research about this George Brown College student who was the fifth-place finalist in the 2006 Canadian Idol reality based show. After Canadian Idol, Steffi has performed on stage in musical theatre roles, including national tours of Spring Awakening and in 2013 she received a Dora Mavor Moore Award nomination (similar to the Tonys) for best actress in a musical for her appearance in Toronto’s Young People’s Theatre production of Rodgers and Hammerstein’s ‘Cinderella’. Steffi also has a recurring role in the forthcoming television series ‘Crawford’. Steffi currently appears in the Toronto production of ‘Come from Away’. We conducted our conversation via Zoom: It has been an exceptionally long six months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? Uh, ok, I feel like this is tough because I feel as if we knew this moment was coming that the case numbers were going to spike again. I feel nervous, I feel a little bit anxious. When this all started I don’t think any of us thought we’d be sitting in our houses six months from now. When I got a text message from my Stage Manager on March 14 saying “Hey, don’t come into work today.” Who knew that it was literally to be six months from that moment? I don’t think anybody knew that was going to happen. I will say the one thing that makes feel a little bit more at peace when it comes to this is the entire world is going through the exact same thing. Everybody is in the same boat right now; everybody is going through the same thing. I guess, as far as this goes, yes, it’s unnerving the numbers are going up. But again, I feel as if more and more we need each other whether it’s over Zoom, either six feet away on a walk. A new way of living? Hmmmm…well I will say what seems unlikely right now. Giving someone either a hug or a handshake when you meet them sounds like it’s going to be a thing of the past. I think that’s really stressful and sad because we don’t get to connect in the same ways that we used to be able to connect for so so long. It’s going to be a little bit odd as we’re going to have to re-adjust the way we think of things. Who knew when cold and flu season rolled around, nobody thought to wear masks and not to get sick. Everyone was just rolling with the punches, get your flu shot. Honestly, I will never take my health for granted ever, ever again. How has your immediate family been doing during these last six months? My immediate family has been doing okay. My father is a radiologist so he’s still going to work at the hospital. My mom is technically retired now so she’s been spending a lot of time at home. My brother is a gastroenterologist and he’s working. As you can see I come from a family of a lot of doctors so all of them have still been going to work. I think everyone has been feeling okay. We had a bit of a scare. My grandmother is in a long-term care home. There was an outbreak there. Thankfully, she was totally fine so knock on wood that remains the case. I think everyone in my family has been really responsible so that’s good. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Okay, I feel like they go hand in hand those two things, personally and professionally. Specifically, it’s a big lesson I’ve had to learn during this time is that I think Covid made me realize that I’m so intertwined with my job and my career, and performing is so much a part of my identity that I feel like it’s been really hard to be forcefully separated from that during this time. And understanding who I am without performance and who I am without my career being the biggest part of me. I think that’s been a really challenging thing for me to understand that I’m a person outside my job and what I do. It’s been an interesting and fascinating journey to go ‘Who am I underneath all of this?’ Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I had booked a contract that didn’t end up happening because it was supposed to be on camera. Unfortunately, I can’t disclose what it was. Other than that, ‘Come from Away’ has been my bread and butter for the past three years. We had done 850 shows at that time we stopped. Honestly, who knew it was going to be such a hit? I’ve loved every moment of being a part of ‘Come from Away’ and telling that story. I realize how deep of a void it has left when we weren’t able to continue on with the show. What have you been doing to keep yourself busy during this time? Well, that’s a great question. There has been a lot of things going on. At the beginning of all this, I actually was having a pretty nice time. I caught up on things I haven’t had time to do because being at the theatre eight times a week is grueling, demanding. You have to be responsible. When we had this big intermission and this big break, I thought to myself, ‘Hey, why not do some stuff that I’ve always wanted to do that I haven’t had time to do.” So I actually learned how to cook a little bit which is something I’ve never learned how to do. I can make a mean coconut cream pie now. I’ve made a great pasta sauce and chili to name a few things. I also re-decorated my apartment. I decluttered my entire place from head to toe. I took all the time in the world to go through every cupboard, every drawer, every closet, everything. One of the biggest things I’ve done is start this online talk show with the stage manager of ‘Come from Away’. Her name is Lisa Humber. And we started this online talk show called ‘Check In from Away’ where every week, every Tuesday, a new episode comes out on the Mirvish You Tube Channel. We interview different artists, people who work backstage about what they’ve been doing during the pandemic, other shows they’ve worked on at Mirvish, their favourite memories, what they miss the most about theatre, stuff like that. I have to tell you it was a saving grace for me to remain creative in some kind of way and also to connect with people whom I’ve met and there are some whom I haven’t met which was really cool. This has been my biggest project. We’ve released 17 episodes so far, so it’s been keeping us busy, but I’ve been grateful for it. 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? Ooooo, this is a tough one…I’ll start with the theatre grads… I feel so bad for the theatre grads because it must be so anti-climactic to graduate school and to literally walk out into a global pandemic and not be able to do what you love the most. I can’t even imagine. I’ve been so lucky to be able to do this for many years and the void that I’m feeling in all this is huge. Words of wisdom? Honestly, just try to stay sane, and try not to drink too much. I realize there’s not a lot to do some days, but we do have to keep our wits about us a little bit and whatever that means to you, keep connected to others around you, how difficult or annoying it might be over technology. And stay creative in some way. Find a little project, something to read, honestly anything to keep your mind exercised. It’s been difficult to keep the acting and singing chops alive if you’re not performing and can’t be on stage. Do you see anything positive stemming from Covid 19? Yes. I think a lot of things, actually. I think the world right now is literally and figuratively on fire. I feel this is an amazing opportunity with the social movements, the racial movements that really good things will come out of this. Since there has been so much time at home, we’ve had time to think and a lot of discoveries have been made that didn’t have the space to happen when everybody was in a ‘busy body’ kind of world, always hustling and moving. When you take away all that ‘busyness’, you realize what things are really important, and I know that’s happened to me. This pause in the world was also good for me for people to do a lot of self discovery of the world, other people. We’re learning to understand each other and I think things will be better at the end of the day when we come out of this and hopefully no more casualties. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? I feel optimistic that people will be creative and find ways. This is what I hope, my dream and hope is that people will want to connect with the performing arts even more than they did before. After sitting home and finishing Netflix, I’m sure everyone is going to want to see a live performance or a musician playing or a concert, or a musical or a play. I’m just going to leave it at that because there’s no point in focusing on the negative as I’m an optimist. There’s plenty of negativity going around. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? That’s a very interesting debate you just mentioned about some artists doing whatever it takes and those who say they will wait until they return to the theatre safely. Honestly, I’m all for whatever makes people feel happy, comfortable and creative. So if an artist wants to stream their work, that’s amazing to give people an opportunity who may not have that opportunity or the funds to go see a show, or a concert or a musical to access their stuff online. I think that’s incredible. I will say the only thing that sucks about Covid is theatre is all about live audiences and feeding off reactions and hearing laughter and tears. I find that’s the thing that suffers the most with streaming. Unfortunately, streaming doesn’t give you that instantaneous rapport and relationship with the audience. That’s a shame and that’s what I miss about theatre so much. Film and tv are fine but you don’t get the instant gratification that you get when you perform live. To be compensated properly for an artist’s work is an interesting debate I can see why this would divide people. If you’re volunteering your talents and feel comfortable and happy with that, I think you need to follow your gut and your intuition. If you want to share something and have a story to tell, by all means do it. Obviously, compensation is nice when it happens, but I think that’s a case by case decision basis. It depends on the project, the artist and what’s at stake. I can’t put a label on it either way because there are different outcomes of some of these projects. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Covid will never ever destroy my undying musical theatre nerd love for all things theatre. I’m a huge musical theatre nerd, I’m a theatre nerd. Nothing will ever replace the feelings that I have felt sitting in an audience with a programme in hand waiting for the production to begin, hearing the orchestra tune, seeing the performers enter the stage. It’s really un replicated. You can replicate that feeling anywhere else, just the feeling of the lights going down, a story beginning. For a couple of hours, you get to follow another story, forget any baggage you may have brought to the theatre, you can laugh, cry, whatever it makes you feel. It’s just solidified my undying love for theatre. Truly. I miss it so much every day. I will never ever take it for granted ever again. The moment I will have the chance to walk into the Royal Alexandra once again to tell the story of ‘Come from Away’, I will weep tears of joy and relief and sadness. I’m just going to be the happiest girl when that happens. You can follow Steffi on Twitter: SteffiD3 Myspace.com/SteffiDBowPower Previous Next

Where we hope to help young people develop an intrest and a passion for a futrure in theatre. Back 'Celestial Bodies' by Jacob Margaret Archer The Studio at Toronto's Young People's Theatre Jimmy Blais Joe Szekeres A challenging dramatic monologue of body imaging which is difficult to discuss, ‘Celestial Bodies’ is treated with the utmost care, dignity, and respect for the human person. Young People’s Theatre once again handles youth issues with care, class, and dignity for the human person. Produced by Montréal’s Geordie Theatre, ‘Celestial Bodies’ becomes a hard-hitting, poignant tale of a young girl entering high school who becomes self-consciously aware of her diverse body image and how she appears different from others. But, though, when we look at the galaxy and the universe, there are diverse shapes, bodies and sizes that are beautiful and extraordinary in their own unique way. As a retired 33-year schoolteacher, I will admit this is an issue which truly hasn’t become any easier to discuss with young people. If anything in our social media age, some young people become fixated on maintaining the perfect body image to the point of health and relationship issues with others. Protagonist Stella is what I will call the normal teenage girl from my years in education – a fast talker because she’s trying to relay as much information as she can and how she is feeling about it. At the beginning of the story, she is sitting in a hockey locker room deep breathing to calm herself down after a panic attack. To calm herself down, Stella shares with us she is interested in the galaxy and dreams of becoming an astronaut. Whenever she feels panicky, she imagines she is wrapping herself up in the universe and the galaxy and this seems to calm her nerves. Stella is at the pharmacy with one of her two mothers conversing with the pharmacist about weight gain. Her mother Imma who is overweight is very warm and accepting while her other mother, Andie, was a former Olympic hockey player from the Turin Olympics who is always giving pep talks to her daughter. She’s going into Grade 9 and like any other young person going into high school wants to fit in. She tells us about a boy who was in her French class in Grade 8 and used to wink at her when he handed out the homework. Stella took a fancy to his winks and hoped more would come from this connection he made to her. Going into Grade 9 poses its new set of problems. The boy who used to wink at her in Grade 8 is now very mean to Stella. He and another girl end up throwing a yogourt cup at the back of Stella’s head. She leaves the room with her dignity intact but loses her composure in the bathroom as she’s trying to get the yogourt out of her hair. A girl, Essie (who is different from the others at the school) comes in to help Stella wash the blueberry yogourt of her hair. They later become friends. Essie encourages Stella to become part of the hockey team with her brother, Noah, whom Stella calls a cute guy. Noah learns of Stella’s interest in the galaxy. The next day, when she is at school, Stella’s science teacher makes a comment about her size and her wanting to become an astronaut which he realizes afterwards was a huge error on his part, but the damage inflicted through words is already done. While in the cafeteria, bullies start taunting Essie and Stella once again and throw another yogurt cup. Because Stella has been practicing goalie moves, she captures the yogourt cup, and tosses it to Essie who then flings it back at the bullies. Essie and Stella are then given detentions even though they are the ones who did not start this teasing incident. A staff-student hockey game in which Stella participates becomes a high point of interest where she maintains her dignity about herself and her place in the world, including the galaxy. As Stella, Riel Reddick-Stevens remains most believably and consistently grounded in the moment and very real in her performance of a young girl who is confronting so much stuff in her life. She never ventures into tears or overacting but allows the words of the monologue and their meaning to speak for themselves. Director Jimmy Blais envisions this story with dignity and compassion for all diverse body individuals because he writes in his Director’s Note: “This play hits home for me and for whoever has struggled with body image.” Thank you so much for your candour, Jimmy. Tim Rodrigues’s lighting design fluidly moves from shadows to warmth with ease from scene to scene and from moment to moment naturally. The multitude of colour hues from the galaxies has been effectively captured on stage. I especially liked Eo Sharp’s set design. On the floor are pictures from the galaxy where there are pictures of planets from space. Reddick-Stevens believably moves from around the Studio playing space sometimes while standing on a planet or at other times in the middle of the galaxy. Reddick-Stevens also maneuvers around the stage in what looks like three mushroom stands. You’ll see them in the picture above. These set pieces are quite effective in providing an interesting visual perspective because nothing in the galaxy ever appears the same. Things are constantly changing shape and size continually. As Blais says in his Director’s Note: ‘We are like stardust’. Final Comments: As a 33-year retired schoolteacher, I would heartily recommend ‘Celestial Bodies’ as a trip for elementary and secondary students, first as an opportunity to discuss with students the importance of self-care, self-image, accepting and loving ourselves in the way we have been formed. Second, this is an extraordinary performance to watch a recent theatre school graduate share a story that gripped the attention span of the young audience members I saw around me. Running Time: approximately 60 minutes with no intermission. There are some Q & A after the performance so check when you purchase tickets if you are interested. ‘Celestial Bodies’ runs until December 9 in the Studio at Toronto’s Young People’s Theatre, 165 Front Street East, Toronto. For tickets, call 416-862-2222 or visit youngpeoplestheatre.org. ‘Celestial Bodies’ by Jacob Margaret Archer Produced by Geordie Theatre Directed by Jimmy Blais Set and Costume Designer: Eo Sharp Lighting Designer: Tim Rodrigues Design Assistant: Sorcha Gibson Production Manager/Technical Director: Aurora Torok Stage Manager: Annalise Pearson-Perry Performer: Riel Reddick-Stevens as Stella Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Spit' by Noelle Brown Presented by Here for Now Theatre at Falstaff Family Centre, Stratford, Ontario Cover artwork by Marion Adler Joe Szekeres An enthralling production of genuine and honest emotions that cut deep to the heart. Only four more productions remain of playwright Noelle Brown’s extraordinary riveting work performed by three tremendously talented artists and directed with uber dignity and compassion by Seana McKenna. I’m still in astonishment at what I’ve just seen. Sisters Nicole (Seána O’Hanlon) and Jessica (Siobhan O’Malley) have just returned from their mother’s funeral. This is Nicole’s home in Cork, Ireland. They are doing their best to keep their emotions in check with each other as it has been an exhausting day. Eldest Nicole starts sweeping the floor to help her pass a few minutes while Jessica removes her black dress to reveal she wears yoga clothes and proceeds to do some yoga to help her relax. Jessica puts on ethereal-sounding music much to Nicole’s chagrin who then brings out a dust buster to drown out the music. We are then introduced to Alannah (Fiona Mongillo) who begins speaking to the audience about some of the discoveries she has made concerning DNA and all it entails. It’s not made clear to me whether Alannah is giving a lecture or a presentation. As the plot unfolds, Nicole and Jessica learn Alannah is their half-sister. Before their mother passed away, she had been communicating via email with Alannah who found her birth mother through one of those DNA test kits where one simply ‘spits’ (thus the name of the title) into a tube and sends it away for analysis. Depending on whether there is a match somewhere and people make the connection, lives can be forever changed depending on the outcome. This performance opened my eyes wide to an important issue to me. Before the performance begins, make sure you read the important historical information in the programme about Mother and Baby Homes in Ireland. I am ashamed to say I had no contextual knowledge of these horrible institutions and the Catholic Church’s involvement in these homes where many young women were horribly mistreated in surrendering their babies for adoption. It is here where Nicole and Jessica learn about their mother giving birth to Alannah in one of these homes. A few telephone voice messages from their Aunt Alice (I thought I recognized Seana McKenna’s voice) concluded all that Nicole and Jessica needed to know about Alannah and why she was at Nicole’s home. Before the production began Cyndi Lauper’s ‘Time after Time’ played, and I wondered what the connection between the song is and what I was about to see. Trust me it does make complete sense. I made a few quick notes in my book on Bonnie Deakin’s realistic-looking living room. When O’Hanlon and O’Malley entered the scene and I watched both magnetically capture the tension of the moment at the top of the show, I closed my notebook, put it down and just watched, experienced, and breathed in the very human element of the moment. Absolutely captivating and a joy to watch three skilled actors who were always in complete emotional control. They never ventured into histrionic or uncontrollable weeping or unbearable shouting but simply let the words of the dialogue speak for themselves. And these words cut deep into the heart. The fluid and natural pacing of the scenes are seamless. I cared about these three women, and I listened to and heard their stories told with passionate conviction. Final Comments: I’m staying at an Air BnB here in Stratford and was telling the homeowner about this production. I think I may have encouraged her to see this production. She then proceeded to tell me about the Magdalene Laundries in Ireland that were run by Catholic orders. Again, I am ashamed to say that I had no knowledge about these horrible atrocities and I’m going to have to learn more about them. I’ve been reading some reviews posted that are calling productions CRITIC’S PICK. I’m calling ‘Spit’ one of my picks. See it before it closes. The production runs approximately one hour with no intermission. ‘Spit’ runs to Sunday, September 4 at the Falstaff Family Centre in Stratford, 35 Waterloo Street. For tickets, visit www.herefornowtheatre.com or call 519.272.HFNT(4368). ‘SPIT’ by Noelle Brown Director – Seana McKenna Stage Manager – Patrice Bowler Lighting and Sound Designer – Stephen Degenstein Costume and Set Designer – Bonnie Deakin Cast Nicole – Seána O’Hanlon Jessica – Siobhan O’Malley Alannah – Fiona Mongillo Previous Next

Community Theatres are uniquely diffrent from professional and Equity based companies, but are important to society Back 'You're a Good Man, Charlie Brown' staged by Scarborough Music Theatre Now onstage at Scarborough Village Theatre Tinglesnaps Photography Joe Szekeres A polished and glistening opening night performance delivered by a gelled ensemble of players who get the humour and nostalgia of the piece. What a terrific choice Scarborough Music Theatre made in selecting ‘You’re a Good Man, Charlie Brown’ to open its 2022-2023 fall season. The COVID pandemic has wreaked so much havoc on our lives these last two years so hearing such heartwarming and nostalgic statements as “You have a little brother who loves you” and “Pleasant day, pretty sky…” certainly put a spring in my step as I exited the Village Theatre. For a musical that has no running narrative throughout and must rely on slice-of-life vignettes and song and dance numbers to carry through the two-hour-plus running time, this tightly knit ensemble of players delivered a polished and glistening opening night performance that left a smile on my face last night and this morning. I saw a few children in the audience, and I would most certainly recommend this production as a family outing. What makes this story work so well in the twenty-first century and worth a visit to the theatre (or perhaps a repeat if you’ve seen it before)? ‘You’re a Good Man, Charlie Brown’ explores our humanity through the eyes of kids. For me, the musical becomes nostalgic to watch adults playing these kids and the emotions we thought would destroy us back then. Sergio Calderon finely directs the production with subtle nuances of compassionate care because he states in his Programme Note: “Peanuts has had a global and universal impact on people of all ages and backgrounds. These characters have been a part of our lives and have made an indelible mark on our cultural landscape.” William Corcoran’s set design made me feel as if I had entered the world of Saturday or Sunday morning comic strips thanks to the muted brown squares on the stage floor, the bright red colours of Snoopy’s doghouse and the terrific two-dimensional cut-out designs of the six characters. What worked extremely well visually at the top of the show was having the characters stand by their cut-out designs as they spoke to the audience about Charlie Brown. A slight (and remember it’s only that) quibble - we don’t see these designs again. So much work has gone into the design of these cut-outs. It’s the two-dimensional characters that will remain permanently etched in our minds and I was hoping we might have seen these cut-outs once more near the end of the show. Music Director Miguel Malaco magically captured the humour, the heart, and the nostalgia within the lyrics. I’m a stickler if I can’t hear the lyrics to the songs and I believe it’s important to point it out if need be. That doesn’t happen here thankfully so kudos to Sound Designer Sidnei Auler. Sabrina Hooper’s choreography becomes a natural extension of the song lyrics, and it made sense to me the characters would move in that particular manner. Heather Hyslop’s costume designs are picture-perfect three-dimensional re-creations from the Peanuts series. Some of Maunique Jacklin’s oversized props are faultless – for example, Charlie Brown’s oversized lunch bag he places over his head when he thinks the little red-haired girl is looking at him from across the yard during lunchtime. David Buffham’s outstanding lighting designs impeccably highlight the comic strip’s three-dimensional world the audience has entered. The cast remains primo. Each of the six characters is given their own moment to shine alone on stage for their 11 o’clock number. There are also some priceless gems of choral ensembles worth noting - ‘The Book Report’ and ‘T-E-A-M (The Baseball Game). While the former offers some amusing comments about the state of education, the latter makes a sometimes-ironic commentary about what happens in community effort by children, and the grownups who play them. Community effort does not necessarily mean everyone will abide by it. Hayley Finewax is deliciously crabby and boisterously loud as perennial fussbudget Lucy Van Pelt. As her highly intelligent little brother, Linus, Aidan Ross becomes that necessary eternal optimist we all need in our lives when daily life struggles are a burden. But even optimists still need their familiar sense of comfort in knowing things are going to be all right. That’s why Ross hits the various levels of understanding this in ‘My Blanket and Me’. Yes, Linus knows he will grow out of his security object, but human nature tells us that sometimes we look for things to provide us comfort when life’s burdens become heavy. Jeremy Cook’s piano prodigy Schroeder comically reveals his commitment-phobic nature as he intently believes that music must always come first in his life. This is solidly revealed as Finewax serenades him in ‘Schroeder’ and the look he gives her as he finishes playing the piano says it all. Patricia Mongeon’s Sally intently and firmly becomes that sibling who wants to come out from under the shadow of the older brother and show how different she is from him. She knocks it right out of that proverbial ballpark with her second act number ‘My New Philosophy’. Chandler Coish is a serenely lovable Charlie Brown who does his best not to allow his emotions to get the better of him even though he is aware of his awkwardness among the others. I heard so many heartfelt ‘awwws’ from the opening night audience (yes, I’ll admit I didn’t say it aloud but I heard myself thinking it) that, if we could, we would have gone up on the stage to give Coish a hug. As an energetic and agile Snoopy, Charlie Davidson becomes riveting to watch at the top of Act 2 with his World War One Flying Ace in search of The Red Baron. Absolutely magical to watch Davidson on top of the doghouse roof that moves up and down and side to side while we imagine we are flying along with him in his Sopwith camel. Davidson’s eleven o’clock number ‘Suppertime’ becomes a viable Las Vegas revue solo act which then turns into a revival meeting at a Gospel church. Incredible fun to watch. Final Comments: An absolute treat of a welcome back gift of theatre to the community. This ‘You’re a Good Man, Charlie Brown’ is one you must try to see. Running Time: approximately 2 hours and 10 minutes with one intermission. ‘You’re A Good Man, Charlie Brown’ plays until November 19 at Scarborough Village Theatre, 3600 Kingston Road, Scarborough. For tickets call the Box Office at (416) 267-9292 or visit theatrescarborough.com for more information. YOU’RE A GOOD MAN, CHARLIE BROWN presented by Scarborough Music Theatre Based on the comic strip Peanuts by Charles M. Schulz Book, Music, and Lyrics by Clark Gesner Additional Dialogue by Michael Mayer Additional Music and Lyrics by Andrew Lippa Producers: Olivia Jon and Dot Routledge Director: Sergio Calderon Music Director: Miguel Malaco Choreographer: Sabrina Hooper Costume Designer: Heather Hyslop Properties Designer: Maunique Jacklin Lighting Designer: David Buffham Sound Designer: Sidnei Auler Stage Manager: Amanda Cook Orchestra: James Quigley/Adam Weinmann, Gemma Donn, Ezra Sherman, Matthew Wong, Tyler Reznick Performers: Chandler Coish, Hayley Finewax, Aidan Ross, Patricia Mongeon, Jeremy Cook, Charlie Davidson Previous Next

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

A deconstruction of an individual's story. Back Review: BOY FALLS FROM THE SKY David Mirvish and Past Future Productions Cylla Von Tiedemann Joe Szekeres A charismatically charming Jake Epstein makes this ‘Boy’ soar past the rafters of Toronto's Royal Alexandra Theatre. I’m probably one of the very few who never watched the Degrassi series with Jake Epstein and a whole bunch of young talent. True, there were moments when I was teaching back in the 90s where I was aware of some youth issue the kids were talking about from the show and perhaps, I may have caught a mention of its message from that highly regarded bastion Entertainment Tonight (it’s okay to read sarcasm here). Or, I may have listened as the kids talked about the episode at school. So, I never knew of Jake. When I began reviewing, I did hear of his name and that of his older sister, Gabi, whom Jake affectionately and playfully mentions in this impressive solo show backed by three hardy musicians (Musical Director, David Atkinson, Lauren Falls and Justin Hall) who look as if they’re having a great deal of fun. Jake surely was having fun from what I could see. In the programme artist note, he calls ‘Boy Falls from the Sky’ a revealing solo show when it first made its appearance at the Toronto Fringe Festival. The title refers to a song from the controversially doomed for so many reasons Broadway show ‘Spider Man: Turn Off the Dark’ in which Jake appeared as central character Peter Parker. Once again in the programme, Jake stated the metamorphosis of ‘Boy’ started with a question: what do you do when life disappoints you? Well, Jake, it might be an over used and tired adage, but from hearing what happened to you in the lows of disappointments, you kept going. I respect that tremendously. And what of ‘Boy Falls From the Sky’ and its opening night at Toronto’s Royal Alexandra? The youthful, boyish, lanky Epstein is one helluva classy artist, fine showman and arresting entertainer. His humble performance style radiates brightly as he shares some strong life lessons in the business he obviously carries forward to this day without any remorse or regret. Developed with attention and directed with insightful theatrical vision by Robert McQueen, Epstein’s engaging script beautifully comes full circle where I felt that everything that needed to be said about Jake’s journey was shared with us. For those who may not consider themselves theatre-oriented, ‘Boy’ still speaks universally. We’ve all had jobs in our lives where we kept wondering if we should quit or not. We’ve all faced disappointments in our jobs and careers. And we’ve all encountered those individuals and their quirky idiosyncrasies who make the job memorable. Brandon Kleiman’s split level set design fits the Alex stage perfectly. The floor is diamond shape where Epstein steps off periodically and walks along the apron to speak with us. It appears as if we are in a dressing room of a theatre somewhere. Centre stage is the dressing room door entrance. Epstein can climb a ladder to get to the top level of the set where there are music stands and theatre posters. The musicians are located on Stage Right. Far stage left is a table where I thought a saw a coffee maker as a prop. There looks as well to be a water container. Two guitars are found just in front of the small staircase leading down – one electric and one acoustic. Amber Hoods’ lighting design creates a warm, intimate environment as Jake makes full use of the playing space. Musical theatre lovers are sure to enjoy the pre-show music ranging from Ethel Merman to Barbara Streisand. As the lights came down and Babs’ ‘Don’t Rain on my Parade’ quietly faded out, the lady next to me whispered quietly how she felt what a great song to introduce the show. Clad in bright white sneakers, blue jeans and what I thought was a claret reddish looking t shirt, Jake enters at the top of the show without any fanfare at all. From where I was sitting, I saw him enter from backstage through the door on the set, but it all appeared natural looking to me as if Jake was coming from somewhere. There was no spotlight when he entered. When Jake went over to the pianist to talk momentarily, the applause started. He gave that youthful beaming smile to the audience, picked up his guitar and started with the iconic ‘Razzle Dazzle’ from the blockbuster Fosse musical ‘Chicago’. And for the next 70 minutes, Jake did just that. He razzled dazzled in regaling us with moments from auditioning for the touring companies of ‘Spring Awakening’ and ‘Green Day: The Musical’ to his first production of 'Our Town' at the Royal Alexandra Theatre and then 'Oliver' at the Princess of Wales. We learn about some of Jake's voice issues while on tour and what life was like on the road for an actor in a touring company where it’s not all sunshine and autographs. Epstein also refers to some big Broadway names in the business today and two hysterical situations which left this theatre lover and my guest in laughter. Absolutely fascinating to hear and to watch. It was Jake’s work in two Broadway sit down shoes that are personally compelling for me – his time in ‘Spiderman: Turn off the Dark’ (of which Jake says his mother was so pleased when he left the show) to his turn in the creation of Gerry Goffin, Carole King’s ex-husband in ‘Beautiful: The Carole King Story’ and the process of what ensued during rehearsals, discussion with Ms. King herself and what she asked of Epstein regarding Goffin's portrayal and the opening of a new musical on Broadway. I saw the first disastrous production of ‘Spiderman’ several years ago, and not the version in which Jake appeared so I could make a connection from what I remember. My sister and I saw Beautiful at the Princess of Wales a few years ago and were moved by so many moments. Epstein becomes “un raconteur extraordinaire/an excellent storyteller” as the plot progresses. All the while regaling us with these stories, one of Epstein’s artistic strengths as a performing artist is this inherent sense in just knowing when to use facial expressiveness with his eyes for emphasis or the campy jazz hands which evoked laughter after he shared one dramatic detailed moment where he learned that perhaps the business might not be for him. Final Comments: Musically charged with vivacity and performed with verve and élan, ‘Boy Falls From the Sky’ becomes that show we all need to see and hear as we emerge from the last three years. An absolute treat. Get to see it. Running Time: approximately 70 minutes with no intermission. ‘Boy Falls From the Sky’ runs to May 29 at The Royal Alexandra Theatre, 260 King Street West, Toronto. For tickets: www.mirvish.com or call 1-800-461-3333. BOY FALLS FROM THE SKY David Mirvish and Past Future Productions Written and performed by Jake Epstein Music Supervisor by Daniel Abrahamson Developed with and Directed by Robert McQueen Set and Prop Design by Brandon Kleiman Lighting Design by Amber Hood Sound Design by William Fallon. Stage Management by Collette Berg, Erika Morey Music Copyist by Jake Schindler Voice, Speech and Accent Coach by Julia Lenardon Production performed by Jake Epstein, David Atkinson, Lauren Falls, Justin Han. Previous Next BACK TO TOP

Where theatre is not only presented on the stage. Back The Secret to Good Tea Now on stage in the Spriet Theatre at London, Ontario's Grand Theatre, 471 Richmond Street Credit: Dahlia Katz. Pictured l-r: Marsha Knight and Michelle Bardach Joe Szekeres “A play that shines in its oral storytelling. Marsha Knight is luminescent as Maggie Mooswa.” I’ll admit that when I heard the title of this play, I wasn’t sure whether I wanted to attend. When I taught high school English, the boys in Grade 12 and OAC who had to read ‘Jane Eyre’ and ‘Wuthering Heights’ used to call these classic tales ‘Chick-lit.’ To those of us who are literature lovers, that's an unfair label, but that’s what high school boys do. The girls had no problem with literature. Would ‘The Secret to Good Tea’ be considered another example of ‘Chick-lit?’ Mea culpa. I’m wrong on that account. Playwright Rosanna Deerchild’s ‘Tea’ addresses an issue Canadians need to understand and reconcile fully—the horrors of residential schools and their role in Canada’s history. The play opens with well-known radio host Gwynn Starr (Michelle Bardach) visiting her widowed mother, Maggie (Marsha Knight), for tea and bannock. This ritual has become part of the mother and daughter’s routine. Gwynn has been hosting a radio series of stories detailing the experiences of residential school survivors. She would like her mother to be part of a healing gathering for these individuals. Maggie is reluctant to join this healing circle because she has had nightmares about her time at the school. In these dreams, she is visited by the Crow (an incredibly stunning solo dance movement by Emily Solstice Tait). Gwynn keeps insisting her mother deal with her past, but Maggie would like to " leave the past in the past.” Gwynn does not have fond memories of her deceased father, George, an alcoholic who beat up his wife and daughter. Maggie also had an alcohol problem but has been sober for years. John Joseph (JJ), an unseen brother, left because of these problems. Gwynn and Maggie’s relationship also appears to run hot and cold. Additionally, Gwynn’s marriage to her lawyer husband, Michael (James Dallas Smith), is on the rocks. Michael has had an affair with his executive assistant and left his wife and their two unseen daughters, Ruby and Lucy. Gwynn’s boss, Mr. Big Chief (solid work by Jeremy Proulx), pressures her to have Maggie appear on the radio show. Big Chief insinuates some hurtful and unprofessional remarks to Gwynn. likes to do things his way at work. The one person Gwynn turns to during these troublesome times is her best friend, Nicki (Kelsey Kanatan Wavey). They worked together at the radio station for a few years, but now Nicki is a news reporter. Maggie sometimes says some awful things about Nicki’s sexuality and personal life. There are some wonderful, eye-catching visual creations of the set building and painting courtesy of the Grand’s scenic art team—a comfortable-looking, well-worn kitchen setting with lush green foliage behind greets the audience during the pre-show. Cande Andrade’s video and projection designs of Maggie’s nightmares serve as horrific reminders of what the children most likely had endured in these schools. At the beginning of Act 2, a wooden teepee is constructed courtesy of the entire cast (and a few stagehands). The teepee becomes increasingly fascinating to watch as it is pieced together. The way the ensemble got the structure intact through ropes and joints on the floor is impressive. Tim Rodrigues’ lighting and Olivia Wheeler’s sound designs hauntingly re-create the fear and the horror the young Margaret would have experienced at the school. Rosanna Deerchild’s telling script is brought to life under Director Renae Morriseau’s adept and insightful navigation of the play’s subject matter. Tea’s first act sets the plot in motion as usual. As radio show host Gwynn Starr, Michelle Bardach speaks her mind. She’s direct, especially when she tears into Michael about his marital infidelity. Yet, Gwynn’s patience is also tried many times regarding her husband and mother. She lashes out at Michael, and rightly so, for his indiscretion. Gwynn tries to be calm and reassuring for Maggie, yet her discussion with Mr. Big Chief about her job and mother puts her at odds. Bardach remains grounded in truth. She never allows her emotional level to veer out of control. James Dallas Smith effectively plays the husband who got caught. Smith adeptly uses his physical stature several times. There are moments when he seems to realize that his infidelity is wrong, and he looks as if he has his tail between his legs. Yet, there are also moments when Smith conveys that the relationship between him and Gwynn may have faltered and needed work. I’m not saying the character's actions are justified in having an affair. However, Smith highlights that communication is vital between husband and wife. Kelsey Kanatan Wavey’s Nicki is forthright in performance as Bardach. There’s some terrific, quick banter between Wavey and Marsha Knight in the second act. On a personal note, I have a minor quibble regarding the script by the end of the play. Gwynn and Michael’s relationship seems to be wrapped up a bit too neatly. It’s a small issue but might warrant another look in future revisions. The second act is where the production shines, and it is far different from the first. After Maggie and Gwynn’s arrival at the healing grounds, the raising of the teepee, and the smudging, the act becomes more of an oral storytelling staging. It’s an intriguing dramatic technique, and Director Morriseau takes full advantage of it. Marsha Knight is luminescent in the second act. I trusted her completely as she began to tell of the frightening events that had happened to her at the residential school. Knight remains purposeful in her storytelling narration. She pauses periodically to allow the audience to ponder what she just said before moving on to the next event. When I taught high school English and during my undergraduate years, I recall reading what was then called the Bible of Canadian Literature: Margaret Atwood’s ‘Survival.’ Over forty years ago, as an undergraduate, we had to explore novels and short stories that focused on survival. ‘The Secret to Good Tea’ is not a story of survival. It is a story about what Canadians must do to ensure that the atrocities that occurred regarding residential schools never, ever happen again. ‘The Secret to Good Tea is not a play or story that is placed on the shelf once it has been performed. ‘The Secret to Good Tea’ must be performed again and again. I still have so much to learn about what happened. Running time: approximately 2 hours and 20 minutes with one interval/intermission. ‘The Secret to Good Tea’ runs until March 8 on the Spriet Stage at London, Ontario’s Grand Theatre, 471 Richmond Street. For tickets: grandtheatre.com or call the Box Office (519) 672-8800. GRAND THEATRE in co-production with NATIONAL ARTS CENTRE INDIGENOUS THEATRE present ‘The Secret to Good Tea’ by Rosanna Dearfield Directed by Renae Morriseau Costume Designer: Yolande Skelton Lighting Designer: Tim Rodrigues Sound Designer: Olivia Wheeler Video/Projection Designer: Cande Andrade Fight Director: Anita Nittoly Stage Manager: Suzanne McArthur Performers: Michelle Bardach, Kelsey Kanatan Wavey, Marsha Knight, Jeremy Proulx, James Dallas Smith, Emily Solstice Tait Previous Next

A talk with a professional artist about their career. Back Dianne Montgomery Looking Ahead MPMG Arts Joe Szekeres Dianne Montgomery is a Toronto-based tap dancer, choreographer, and composer who will present the world premiere of her commissioned work 'Softly Losing, Softly Gaining' which she has choreographed and composed. Her work will be performed at Meridian Hall, on October 6-8 as part of Fall for Dance North Festival. The show was to have first premiered in 2020 and then in 2021. She considers performing her work on these evenings an honour and joy to be supported amid such powerful offerings. Given so much change over the last two-plus pandemic years, Dianne is appreciative of feeling respected and included by the Fall for Dance North team as she senses they want the best for and from the performers. What struck me the most about our conversation was Dianne’s frankness in sharing her vulnerability as an artist. She feels quite an emotional attachment to the premiere of ‘Softly Losing, Softly Gaining’ as she sensitively compares it to the intimate act of giving birth to her work. Finding that vulnerability requires and encourages her sense of self and soul, particularly in the experiences of the last two years. Montgomery feels a deeply renewed sense of responsibility to bring heightened senses and awareness of her work to audiences, especially to those who may have felt a sense of isolation during this time. When I inquired where Dianne completed her studies in tap dance, I learned something that I hadn’t realized about the art form. It is not just a three-to-six-week lesson twice a week with a recital at the end. Tap isn’t structurally built in a way where there is a particular school where to study tap for three or four years. For Dianne: “Tap takes years and years and years of concentrated study and training, and it never really stops. A tap dancer doesn’t have a start and end date as there is always exploring and finding. Becoming technically proficient is a forever job. The beginning students study intermediate steps; the intermediate students study advanced steps, advanced students work to be professional and professionals study beginning steps. It’s cyclical in nature.” She has performed, taught, and presented her choreography across North America and Europe. She toured the world for two years with Canadian singer-songwriter FEIST as a tap dancer and shadow puppeteer, also performing on Saturday Night Live, The Late Show with David Letterman, and Late Night with Conan O'Brien. As a professional artist, Dianne finds the world of dance intriguing. For her, there’s still so much to explore, learn and find in the expression and the connection to the history of the art. There’s a connection to each other in the world of dance, which is always exciting to discover. There’s a passion for dance, and there’s also the sheer joy of kinetic movement. Words sometimes cannot do justice to the art of dance like sauteed mushrooms and butter. (Writer’s note: I like that analogy) One of the elements Dianne most appreciates is that of community with artists connecting with each other. There’s something profoundly healing in moving bodies together. In her case, there’s something profoundly healing about keeping time together as a tap dancer. Bonding and pro-social behaviour are captured in the world of tap dance, and Dianne considers it motivating to continue doing tap dance because it has a net positive effect socially: “Tap dancing is profoundly powerful in its self-study ability to connect and heal. It requires a level of focus…discipline and commitment…it has lessons in it no matter what people may think…if you don’t tap dance or have had lessons then you don’t understand the richness of the form that you carry wherever. Tap teaches you how to fall and how to get back up. It teaches you perseverance and humility and boy does that lesson come back again and again.” When it comes to the art of dance and performance, I think specifically of those husbands, boyfriends, and partners who might not hold any interest in dance and who may have been dragged to the theatre by their significant other. How can tap win over an audience when they walk into a theatre? Dianne recognizes that dance will not be to everyone’s taste within an audience, but it is her genuine hope that as dancers, and people who place work on the stage in front of audiences, it is their job to be as authentic and to be as present in the moment. The artists are generous as they are trying to make a connection to the very generous folks who have shown up: “We as artists don’t take that very lightly, not at all.” Montgomery firmly avows. “People who take their time, their money, their precious resources and come and spend an evening with us. As someone who creates for stage work, I take that responsibility super, super seriously.” Dianne invites ALL audience members to see a dance show with open authenticity, which can be very disarming. Hopefully, if the dancers and artists are lifting the moment on the stage then the audience should be feeling that lift. If we’re on the stage feeling constricted, then the audience should be feeling constricted. This is the goal for all live shows, and yes, it can go astray if egos are involved as that builds barriers and creates a kind of different performative rather than experiential. And how is Dianne feeling about this gradual return to live performance with Covid still hovering and hanging in the air? Even before she began to address the question, Dianne acknowledges the incredible very real loss that so many have experienced whether it be loved ones, lost livelihoods, homes, partners, friends, family, or senses of self-regarding mental health. The picture has not been good for many. Coming out of Covid, Montgomery likens it to a two-year hiatus, but within this hiatus there was a huge opportunity to deepen the practice of dance if you could or were able to spend time on it. Throughout the pandemic, a lot of artists had to move into other kinds of work to survive during this time. A lot of dance classes and work shifted to Zoom and other online platforms, and there were challenges regarding the time lagging in Zoom which was difficult to manage. Dianne stated that dance artists got on the best they could with what they had. There were little silver linings, however. Virtual classes had the advantage of being global in connection, so Dianne was teaching classes that had folks from Germany, the UK, all parts of the US and all over Canada. These students began to know each other, and they may not have been able to make these connections had they not been in the Zoom room together. For tap classes, yes, Dianne once again said the artists did the best they could given what they had, but the beautiful quality of the art of tap dance needs to be heard live through the ear and not through a computer or television screen. So much was learned about online classes and all the artists involved learned so much about humility. And what’s next for Dianne once ‘Softly Losing, Softly Gaining’ is complete at Fall for Dance? Dianne calls herself in process all the time. This is something she believes will be forever. She plans to continue working and to continue evolving as an artist and bring kindness into the equation of her work as she continues to learn while encouraging those around her to discover who they are and how they relate to what’s bigger than us. A final statement she told me about artists made me laugh: “Every night I quit and every morning I get back up and put my shoes on again.” How often I’m sure all of us have felt about doing this and yet we get back up and go again? To learn more about Fall for Dance North, visit www.ffdn.com . Previous Next

A talk with a professional artist about their career. Back Michael Man 'My life is pretty exciting right now, and I hope it will continue." Pierre Gautreau Joe Szekeres The theatre company's name - ‘Shakespeare BASH’d’ - made me do the proverbial double take. Does ‘Bash’ mean what I think it means? After last year’s engrossing and pared-down ‘King Lear’ with Scott Wentworth in the title role, why was I thinking what I did? The Bash’d production of ‘Lear’ made for good theatre on a freezing night. This month, it’s ‘The Two Noble Kinsmen,’ a collaboration between Shakespeare and John Fletcher. According to a release I received, ‘Kinsmen’ explores many of the same themes expected from Shakespeare’s plays, including love, friendship, honour, and duty. Those familiar thematic topics are shown to audiences from new and unfamiliar perspectives, challenging expected ideas of gender, sexuality, romance, and ceremony. Although written over four hundred years ago, much of ‘Kinsmen’ feels incredibly modern, exploring many relationships, including same-sex love and attraction, in some of the most overt ways of a play from this period. Recently, I spoke with Michael Man, who plays Arcite, one of the title characters and asked him to tell me a bit about the plot without spoiling any intricate surprises since I’ve never seen the play before. Man was keen that I knew nothing about the show. His wish is for audiences to do the same to come and enjoy. There are two love triangles in ‘Kinsmen.’ In the first, two kinsmen are deep, deep friends who go to war and get jailed. While in jail, they see a woman for whom they fall madly in love. As part of this first triangle, these friends learn how to cope with each other falling in love with and fighting for the same woman. The second triangle involves what occurs in jail. We meet the jailer and his daughter, who falls madly in love with one of the kinsmen. Meanwhile, the jailer’s daughter is also being pursued and chased by another lover. For Michael, the theme and idea of friendship aren’t discussed much, and these are two reasons audiences should see ‘Kinsmen.’ Since our world is still changing due to the pandemic, Michael thinks a lot about friendship attrition and how difficult it is to maintain friends because they’re worth so much. How do we keep friends through difficulties? How does one describe friendship and love, and what happens when they blur, if they blur, or do they blur? ‘Kinsmen’ explores friendship, what it can and cannot be, and how we maintain it. Rehearsals have been going fine so far. Man loves working with these folks. He loves this company because SHAKESPEARE BASH’d is text-centric and actor-focused. Audiences attend to hear the text spoken hopefully well by people who are passionate about what they do. His biography on TAPA lists impressive credits. This summer will mark his fourth season with Shaw Festival. A Queen’s University and George Brown Theatre School graduate, he is an actor, musician, and theatre maker. Man has performed across the country. Having previously served on the Dora Indie Jury 2018/2019 and the Ontario Arts Council Skills and Careers Development Jury in 2015, Michael has experience critically and objectively discussing the merit of the works of his peers. He has fond memories of his undergraduate years at Queen’s along with a great support network from his undergraduate years and his training at George Brown. He met some incredible friends: “My life is pretty exciting right now, and I hope it will continue." Man has also voiced the same frustrations and perhaps concerns about where the performing arts are headed due to so much change in the industry over the last nearly four years. Change will always remain a constant. There’s now an urgency to do what he wants to do. He chooses to stay with what he’s doing now and do it with all his might and heart. As an artist, there’s a certain level of faith and optimism in choosing to do something others might see as an unstable or unreliable career. How important is it to continue honing his skills as an artist: “I feel very lucky that I get to do what I really like, so why wouldn’t I take every opportunity to learn how to do it better?” Outside of getting to see theatre, Man loves the arts and getting out to see what others are doing. It’s exciting to find out how people are communicating, what is interesting, and what is being received well or not received well. If he has the resources and the time, of course, he’ll take the time. But there’s learning to be done in other different ways from the people with whom he’s working, along with any personal reading he may undertake. How important is it for Michael as an artist to hear what audiences, reviewers, critics, and bloggers say about his work? There was a slightly uncomfortable laugh from him as he challenged me to continue asking other artists that same question. Again, we both shared a good laugh over it. Man is in the art of communications. He is trying to communicate to the audience. The best communication is never one way. It’s always a dialogue both ways, so it’s essential to hear and understand what’s being received and what isn’t. But Michael is an artist. He's sensitive, as he believes most artists are, so that side is protected. He knows he must defend that sensitivity even though he may not know how others will process the created work. Artists put themselves out there and wear their hearts on their sleeves. Just as a rave review cannot bring him to the heights and skies, negative or poor feedback must not bring him down to despair. He’s working on how he receives all kinds of feedback. Our discussion then turned to the changes in the industry. Michael is grateful that honest and meaningful conversations are taking place and getting more to the forefront. That said, coming out of these four years, he feels that as much as change is happening, a lot remains the same. The landscape is now very different. Yes, stories are still being told; people attend to hear stories told and want to be seen, heard, validated, and listened to. He appreciates there is an essence of what remains true among all of us. But there is still work to be done, and there is an added sense of urgency to do it. Many places around the world do not allow freedom of expression. This means Michael must continue to work in the arts formed by reason and with a convicted heart. He feels grateful for being able to do his work and knows many artists who have either stepped away from the business or are pausing to take stock of where they are. Change will remain a constant and will always happen. For example, there’s a lot of discussion in film, television, and voice work about the influence of AI (artificial intelligence). This item has been hotly debated and must remain a significant concern for the artist/actor. Technology is a reality, but the actor/artist must learn to react and safeguard themselves. Money and funds are always an issue in the theatre, even now more pronounced. As theatres continue to consider budget, Man hopes financial oversight will not discourage artistic risk across the board. He hopes both can go hand in hand and that artists aren’t fearful this will happen. After ‘The Two Noble Kinsmen’ completes its run, what’s next for Michael? He returns to Shaw this summer and ecstatic that it and Stratford will perform East Asian-centric plays this year. He’s writing for Shaw which has commissioned an adaptation to produce ‘The Orphan of Chao’ based on a 13th-century Chinese drama, ‘The Great Revenge of the Zhao Orphan,’ by Ji Junxiang. Man is grateful for the opportunity to have his words presented in this adaptation. He will also appear in a new adaptation of ‘Sherlock (Holmes and the Mystery of the Human Heart)’ and will act in another adaptation of a 13th-century Chinese drama – ‘Snow in Midsummer.’ As we concluded our conversation, Man spoke of something he holds dear to his heart: “Regardless of who’s performing in a show, what stories are being centred, or where the stories are coming from, I hope audiences come out to see that we are all the same underneath. That’s what’s important.” And what’s next once Shaw concludes its summer/fall season: “Who knows, Joe, who knows? …I try to trust my gut in what I do, so I will continue to seek out exciting and interesting work done by exciting and interesting people.” ‘The Two Noble Kinsmen’ directed by James Wallis, opens on January 25 and runs to February 4, 2024. All performances will occur at The Theatre Centre, 1115 Queen Street West. For tickets: www.shakespearebashd.com . Previous Next

A talk with a professional artist about their career. Back Nathalie Bonjour Looking Ahead Brian Medina Joe Szekeres For someone like myself who has never had any formal training or background education in dance, why is it important to reach out to those of us who have no expertise in this area? Director of Performing Arts at Toronto’s Harbourfront Centre Nathalie Bonjour was grateful to have a Zoom call with me where she was eagerly willing to engage in such a conversation. Her response regarding those audience members who have no training in dance: “I don’t think you need to have any background or academic understanding of dance especially in this [upcoming] piece of [Chapter 3: The Brutal Journey of the Heart L-E-V Israel]. The music is very strong in this piece so audiences will be drawn in right away as is the lighting. This is a piece where audiences must let themselves be carried on the journey. The movement is very particular, very unique. There’s an energy as there is a tension in wanting to move forward but there is an extension back.” Bonjour emphasized clearly that it is the emotion and the tableaux on stage that speaks to audiences, and one doesn’t have to have any background or training to experience and feel that. I agree with her on this account as those dance productions that I have had the opportunity to watch, to listen, to hear have spoken to me on many levels. The Canadian premiere of Chapter 3: The Brutal Journey of the Heart L-E-V Israel opens March 3 and plays again March 5, 2022 at Toronto’s Harbourfront Centre. It will play in New York first before it opens here. Choreographed by Co-Artistic Director of L-E-V Israel’s Sharon Eyal this production opens Torque, Harbourfront’s international contemporary dance series. From a press release I received, Ms. Bonjour states that Journey: “invites us on an exhilarating journey through the extreme states of the heart, from anguish and fervour to passion and rage. It is a universal narrative, and we can all intimately relate to L-E-V’s vulnerable study on heartbreak.” Additionally, stunning costumes for the dancers, designed by Christian Dior’s Maria Grazia Chiuri, emblazoned with one bright red bleeding heart will emphasize the sensuality and the emotion of the work. Bonjour spoke candidly and compassionately about the heartbreak for all those involved in the art of dance as the community has suffered just as all professional artists have experienced. But with the dialogue of Black Lives Matter and Indigenous residential schools, the truth, and their creators and creations, the dance community has become stronger in the last two years. Harbourfront Centre has been creative in finding ways to get through and keep going these last two years. The company had to learn how to become video producers and come together as presenters and learn how to support artists in other ways creatively. Like many of the professional performing arts companies, Bonjour recognized how programming changed at Harbourfront. There were a number of live streams and pre-recorded shows along with a lot of digital experiences in working with AR and VR in person. Outdoor installations and projections also filled the void so audiences from the last two years could still come down to the Harbourfront and remember there is a performing arts Centre there. Bonjour supervised The Junior Festival and The Summer Music in the Garden. Some of these editions were done online completely during the first summer of the pandemic. In the second year, Bonjour recognized how people have been on screens a lot and how could Harbourfront do something different? There was investment in commissions of works that could be seen later when Harbourfront re-opens. The Toronto International Festival for Authors has done two editions fully online. When theatres reopened but not to the general public, there were production residencies at Harbourfront for artists to continue working on their shows. As a larger organization in the ecosystem of the performing arts, Bonjour wanted to know how Harbourfront could help other organizations so when everyone goes back there are those smaller presenters as well. It followed through with a financial partnering with The Citadel where there was support of three solos by female choreographers. In August, Harbourfront welcomed the National Ballet of Canada as an outreach and it was so successful that Harbourfront will be doing it again. On the national level, Bonjour was part of an alliance that was created with other dance presenters - the NAC Dance Department, Danse Danse in Montreal and Dance House in Vancouver - to start an initiative called Digidance. In concluding our conversation, Nathalie and I spoke about how it is the anticipation in watching dancers move and intertwine with each other that makes dance productions visually moving for me. I have seen some Fall for Dance Toronto productions over the last couple of years and have been captivated by the dance artists’ electric synchronicity with each other. I’m looking forward to experiencing what Bonjour describes for Journey as a universal narrative on heartbreak since we’ve all been there at one time in our lives. I hope you will also join this journey. Chapter 3: The Brutal Journey of the Heart L-E-V Israel performs live March 3 and 5 at 7:30 pm at The Fleck Dance Theatre, Queen’s Quay Terminal 3rd Floor, 207 Queen’s Quay West. Suggested ticket prices are $20 - $ 95, Pay What You Wish. Ticket link and website: www.harbourfrontcentre.com . Previous Next

A talk with a professional artist about their career. Back Jewelle Blackman Moving Forward Zak Kearns Joe Szekeres It was Carey Nicholson, Artistic Director of Port Perry’s Theatre on the Ridge, who encouraged me to reach out to Jewelle Blackman for a conversation. As soon as Carey mentioned Jewelle’s name, I remembered this lady who was the Assistant Director for ‘Jesus Christ Superstar’ in Oshawa, Ontario, Canada several years ago. In an email Jewelle sent to me, she told me she was considering looking into directing at that time and found the experience of working on ‘Superstar’ at the Oshawa Little Theatre a ‘great experience’. Jewelle appeared in the Tony/Grammy winning original Broadway company of Hadestown playing the role of “Fate”. She is now playing the role of Persephone in the Broadway company. I won’t spoil her answer here in what was happening when the Broadway theatres were closed. She is a multi-talented artist from Toronto who has played the violin for more than 30 years and graduated from Queen’s University with a Double Major in Music & Film. She also completed a Summer Performance Certificate Program at Berklee College of Music. Other favourite credits include The Who’s Tommy (Acid Queen); Jacques Brel is Alive and Well and Living in Paris (Jewelle) both at the Stratford Shakespeare Festival; We Will Rock You (Teacher); The Lion KIng (Nala/Shenzi) Mirvish; The Wizard of Oz (Mrs. Banks) Young Peoples Theatre; Dreamgirls (Deena Jones) The Grand Theatre/Stage West. Film/TV: Nine Lives; The Coroner; Kim’s Convenience; Shadowhunters. We conducted our interview via email: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? I’m trying to take it day by day. If I try to plan too far ahead it becomes somewhat overwhelming because how can I plan for the future when the present is so uncertain and unpredictable? Covid has been around a lot longer than I think any of us truly expected and there is no definite end in sight at this point in time. That’s a lot to swallow. Will we emerge to a new way of living? We already are, aren’t we? We’re all adapting as best we can and navigating the unknown some days with more hope than despair. The situation is fluid. As I always say the only thing constant is change. How have you been faring? How has your immediate family been doing during these last six months? Some days good, some days not so good. March and April were particularly difficult. But early on I participated in a virtual group mediation group which I think really helped to calm me and force me to look at and approach life with a new eyes. My immediate family have already remained healthy which I am very grateful for. I have also been navigating a lot of personal changes which greatly affect my son and myself. But we are all here still thriving. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? I would say being seen, recognized and appreciated as an artist. People have their opinions of you and what your limits are based on your sex or for me, specifically my race. It feels like a constant battle at times. Personally, this affects how I view myself and my worth. I'm working on this because regardless I should feel strong and confident in my value regardless of what others think or believe. 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? Well as I was on Broadway in Hadestown’, I will never forget March 12. I was in the middle of my last understudy rehearsal for the role of “Persephone”. My put-in was the following day along with another understudy and the producers literally walked in on us and announced the news. We were all shocked...I think we all knew and felt that something was going to happen, but the reality of it all struck really hard. I believe that Broadway will re-open again and Hadestown will be there in full force, and I will get to bring my “Persephone” to life….I just don't know when. What have you been doing to keep yourself busy during this time? Hanging out with my 9-year-old son Zion. Working on my own passion projects. Hanging with my family. Supporting the “Black Lives Matter” movement…. And walks...I take lots of walks to clear my head when it begins to feel like too much. I've also done quite a few online performances. Oh, and auditioning for film/tv quite a bit. 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? Spring will come again….this pause is an opportunity to really focus on what about this business really fuels you. What can you do to change it and make it a more just and equitable and comfortable space for all performers. Especially your colleagues and friends of colour. Theatre will re-emerge and thrive...but the goal should not be to go back to before but to go forward with the intention of change. Do you see anything positive stemming from Covid 19? Personally, this has given me so much more time with my son which is so valuable and that I am entirely grateful for. On a global level it has definitely seen the rise of voices that have been silenced for so long the opportunity to be heard, and also the chance for people to reflect on how their own actions in the past may have been hurtful or detrimental to others. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? I think more care and concern will be given to what stories are shared on stages and that it is not white male-dominated any longer on stage, behind the scenes and in boardrooms….that is my hope. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? If it works for you definitely do it. If it feeds your soul do it. Just remember to get compensated. This is your gift and your craft and your career. It has value and it has worth and should not be consumed for free. Donating your art is one thing but being paid for a service that is provided should also not be ignored. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? The ability to create. The ability to share. No matter the size of the audience...there is a feeling that nothing, not even Covid can dampen. You can follow Jewelle on social media :@elleshelley on Instagram AND @jewelleblackman on Twitter. Previous Next

A talk with a professional artist about their career. Back Eric Peterson Looking Ahead Courtesy of Crow's Theatre Joe Szekeres An anticipated nervous excitement might be the best way to describe the ten minutes before I had the golden opportunity to be in the virtual presence of actor Eric Peterson, a highly respected artist from CBC’s ‘Street Legal’, CTV’s ‘Corner Gas’ and many stage productions throughout Canada. The butterflies in my stomach flew away as he genuinely put me at ease quickly through much laughter in the interview that I was annoyed when Zoom informed me I only had ten minutes left in the conversation. I still had many things to ask him about his career and his upcoming work in Chekhov’s ‘Uncle Vanya’ to be staged at Crow’s Theatre in September and directed by Artistic Director, Chris Abraham. I’m always interested in where artists have received their theatre training. Eric’s facetious response: “So, you start off with a totally embarrassing question… I’ve never been formally trained.” And when you are as good as Eric Peterson, who the hell cares whether he was? He had one year at the University of Saskatchewan in the drama class which he says got him hooked on “this terrible, terrible profession I’ve been involved in now for 55 years or something like that.” (and I’m in stitches of laughter this early in the interview) Eric also completed one year at UBC. One of the great things he says came from his year there were meeting so many people like John Gray, the late Brent Carver and Larry Lillo. Eric once again had me in laughter when he called all of them many years ago ‘emerging artists’ and now they are ‘submerging artists’ where he put himself at the top of the list. Peterson had lived in England for a while. He was stage manager for a time and an assistant stage carpenter. Peterson has learned about acting through participation in plays which is a good way as far as he is concerned because artists get to work with all kinds of different people. There were some years when he felt embarrassed because he had no formal training from places like NTS or the University of Alberta, or Britain. But those days are behind him right now as he considers how fortunate he has been in his career and says, ‘it’s a little late now to be concerned about the training.” Eric jokingly spoke about his Dorian Gray years (and they were terrific, by the way) on CBC’s ‘Street Legal’ where he looks back at it when he had so much hair and thinner. But I agree when he says why should we rail against the passage of time. I also wanted to get Eric’s personal and professional perspective on where he sees the trajectory of the live Canadian performing arts headed over the next five years on account of the continuing Covid presence and its new variants. Eric recognizes how the theatres are leaving it up to the individual choices of the audience members to wear a mask or not which seems to be working in helping to keep Covid at bay as much as possible. All this plus the vaccines and the booster shots are doing what they are supposed to be doing. From what Eric knows, there will be a couple of performances where masks are mandatory at Crow’s so those who wish to attend may do so and feel safe. This seems to be the reality we will all have to live with for now. Will Covid demolish live Canadian theatre? That will never occur and live theatre will never leave us because Eric believes [it] is too dear to our hearts. Peterson recounted back at Crow’s in June when he performed in George F. Walker’s ‘Orphans for the Czar’ and the heavy enthusiasm of the audience for just being out of the house and being able to attend live theatre once again. Eric compared this feeling to being at a reunion. He also shared he had just finished reading a book about Christopher Marlowe where the theatres in Britain were closed on account of the plague. In a sense, live theatre has dealt with pandemics and disease. It’s just part of the environment. We here in this country are just not used to doing it in this modern age where we think we’re a fraction away from immortality. I never got a chance to see his work in ‘Orphans for the Czar’ as it was covered by a colleague. In true facetious response again, Eric told me how marvellous he was in it (and my colleague most certainly agreed), but I did get to see his five-minute appearance near the end of an astounding ‘Detroit’ at Coal Mine Theatre. Eric loved his time in this production. He compared himself to ‘The Ghost of Suburbs Past’. ‘Detroit’ was a surreal experience for him because as he states: “I was kind of in another play where I came on in the last four minutes. I was a character nobody heard about and I began talking about people nobody heard about.” And now he’s in rehearsals of one of the great masterpieces of live theatre – Chekhov’s ‘Uncle Vanya.’ I asked him how rehearsals are going at this time: “They’re fantastic, fantastic, and interesting, very, very interesting. We have got a decent rehearsal time, so the stress and deadline of the opening aren’t as present which is always good in rehearsals because people don’t feel that kind of stress and are more open, easier going and more relaxed. The more relaxed you are, the more creative you are and there isn’t that fear of how am I going to get through this.” Eric then spoke glowingly of his cast and how superbly talented and gifted a leader Chris Abraham is as a director because he is so well prepared with a thoughtful mind and amazing energy. This is not meant in a formulaic manner, but Eric is appreciative of the creative atmosphere Chris engenders and encourages during rehearsals. It’s a wonderful scary challenge, but so enriching that Peterson feels he’s part and parcel of something important. Eric then joked how he hoped Chris doesn’t read this article so he doesn’t get a swelled head. (and again I’m in fits of laughter). As a theatre artist who is Artistic Director, Eric believes Chris’s programming is an absolute connection to the world in which we now live. In one way or another, any slated play is not going to be a museum piece but will be something audiences can relate to in a personal way or civic way. In other words, what we see on Crow’s stages are aspects of the world in which we all live in, that we read about in newspapers. Eric and I then shared a good laugh because there are no such things as newspapers anymore so it’s what the young people see on their damned instruments. What has also made Eric excited about rehearsals and eventual performances of ‘Uncle Vanya’? No matter how long ago they were written, classic works like ‘Uncle Vanya’ still encapsulate absolute accuracy about the human condition in one way or another. These plays speak as loudly now to audiences as they did to contemporary audiences when they were first written. It is up to the production and the company involved to exemplify what was intended. Eric told me the company had completed its first ‘run through’ (or as actors call it a ‘stumble through’), and for him, it’s both a terrifying and awesome experience. Eric’s theory as to why ‘Uncle Vanya’ still speaks to twenty-first-century audiences? The two and a half years we’ve experienced the absence of theatre because of the pandemic have left us contemplating ourselves and how we are doing and whether should we be doing anything differently. Each of the characters in ‘Uncle Vanya’ is doing exactly that. Each asks: “Who am I?”, “I don’t like what’s going on, and I must change”, “I can change, and I should change.” For Peterson, questions like these may and do sound serious on the one hand but these questions are also incredibly comic. It’s a kind of entertainment that isn’t about escaping the human condition. It’s a kind of entertainment that looks at the human condition where an audience member can say, “Yes, I can see me in that, or I can see other people in that.” And along with these questions and discoveries, it’s also the ‘What the hell is going on here?’ So, for Eric, ‘Uncle Vanya’ is funny, it’s sad; there’s violence in that with gunplay, unrequited love stories, all of this kind of human activity that we all know so well. With a play like ‘Uncle Vanya’, we witness it, and we can imaginatively participate in the lives of the characters on stage and do what theatre does. Eric believes audiences must come out to see ‘Uncle Vanya’ because he guarantees they will be transformed by it. Audiences will arrive at the theatre in one frame of mind wondering how we are, and we will come out the other end highly entertained, delighted and possibly changed in attitude about who we are. To conclude our conversation, I asked Eric what keeps him motivated in this industry with his 50-plus years of experience: “Acting. We all question why we do it, and for me, I like to get up and show off in front of other people. I begin to wither unless I can grab the centre of attention. (and once again I’m in fits of laughter) I know that’s not a very honourable kind of motivation. Silence is my own sense of self-criticism and acting allows me to be someone else.” Eric continued and I could sense his honest commentary: “The economic and security rewards of the life of the artist can be problematic, but there is something incredibly valuable about people who enjoy together trying to make something interesting and beautiful and funny and entertaining, rather than making war on other people or doing this or that. Artists bravely pretend. The arts serve a deep pleasure in humans regardless of how society may look at them. There have always been artists treasured by culture and society. That’s what joins us together through our imaginations in large groups, small groups, and individuals. We do need people to help us stop life in the flow of life so that we can look at the life and then it can flow on again.” Eric Peterson will appear in Chekhov’s ‘Uncle Vanya’ in a new adaptation by Liisa Repo-Martell and directed by Crow’s Artistic Director, Chris Abraham. The production runs from September 6 to October 2 in the Guloien Theatre at Crow’s Theatre, 345 Carlaw Avenue. For tickets and other information about the production or the new season, visit crowstheatre.com. To purchase tickets, please call (647) 341-7390 ex. 1010 or by email: boxoffice@crowstheatre.com . Previous Next

A talk with a professional artist about their career. Back Heath V Salazar Moving Forward Gaetz Photography Joe Szekerers This time of isolation from live theatre and the emerging civil and social reforms have certainly made me aware of the importance of hearing from as many voices as possible within the artistic community. Several of the artists profiled have been extremely helpful in suggesting names of individuals who deserve to be highlighted. I was pleased when two artists suggested Heath V. Salazar. In the twenty-first century, it’s wonderful that we have social media sites like Facebook to make initial introductions; however, nothing beats speaking to a person face to face which is what I hope I can do in the near future with all of the artists I’ve profiled so far, and when it’s safe for all of us to return. And I was grateful to make an introduction as Heath told me they would be delighted to be profiled for this series Heath V. Salazar (they/them) is a Dora Award-winning trans-Latinx performer and writer. Since graduating from Randolph College for the Performing Arts, Heath has developed a body of work as an actor that spans the gender spectrum in both theatre and film. Within the drag world, they perform multidisciplinary draglesque as Gay Jesus and are featured on Season 1 of the CBC Arts’ Canada’s a Drag. Through their writing, Heath was selected for the Spoken Word Residency at the Banff Centre of the Arts (’17) as well as the Emerging Creators Unit at Buddies in Bad Times Theatre (’18). In addition, Heath has gone on to teach as a guest lecturer at the University of Toronto. Currently, while Heath continues the development of their short film, Préstamo, in partnership with director Tricia Hagoriles, they’re also an Artist in Residence with both Aluna Theatre and Buddies in Bad Times. It appears that after five exceptionally long months, we are slowly, very slowly, emerging to a pre-pandemic lifestyle. Has your daily life and routine along with your immediate family’s life and routine been changed in any manner? My daily life and routine have changed drastically over the course of the past five months. As a multidisciplinary artist, I’m accustomed to working multiple gigs throughout the week that involve audiences or being in close proximity with large groups of people. In addition, as a queer and Latinx creator, I personally hold a strong community focus within my work which involves actively engaging with audiences outside of a performance setting as well as regularly attending community events. Due to safety restrictions, all of those spaces were put on pause which has completely altered my everyday life. However, that community focus has been a great contributor in motivating me to seek out alternate platforms and methods of creating that allow me to remain in connection and of service to my communities and those around me. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? There are a number of projects that I was preparing for when the pandemic was declared. In addition to local gigs and performances, I was in the midst of making arrangements to move to Stratford, Ontario for the summer to perform as Rafe in Wolf Hall as a company member at the Stratford Festival. In the past year, I’ve been involved in creation and research development programs at the theatre including working as a guest artist for their Laboratory Ensemble as well as for the Stratford Incubator. This would’ve been my debut performance with the company, however, in order to keep everyone as safe as possible, the theatre was forced to close. Fortunately, the Stratford Festival has worked actively throughout the pandemic to continue upholding a sense of community with their company members. They’ve arranged mini-challenges and projects to bring people joy, they’ve ensured consistent and transparent communication, and when the civil right movement currently taking place began, they took the time to listen and have used their reach and platform to engage in productive and important conversation with Black and Indigenous artists and creators. The state of our world, let alone our industry, needs to change and having a company like Stratford take accountability for its history engages a lot of people in a dialogue they may not otherwise have had. Describe the most challenging element or moment of the isolation period for you. Did this element or moment significantly impact how you and your immediate family are living your lives today? One of the most challenging elements of the isolation period for me, particularly in the beginning, was navigating limitations regarding my ability to bring aid to my loved ones and community. Safety isn’t something that’s afforded to everyone in our society. Even before the pandemic started, violence and discrimination against racialized trans people, particularly those who are Black and Indigenous, disproportionately affected their ability to access basic necessities such as housing, healthcare, and food stability. Since the initial lockdown, those circumstances have only escalated but, since I had lost my employment for the foreseeable future, I felt very limited in my ability to help. However, the work I’ve done over the years has allowed me to learn from some of the most incredible activists on how to provide community support in ways that don’t involve monetary donations, and that translated very well even in a time of isolation and social distancing. This came heavily into play over the past couple of months. Ways to help can range from promoting and sharing information about organizations that provide resources for marginalized communities, donating performances and/or performance fees for online fundraisers, attending protests and demonstrations that call for the reallocation of city/government funding to be put towards community resources, using social media platforms to share accurate information about how people are being affected and ways that your friends and peers can help, engaging in a personal dialogue with city officials to demand protections for our most vulnerable communities, learning about the impact that the redistribution of funds can have even on a minor scale, seeking out petitions with clear demands to bring aid to those in need and much, much more. Quite often, difficult times can bring on feelings of despair and helplessness, but those I’ve had the privilege of learning from have shown me the impact that can take place when we stand together as a community. What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? Since theatres will most likely be shuttered until the spring of 2021, where do you see your interests moving at this time? During the time of lockdown and isolation from the world of theatre, I’ve largely pivoted my focus to online creation and performance as well as the development of new work through my residencies at both Buddies in Bad Times Theatre as well as Aluna Theatre. As a creator, my practice involves approaching work development from a holistic standpoint centering and prioritizing the human in human experience. Working as storytellers within a capitalist context can, has, and does encourage toxic and damaging methods of working in order to ensure a high turnover of creation and consumption. However, we as people are not products and if we’re going to tell stories about people, but all of them get damaged in the process, then what good are the stories? What are we actually saying when we tell them? This pandemic has really highlighted those values for me. Life is very short and needs to be appreciated because, ultimately, we can’t stop ourselves from dying. My main interests right now are nurturing my relationships with my loved ones and working to protect, empower, and advocate for those around me. Sometimes that’ll be in the form of performance and sometimes it won’t. But life isn’t about performance, performance is about life; I’m making life my priority in whatever way that takes place. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? The greatest piece of advice I would give to performing artists and new theatre graduates concerned about the impact of COVID-19 is that your value as a person isn’t determined by the jobs you do and don’t book. Life will always bring what we least expect, but how we adapt influences the people we become as well as the world around us. As creatives, artistry can be a very personal element within ourselves but remember that though art is a glorious part of you, it’s not all of you. Give yourself permission to become someone that you would admire in a way that centers your character, not your profession. That way, no matter what you do, your legacy will be one that you’re proud of. Do you see anything positive stemming from this pandemic? It’s a complicated thing to find the positivity in a time that’s brought people so much loss. However, I also think that there were a number of deadly crises taking place prior to the arrival of Covid-19 that were costing people their lives and weren’t being addressed until a mass amount of our population was forced to slow down. Canada has a consistent track record regarding the erasure of our history and the systemic racism upon which our country was founded. Knowledge is powerful, but a lack of information hinders the ability to understand and address the long-lasting effects that this racism has had on people of colour on this land. The repercussions have manifested in our modern-day society through a number of violences including the mass amount of missing and murdered Indigenous women who have yet to receive justice, the disproportionate incarceration and murder rate of Black and Brown people at the hands of our police system, as well as the targeted violence experienced by our sex workers, particularly those who are Black trans women, only to name a few. The world of theatre is largely regarded as progressive and inclusive, however, when we look closer, we find exclusionary practices that not only contribute to but encourage systems of oppression within both our workplaces as well as on a mass scale due to the number of people taking in the messaging within our work. My hope is that our companies and our theatre workers take this time to grow their scope of awareness in order to change the toxic culture that previously existed within our spaces. We’re all capable of growth and, as an industry whose practice is so deeply steeped in compassion and empathy, I have faith in our potential to create a better work environment, and in the long term, a better world. In your informed opinion, will the Toronto and the Canadian performing arts scene somehow be changed or impacted on account of the coronavirus? I have no doubt that the Toronto and Canadian performing arts scenes will and have been changed on account of the coronavirus. This pandemic has cost people so much from their safety to their livelihoods and, worst of all, their loved ones. A lot of our people right now are grieving while others are ill, and we don’t know what our futures look like. But when I turn to those around me in the performing arts scene, particularly disabled, 2SLGBTQ+, and BIPOC creators, I see phenomenal innovation and community care. This spans from performers, to writers, to lighting designers, and more. I’m watching, in real-time, as people adapt the use of the performing arts to keep one another alive and to share their ruthless faith for a new future. Our practices across the board will have to be reassessed and adapt to our new circumstances. But I think that as long as we prioritize people’s safety and wellbeing over profit and product, we have a great capacity to improve and strengthen the future of our industry. What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? Have you been participating, or will you participate in any online streaming productions soon? What I’ve found so far regarding the streaming of live productions is that it’s made the performing arts far more accessible for a lot of people. Our industry isn’t financially or physically accessible for many members in our communities which applies across the board from on-stage, to behind the scenes, to our audiences. I’ve received a lot of feedback in the past five months from people with a variety of different accessibility needs that being able to access performances, panels, and classes online has drastically changed their ability to become involved in and/or take in the performing arts. This shows us that accessibility has been a possibility all along and that it’s crucial for it to be a priority in our work even as we begin to reconvene in person. We also need to keep in mind that viewing art online still has its limitations as it requires the ability to own a computer and have access to wifi, which simply isn’t a possibility for many people. As our industries slowly re-open and we develop new practices in regard to safety, it’s vital that we ensure accessibility becomes a core point in how we adapt moving forward. These conversations have been prevalent for me in the past five months as a lot of my performance work has shifted to online. As a drag king, I watched the drag industry adapt very quickly. Within days of the announcement of the lockdown, drag artists were creating online content in a variety of different formats. I, myself, have now participated in live online performances, fundraisers, interviews, discussion panels, and more. Most recently, I developed a three-part video series during Pride whose pieces were screened separately at online events throughout the month of June. The last piece in the series, All of the Above, can be viewed online through the CBC Arts website. What is it about performing you still love given all the change, the confusion and the drama surrounding our world now? Storytelling is an ancient practice and I chose the performing arts as a profession because I believe in their ability to influence monumental change within our society, thereby shaping our world. I grew up speaking three languages, so I’ve seen how limited words can be. As a multidisciplinary artist, I view art as a form of communication that allows us to connect with some of the most profound parts of one another, as well as ourselves, in a way that transcends the confines of language. Performance allows us to document both our history as well our current human experience at the same time, all the while, influencing our future. It’s something I have great respect for and am incredibly honoured to be a part of. With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: a. What is your favourite word? Amor b. What is your least favourite word? Impossible c. What turns you on? Privacy d. What turns you off? Willful ignorance e. What sound or noise do you love? Family reunion rancheras at 4am f. What sound or noise bothers you? Sirens g. What is your favourite curse word? Nothing I’d let my mother read in an online publication h. What profession, other than your own, would you have liked to attempt? Immigration Lawyer i. What profession would you not like to do? Anything that involves euthanizing animals. I grew up in Sudbury, Ontario and as a teenager, I used to volunteer at the Science Center. The section I worked in specialized in caring for Northern Ontario wildlife but, for some of the animals, their feeding process involved having to euthanize mice. Though I understood the importance, I just didn’t have it in me and, after seeing my face when my supervisors taught me the process, they thought it best that I not be allowed to do it because they were concerned I would free the mice. They were correct. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? ‘Took you long enough.’ To connect with Heath, visit their social media sites on Instagram and Twitter: @theirholiness. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'The Cavan Blazers' by Robert Winslow Now onstage at 4th Line Theatre, 779 Zion Line, Millbrook. Credit: Wayne Eardley. Photo of the 2023 company including Colin A. Doyle and Robert Winslow Joe Szekeres "The Cavan Blazers" emphasizes the significance of and for religious tolerance, but it often comes at a costly price. Background: Playwright Robert Winslow’s ‘The Cavan Blazers’ is in its seventh remount at 4th Line Theatre. It was the flagship production of the theatre company back in 1992 and again re-staged in 1993, 1996, 2001, 2004 and 2011. This is the first time I’ve seen the production. 4th Line Theatre’s mandate promotes Canadian cultural heritage through regional and environmentally staged dramas, and the company is to be commended for it. This production of ‘The Cavan Blazers’ features more than 50 actors, including both local performers and those belonging to the Equity Union. Additionally, an advisory to dress appropriately for the elements. A play does not stop at the Winslow Farm if there is a brief rainstorm, so pack appropriate gear just in case. Opening night was halted briefly for a heavier rain twice in the second act. Lightning ultimately forced the show's postponement for safety reasons. I returned the next night. There was another brief rainfall, but it cleared. The Play: Set in 1854, ‘The Cavan Blazers’ dramatizes the conflict between the Protestant and Catholic Irish settlers in Cavan Township outside of Peterborough. Justice of the Peace Patrick Maguire (JD ‘Jack’ Nicholsen) wants to establish a Catholic parish in the township. Dane Swain (Colin A. Doyle) leads the vigilante group ‘The Blazers’ who do whatever they can to stop Catholicism's ‘threatening influence’ in the township. Commentary: As a practicing Catholic, I wondered how the story would unfold. After watching Winslow’s play, I couldn’t help but make a connection to Harper Lee’s ‘To Kill a Mockingbird.’ Both works contain hurtful language towards Catholics and members of the BIPOC community, respectively. Yet, Miss Lee’s book has been removed from some school districts’ curricula. Should practicing Catholics be upset about treatment towards them in Winslow’s play? Yes, because it is horrible to hear and witness on stage. Should Catholics avoid Winslow’s play as some school districts have recommended for Miss Lee’s book? Absolutely not. Approaching the ‘Cavan Blazers’ requires an open mind. The same applies to reading "Mockingbird." These were horrible times in our collective history, but they cannot be erased or ignored. They must be confronted head-on. The Winslow Farm setting works well for this ‘Blazers’ remount. Although unintentional, the opening night impending thunderstorm and dark sky were a perfect example of the literary term ‘pathetic fallacy’ we learned in school, where the outside weather reflects the characters' internal feelings. The sound of periodic rolling thunder increased the dramatic intensity at various moments. But this is not going to happen at every performance. On the second night, chirping birds at sunset also added to the mystique of the outdoor setting. Productions I’ve seen at 4th Line always strive for realism and have been successful. For the most part, Korin Cormier’s costumes replicate 1854 nicely. One quibble. In the first act, Matt Gilbert (Father Phelan) enters wearing the sacred vestment of a priest after performing a wedding ceremony. He then proceeds to dance in it. I have taken courses in Roman Catholic church history. A priest would not wear the vestment outside of the celebration of the Mass and most certainly not dance in it either. This might be seen as disrespectful of what the vestment represents. I checked the program to see if a local parish priest was mentioned, and a thank you was extended to one. Did this thank you extend for the loan of the vestment, for clarification regarding the wearing of the robe, or both? The selection of pre-show and post-show music duly reflects the conflict between Irish Catholics and Protestants. A choice made in the set design puzzled me. There is a picture of Bobby Sands (1954-1981). I had to take a few moments to look up the significance of this individual to Ireland. I’ve included date of birth and death. Since ‘Cavan Blazers’ takes place in 1854, I couldn’t understand why Sands’ picture is there, and I missed the connection. Maintaining accent consistency always remains a challenge for actors—a nod of appreciation to Dialect Coach Melee Hutton for the work involved. For the most part, the actors are successful; however, there are some audibility issues. I can’t hear clearly what is said when there is overlapping dialogue. The same goes when groups of characters may be angry. I couldn’t hear the conversation. It’s admirable that the actors strive for believability—make sure you can always be heard in future performances. Project, but don’t holler. 4th Line Artistic Director Kim Blackwell directs the production with a sure hand. The 50-actor cast energizes Robert Winslow’s intense script of brewing troubles between the Catholics and the Protestants. J. D. Nicholsen remains a stubborn but determined Patrick Maguire throughout to ensure a Catholic presence in Cavan. Solid work from Katherine Cullen as Patrick’s wife, Ann, who is a Protestant and also dutifully stands by her husband even with the harassment and taunting she and her family receive from the Blazers. Ann can only take so much as anyone can. A poignantly touching scene between the two in the second act is heightened when the youngest daughter waves at her father. Colin A. Doyle’s Dane Swain is a passionate and fiery Protestant leader of the Blazers who makes it his duty to ensure no Catholic influence permeates Cavan. Like Nicholsen, Doyle also brings some very human character moments to the surface. In Act One, Swain allows Father Phelan to continue his journey into town after a taxing encounter with the Blazers and, in Act 2, when he confronts Patrick’s wife, Ann, in the tavern. Playwright Winslow assumes the role of Justice of the Peace, John Knowlson. In a drunken conversation he shares with Maguire in the second act, Winslow’s monologue of the reasons why he assists in helping to build the Catholic settlement is powerfully delivered. Complete silence in the audience around me when we learn about Knowlson’s backstory. Nicely done. Why audiences need to see ‘The Cavan Blazers’: It is a timely play which speaks to the 21st-century audience. There are countries still pitted against each other. Russia and Ukraine are only one example. The 2023 remount is handled with the utmost care not to hide the truth. No one emerges victorious as fault lies on both sides, and everyone involved dearly pays the cost. This production can lead to meaningful discussions about tolerance's true meaning and understanding. See it. Running Time: approximately two hours and 10 minutes with one intermission. Production begins at 6 pm. ‘The Cavan Blazers’ runs until August 26 at 4th Line Theatre on the Winslow Farm, 779 Zion Line in Millbrook. For tickets, visit www.4thlinetheatre.on.ca or call the Box Office at (705) 932-4445. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Appropriate' by Branden Jacobs-Jenkins Now onstage at Toronto's Coal Mine Theatre Dahlia Katz Dave Rabjohn The informal ‘family dysfunction’ genre has long been a dramatic vehicle from Tennessee Williams to the Bard himself. American playwright Branden Jacobs-Jenkins burnishes the topic to incendiary heights with his 2013 play ‘Appropriate.’ Opening this month at Toronto’s Coal Mine Theatre, this fierce production begins Coal Mine’s first full season in its new location after a devastating fire. A gifted cast, illuminating direction from Ted Dykstra and a seething set design from Steve Lucas and Rebecca Morris electrify the audience despite the almost three-hour marathon. This play cannot afford subtlety. Along with the ‘dysfunction’ theme, Jacobs-Jenkins blends southern racism, historical and horrifying violence, drug culture misery, antisemitism and multiple forms of sexual abuse. Seemingly a formula for a depressing experience, somehow, the production awakens the soul and revives the human need to reach into the past despite its darkness. The Lafayettes, a white family, return to their mouldering plantation mansion in southern Arkansas that has been in decay for years. The father’s recent death brings them together along with a host of long-time grievances and the expected avarice. The prodigal son, Frank, played by Andy Trithardt, sneaks into the darkened house with his newly minted fiancé (Alison Beckwith), and collisions ensue. The family is shocked by his appearance, none more so than the fiery older sister Toni played by Raquel Duffy, with brilliant aggression. Joining the toxic reunion is Bo and his family, including wife Rachael, teenager Cassie and youngster Ainsley. Played forcefully by Gray Powell, Bo tries to be pragmatic and centered, but he falls into the horrors of the past as they all do. The discovery of a repugnant item illuminating the horrors of historical racism and violence triggers even more tension in the family. Ms. Duffy’s hyperactive portrayal of Toni rails against the world as she is collapsing through a divorce and the criminal travails of her teenage son Rhys (Mackenzie Wojcik), played with an ugly cool demeanor, sultry and angry. Toni’s anger is bent towards Rachael, who she sees as an unwanted outsider, along with the whimsical girlfriend River, whose infectious Goldie Hawn eyes belie more crafty substance. The sale of house and goods turns into a disaster, and conflicts are even more heightened. More horrors of southern history are revealed, and raw sexual crimes pile on the steamy mess. Not even the young child is spared the horrid past. With eight characters and centuries of grim history, producing this vast experience on such a small stage seems impossible. But Dykstra’s careful direction smoothly moves characters interacting in various configurations. The set design of a crumbling mansion seemingly opens up the space, especially with drooping curtains framing a large window that reveals the frightening forest of horrors and the two cemeteries – one for Lafayette family and one for slaves. The three acts suggest a rhythm of sorts. Act one blasts us with glaring lights, combative dialogue and accusatory gestures. Act two is darkened and entitled “Walpurgisnacht” suggesting a witches’ sabbath – characters are quieter and become more introspective. Act three rolls back to the garish nightmare, and, starkly, virtually nothing is resolved. The soundscape haunts us, especially with a full concert of cicadas expressing a terrifying loneliness. Again, the set design becomes almost another character – a confederate flag is seen hidden in a corner until it is dragged fully on stage – no subtlety here. The character is then fully awakened at the conclusion as the audience exits with the lashes of cruel history still echoing. ‘Appropriate’ by Branden Jacobs-Jenkins Performers: Raquel Duffy, Mackenzie Wojcik, Gray Powell, Amy Lee, Hannah Levinson, Ruari Hamman, Andy Trithardt, Alison Beckwith Director: Ted Dykstra Set Design: Steve Lucas, Rebecca Morris Lighting Design: Steve Lucas Sound Design: Deanna H. Choy, Michael Wanless Costume Design: Des’ree Gray Production runs through October 21, 2023. Tickets at coalminetheatre.com Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Inge(new): in search of a musical' Now onstage at Toronto's Red Sandcastle Theatre Dahlia Katz. Foreground: Cory O'Brien. Background: (l-r): Astrid Van Wieren, Mairi Babb, Elora Joy Sarmiento Joe Szekeres An intelligent world premiere of a Canadian musical by Theatre Myth Collective about the roles we play in life. ‘Inge(New) is performed by a strong ensemble of theatre artists who tell the story with confidence. Bridget (Mairi Babb) shows up at an audition for the role of the ingenue in a soon-to-be-cast musical. Over her career, she has played every heroine from Juliet to Christine in ‘Phantom of the Opera’. Nevertheless, time marches on, and Bridget begins to realize perhaps she is not the young and impressionable ingenue from years (and shows) ago. Should she continue auditioning for such roles? Each time the musical accompaniment leads her in for her audition piece, Bridget doesn’t sing but instead speaks to an unknown individual out there in the dark. Is it the playwright? The director? The musical director? Others soon join Bridget on stage for the audition. There is bubbly Joy (Elora Joy Sarmiento) who idolizes and looks up to Bridget. The two of them worked together in another musical, but Bridget cannot recall working with Joy. The truth then comes out – both Bridget and Joy are auditioning for the same ingenue role. Gertrude (Astrid Van Wieren) next arrives. Throughout her career, she has worked with everyone in the business. Gertrude is at that stage in her career where she is no longer the ingenue but the bold, brassy, and seasoned performer who loves delivering that big 11 o’clock number in the second act. And there is Max (Cory O’Brien), the perfect-looking handsome leading man with a profoundly deep baritone/tenor voice who sweeps the ingenue off her feet. Director Evan Tsitsias’s cleverly written blur-the-lines Book connects the world of the theatre and real life regarding the roles we all play in life. I’m reminded of Jaques’ monologue from Shakespeare’s ‘As You Like It’: (All’s the world a stage/and all the men and women merely players/They have their entrances and their exits/And one man in his time plays many parts…). One doesn’t have to be a theatre lover or aficionado to recognize how each of us becomes different things to different people. We’re husbands, wives, parents, lovers, partners, friends, siblings – the archetype list is endless. Sometimes we behave differently depending on that role or part and on the context of our relationship with others. Sometimes the parts or roles that we assume in relationships with others need repair or are unfixable. Irene Ly’s set design of brick wallpaper at the back of the stage showcases this reality. Some of the bricks are in complete disrepair while the cement in other parts still needs to be put together. Rachel Shaen’s lighting design mysteriously reminds the audience that we are sometimes in the realm of the present but can quickly revert to some painful reminders of the past. An overhanging bulb periodically makes a loud buzzing noise at various moments of emotional growth for the characters. This bulb reminded me of the ghost lamp in theatres that is turned on as everyone leaves for the night. Tsitsias’s script takes a deliciously ironic turn of events. Many plot surprises along the way are funny and poignant. Just to whet the appetite – while actors Bridget, Joy, Gertrude, and Max go from one theatre contract to the next in real life, ‘Inge(new)’ entwines their lives together where the audience learns more about Bridget’s life and where she is headed next. (Spoiler alert in this next sentence only – the title sort of gives away Bridget becomes a new person resulting from this moment in the theatre.) The cozy black box Red Sandcastle Theatre on Queen Street East sets the audience smack dab in the heart of the plot action. The arm’s length intimacy from the stage thankfully allows the audience to clearly hear the messages conveyed through the songs. Acknowledgment of Music Director Kieren MacMillan in creating some fine vocal performance moments. I especially liked Gertrude’s song about why she wears rubber boots. Alexis Diamond’s lyrics with additional lyrics and music by Evan Tsitsias and Julia Appleton remain richly sharp thanks to the poetic-sounding language of the at times amusing and affecting subject material that moves the story along naturally. Evan Tsitsias soundly directs the production. There’s a clearly trusted and insightful vision in combining the world of musical theatre and personal relationships. It’s impossible not to be pulled into the lives of these four characters who tell the story with confidence and assurance. And this cast. Mairi Babb, Astrid Van Wieren, Elora Joy Sarmiento, and Cory O’Brien are WONDERFUL. They deliver four uniquely distinctive performances of tremendous conviction and ardent emotional passion for the subject material. They each have their own 11 o’clock numbers where I just sat back and allowed the sound of their voices and the messages of the songs to move me back and forth between the world of the theatre and real life. Final Comment: A treat and a joy to be able to see and experience a new Canadian musical at its birth. I certainly want to keep an eye on Theatre Myth Collective and see what Evan Tsitsias has planned for future. ‘Inge(new): In search of a musical’ represents why we must continue to get out and go to the theatre. Go see it. Running Time: approximately 90 minutes with no intermission. ‘Inge(new): In Search of a musical’ runs until June 4 at Red Sandcastle Theatre, 922 Queen Street East. For tickets: redsandcastletheatre.com/tickets. THEATRE MYTH COLLECTIVE presents: ‘INGE(NEW): In search of a musical’ Book, Additional Lyrics: Evan Tsitsias Music: Rosalind Mills Lyrics: Alexis Diamond Add. Music/Lyrics: Julia Appleton Director: Evan Tsitsias Music Supervisor/Music Director: Kieren MacMillan Choreographer: Jen Cohen Set/Costume Designer: Irene Ly Lighting Designer: Rachel Shaen Stage Manager: Annasofie Jakobsen Producers: Lauren Welchner, Evan Tsitsias Performers: Mairi Babb, Cory O’Brien, Elora Joy Sarmiento, Astrid Van Wieren. Previous Next

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

Dramas encompass the human response to a created life situation on the stage. Back 'Tyson's Song' by Peter N. Bailey Presented by Pleiades Theatre and now onstage at Factory Theatre, 125 Bathurst Street, Toronto Credit: Cylla von Tiedemann. Foreground: Kyle Brown Background: Jamar Adams-Thompson Guest reviewer Peter Mazzucco "An important story about men’s mental health smartly directed with sensitivity and precision.” As May is Mental Health Awareness Month, Peter N. Bailey’s “Tyson’s Song’ examines the dominant thoughts surrounding Black masculinity and mental health. Bryan (Jamar Adams-Thompson) and Tyson (Kyle Brown) are two best friends out on their last boys’ night together. When the evening goes awry, the two Black men are compelled to examine their pasts and the genuine bonds of their friendship. Peter N. Bailey has penned a powerful play that achieves his goal of establishing the need for a positive dialogue and new conversation around mental health for Black men that could potentially provide “the necessary love and care needed for them to heal and flourish.” “Tyson’s Song” also pays homage to Toronto. This thought-provoking piece opens with the two men running on the stage chasing a Toronto Transit Commission bus that has just hurriedly pulled out of a stop on its route. Friends since childhood, Bryan and Tyson traverse the city to different parties to celebrate Bryan’s last day in Toronto before he, his wife, and their young daughter move to Vancouver. As they wait for another bus, they begin to discuss topics they have not addressed for many years, if ever. One of Bailey's play's foremost and fundamental themes is mental health. Tyson has a history of incarceration resulting from and consequently affecting his mental health. In his discussion with Bryan regarding this period in his life, Tyson asks Bryan, “How come you never visited me?” Tyson’s empathy has created a view of himself and his world that comes across as antipathy when it is self-loathing. The life-long antagonism he has developed toward himself bares itself when he tells Bryan, “Everyone I love leaves me and takes their love with them.” He mentions to Bryan that he, as well, has his own plan to leave. Another principal theme is the question of what it means to be a man, specifically a Black man. Bryan believes being a man revolves around having a family and a steady job. He chastises Tyson for being unable to maintain a steady job or a relationship since his release from the detention centre. At the onset of the play, Bryan seems like the jovial, easygoing one, and Tyson appears to be brooding and serious. We see Bryan dancing on the bench at the bus stop, talking about the party they just attended. Tyson is not impressed with Bryan’s behaviour at the party because he believes it is inappropriate for a married man to carry on like that. He asks Bryan if he would like it if his wife behaved that way at a party. It seems odd to have Tyson empathize with Nathalie, Bryan’s wife, when we discover Tyson believes that she does not like him. Bryan explains to Tyson that he needed this one night because his life has become one of “daycare and diapers.” He believes Tyson needs a real plan for his future. At one point, Bryan tells Tyson to “Man up.” We discover Bryan’s idea of being a man comes from his father’s notion of being a man, a cycle that Bryan is trying to break. Visually, Anahita Dehbonehie's design is sparse yet effective on the Studio Theatre stage, which is ideal for a vision of a crowded, impersonal metropolis that can be inaccessible or insular. A bench positioned at stage left provides the two men with a place to sit and talk while they wait for another bus. The placement of the bench becomes vitally important. It was a substitute for a dancehall stage. Another time it became a provisional pulpit during their Bible verse exchange. Dave Degrow’s lighting design emphasizes the calmer moments between Tyson and Bryan by narrowing the light on the bench or the bus stop to draw the audience in and focus on the earnest conversation between the two men. As quickly as the lighting brings us into those intimate instants, a quick lighting change dissonantly transports us back to the reality of their current situation. Overall, the lighting creates a sense of urban isolation at night. The combination of the lighting, stage, and Stephon Smith’s sound design made the urban setting at night palpable with its bus and police car lights, the T.T.C. bus stop, and the revving engine of buses. I felt as if I was watching the drama unfold from an apartment building across the street. Costume Designer Des’ree Gray dresses both actors stylishly. Tyson wears a denim jacket with many pockets, one of which holds a revelation. Bryan wears fashionable pants and a checkered shirt that contains secrets he openly reveals to Tyson during their conversations. Director Ash Knight directs smartly with sensitivity and precision. He has challenged the two actors to find a compassionate and empathic way to express their character’s voices. Jamar Adams-Thompson genuinely plays Bryan with charm and a carefree attitude. As the play unfolds, Bryan's complexity develops, and Jamar does a beautiful job of bringing out the many layers of his character. He even creates some arresting mannerisms that are fun and unexpected. As Tyson, Kyle Brown makes me feel the internal conflict within his character with his parley, movements and body language. On stage, we see a caring man who feels misunderstood by society. During one of the hostile, harsh verbal and physical exchanges with Jamar as Bryan, there is a sensitivity rather than brutishness to which Kyle as Tyson performs his actions and accomplishes his intention. He portrays Tyson with poignancy and pathos, not as a common thug. Running time: approximately 70 minutes with no intermission. ‘Tyson’s Song’ runs until May 19 in the Studio Theatre at Factory Theatre, 125 Bathurst Street. For tickets, visit factorytheatre.ca or call the Box Office at (416) 504-9971. PLEIADES THEATRE presents the World Premiere of TYSON’S SONG by Peter N. Bailey Directed by Ash Knight Set Designer: Anahita Dehbonehie Costume Designer: Des’ree Gray Sound Designer: Stephon Smith Lighting Designer: Dave Degrow Fight Director: Siobhan Richardson Production Manager: Shawn Henry Stage Manager: Heather Bellingham Performers: Jamar Adams-Thompson, Kyle Brown Previous Next

A talk with a professional artist about their career. Back Brad Hodder Canadian Chat Liz Beddall Joe Szekeres Augh!!!!!! I nearly ran out of time on the Zoom clock in chatting with artist Brad Hodder as there was so much I still wanted to ask him. Brad proudly talked about how his parents supported him and didn’t mind when he chose to pursue theatre professionally. He also had teachers in junior high and high school who encouraged him to pursue a path in the arts. He called himself really lucky and is very fortunate in his life that he met people along the way who helped him to this point in his career. Just looking at his resumé, I’ve seen several his performances at Stratford: ‘To Kill a Mockingbird’, ‘Julius Caesar’, ‘An Ideal Husband’ were just three. Brad also was Assistant Director on two productions that were quite good: Groundling Theatre’s production of ‘King Lear’ and the Stratford Festival’s production of ‘The Crucible’. Brad has two upcoming productions at Mirvish this season that I am keen to see. In November, he is directing the musical ‘No Change in the Weather’ which opens at the CAA Theatre on Yonge Street November 19, 2021. And he will play Draco Malfoy in the all Canadian production of ‘Harry Potter and the Cursed Child’ when it opens at the CAA Ed Mirvish Theatre on May 31, 2022. Brad and I conducted our conversation via Zoom. Thank you so much for your time: Since we’ve just celebrated Thanksgiving, tell me one teacher and one mentor in your life for whom you are thankful that brought you to this point in your life as a performing artist. Well, two of the same. I had a teacher in theatre school at the University of Alberta, my first year Acting Teacher, was a guy named Charlie Tomlinson. Big connections. Charlie’s family is originally from England, but he’s also lived in Newfoundland. Charlie’s father was at the Med School. Charlie was involved in the early days of CODCO here in the province in the 70s and 80s. I’d never met him before here in Newfoundland until I got to the University of Alberta. He had a profound influence on me, and we started a theatre company together here in Newfoundland that ran for ten years before I moved up to Ontario when I got into the Stratford Festival where I spent eight seasons. The other is Martha Henry who brought me to Stratford as part of the Birmingham Conservatory. I auditioned for Martha here in St. John’s when they were doing a national tour from the festival, and Charlie’s name was all over my resumé. When Martha was the Artistic Director of the Grand Theatre in London, Ontario, Charlie ran the Second Space there. They had quite a strong friendship and he definitely put in a good word for me. So, Charlie was a strong teacher and Martha became a real champion for me and a real mentor. I learned a lot from her. I ran the Langham Program at Stratford under her as well. She cast me in the lead in ‘She Stoops to Conquer’ and gave me opportunities. I got to assist Robin Philips simply because of Martha before he passed away. I was his assistant on ‘Twelfth Night’ that he was directing. I spent six intense theatre weeks with Robin, but he too had a profound influence on me. I’m trying to think positively that we have, fingers crossed, moved forward in dealing with Covid. How have you been able to move forward from these last 18 eighteen months on a personal level? How have you been changed or transformed on a personal level? Well, we moved home to Newfoundland. I have a 12-year-old and a 9-year-old. We were living in Stratford and getting ready to move to Toronto for ‘Harry Potter’. When everything started happening, we made at the time a complicated decision to move back home to Newfoundland not knowing what’s going to happen. In hindsight it’s the best thing we ever did. That changed me that I’ve been home for nearly two years now with my family, my parents, my kids’ cousins, that kind of family time and recognizing (I know it sounds so clichéd, but everyone is so busy and things were happening so fast). Then when we didn’t have to be so busy and so fast, there was the reality that for all those opportunities I had in Stratford, I became Dad too. I was working six days a week in Stratford. I missed getting to go home in the summertime because I was at the Festival working. The kids and my partner would go home every summer for a month or six weeks but I couldn’t. Even at Christmas time, they could go home but I couldn’t because I started working at Groundling Theatre and we’d rehearse over the Christmas break. My time home at Christmas in Newfoundland was short, and my time home in the summer was non-existent. The silver lining during this time for me is being with my family, my kids, and my time to re-connect with Newfoundland which, I’m sure, Joe, you’ve heard from anybody that a connection with Newfoundland is a special place. It’s where work takes me away, but if it wasn’t for that I’m very happy in Newfoundland and it’s a great place to be. I have been transformed these last eighteen months. We were all on hamster wheels, and then all of a sudden, the hamster wheel stopped, and I started baking. I became one of those pandemic bakers and seeing what else I can do with sour dough discard, and how to laminate pastry. I’ve been running a lot. It’s been a good time. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? The art that comes out of Newfoundland, and the history of our art here is very different from anywhere else in Canada. The idea of a national theatre in Canada I’ve always found to be a little silly because each region is so large, and each region has such a different relationship with theatre history. The cultural icons from each region of Canada are different. The idea of a national theatre in Canada is a topic for another conversation. I’ve been very lucky. Very few people move to Newfoundland for work. There’s a company here called Terra Bruce that’s producing ‘No Change in the Weather’ that I’ll talk about shortly. Terra Bruce was doing a web series so I did a web series with them for a few months in the winter. Terra Bruce has a resident company so they’ve kept about 30 to 40 artists employed during the pandemic and paying them a weekly wage. We’ve got a building here where we’ve been rehearsing ‘No Change’. I also started a Chekhov reading group online with actors at the beginning of the pandemic and we’d meet once a week to reach each of the Chekhov plays, one act at a time. I led that until I ran away from all things online because it was feeding me the same way as live theatre and shows do. There’s been lots of work in Newfoundland, so I’ve come home. I’m working on this production of ‘No Change’ with people I went to high school with; we started out together in going to the theatre and making theatre together. Even though I lost touch with them, I’ve been reunited with them. My sister is doing the costume design for ‘No Change’. I did a movie here. I did a short horror film with my 12-year-old kid where I got to play the killer. I’ve never had the opportunity before. Professionally, I’ve been able to keep food on the table and the family supported. The dog (a rescue dog) gets really expensive dog food to help in digestion (and Brad and I share a laugh over this). I’m aware that so many of my friends have had to pivot and that has been big for them. For me, the biggest change was to leave Ontario with my family, but work wise I’ve been very, very fortunate and it’s not lost on me how lucky I am. It’s been nice to reconnect professionally with so many people here who I cut my teeth with. Getting to work with these people again has been a real, wonderful gift. In your opinion, do you see the global landscape of the professional Canadian live theatre scene changing at all as a result of these last 18 months? I think so. I think it has to. We’re already seeing it in the way we’ve been working here. For ‘No Change’, we’re rehearsing in mask; we’re singing in mask, and that in of itself has been a bit of a game changer. The way we build our rehearsal days, especially working on a musical, we’re building in there has to be time in the day for the room to air out. We can sing for 15 minutes out of the hour without masks on. Practical things have changed. Our rehearsal week has changed. We’re doing five days now instead of six days for this contract. We’re seeing what’s possible and how much time we have together. The rehearsal hall, to me, has to be a place where you can try lots of stuff. It’s safe and respectful. I love parameters and that’s a good thing, but some of these parameters that Covid has put us into can dull the creative impulse. So finding a way to create in these parameters is a challenge. I like the challenge of putting on a musical during this time. I’m really curious to the many social things that have been happening around us. What are the plays that will be here when we are fully back? Are we going to see a bunch of pandemic theatre? What’s going on with equality, and diversity and racialization in so many ways and how that informs our theatre. With theatre do we want to reflect back to audiences the way the world is OR the way the world could be? I don’t know where we go now because the world the way it now is might not be the way the world is going to be. But the world that it could be? It could be so many different things when coming out of pandemic and how difficult it is to get a positive message going globally. Theatre should be responding to the way the world is going around it. It should be for the people. I’m always weary of truth onstage, but LIFE, we want to see LIFE on stage. I still think I’m two years away of realizing how my life has changed right now. It’s emotional during rehearsals right now. In this long-winded answer, Joe, I hope the theatre is very different in a lot of ways in that it reflects all the things we want it to reflect. I was drawn to the theatre; it made a lot of sense to me so I hope we don’t lose that sense of safe space. Maybe we’re trying to open it up a lot more? How are rehearsals going for NO CHANGE IN THE WEATHER? What drew you to want to direct the story? Tell me about the characters and the artists playing them? How has this experience enriched you as an artist? What do you hope audiences will take away from NO CHANGE IN THE WEATHER? As director it’s a challenge. This is a show that they’ve had for a few years. It’s gone through a couple of incarnations and had a lot of work done on it. I was part of very little of it. I was going to be in the cast because I was a member of the resident company of this show. One day out of the blue I got a phone call asking if I would be interested in directing ‘No Change’. Before I moved to Stratford, I was doing a lot of directing than acting here in Newfoundland. When I was at Stratford, I was an actor and did the acting thing. But I have an interest in directing so I did the Langham thing towards the end of my time at Stratford. I started a small theatre company with Steve Ross. We would do late night one acts in the Art Gallery at Stratford, a midnight showing of a one act play for just a small, invited audience every night. I love directing. My insecurities as an actor leave me when I’m directing. When I think of a play, I never think of the part I want to play but the play I want to do. I often think I get hired as an actor, I love acting, but if someone told me tomorrow that I’m not going to be acting anymore, I’d be okay. I’m really curious and hungry about directing. I’m good at it and I want to do it. I enjoy it and I feel comfortable with it. It’s all positive stuff in directing. For me, this was an opportunity. I’m used to directing a couple of actors and no technical support, just to get a good play with a couple of good actors and tour it around. I love rehearsing. One of my goals as a director is how can we bring rehearsal on to the stage? How can we keep this living, breathing, thing of a play alive? Different directors approach that in different ways, and I’m still trying to figure that out. ‘No Change in the Weather’ has been a playground for me with this company that has such wonderful resources and support for its artists. The bells and whistles are here, and I was able to get the company of actors that I was really excited about. In its earlier form, ‘No Change’ was more sentimental and dramatic of a Newfoundland story. One of the things I wanted to do with Steve Cochrane’s adaptation of the story was turn it more towards a comedy and make it more of a farce. I just thought there was more strength in the story the adaptation wanted to tell. I thought the play is a lot funnier that people initially thought it was. Terra Bruce agreed to me wanting to work with the adaptor of the play and to be in control of the cast I wanted, and they were agreeable to that. I’ve a design team that complements the production extremely well. I feel like we’ve got really good people involved. One of the best things I’ve learned as a director is not working alone, but they have their people, they have a team. There was a sense years ago of the director as tyrant, the boss, the all knowing. I don’t run into that – the directors who excite me the most are very collaborative. The director needs the actor to help tell the story as opposed to the director who tells the actor how to tell the story. This process is almost like working on a new play. Getting these actors together and getting them to help me figure out the story – I love that process. I could stay in the rehearsal hall forever. For better or for worse, I’ve never directed a musical so this was just one of those things that is scary, but I should do it. There are lot of people involved whom I respect and I love, and I want to spend time with. It was something I got excited about – the challenge of it. There’s an ensemble resident company of actors here that I did this web series with This group of actors has been together for a year. Outside of theatre school, sometimes at the Festival, you get to work with one group of actors for 8 months to a year. It’s so rare when that happens. When you’ve got that group of people that I had here for a year, and now I get to create a play with them and complement them but filling out the company with other artists, but at the core there is this group of artists here that is of such value to me. ‘No Change’ is a real ensemble piece and it makes it hard to rehearse. Pretty much everyone is on deck the whole time so I can’t rehearse a small group if a dance rehearsal has been called. It’s not always easy, but this is a strong company and they’ve got a leg up since they’ve been together for a year, and I’m just fortunate they’ve accepted me as a director. The collaboration is there, the history is there. It makes the challenge easier but a lot more attractive. I hope audiences will leave ‘No Change in the Weather’ with having a laugh. It’s a comedy in the tradition of CODCO, even ‘Kids in the Hall’. Steve Cochrane who has done the adaptation has had a long history with sketch comedy. There’s a lot of Newfoundland music. There’s a political story at the heart of ‘No Change’ and the high drama surrounding The Churchill Falls blunder. Walter Schroeder, Executive Producer of Terra Bruce, fell in love with Newfoundland music and is passionate about the province and its artists. He is involved with the music he wants in the show, plus the story and politics he wants. There’s been a pretty collaborative and effective way of working with him. I hope the audience will see ‘No Change’ as a Newfoundland comedy but not the plaid shirt and rubber boots. A lot of Newfoundland jokes are old and have been told a lot. Like so many cultural stereotypes these jokes become stereotypes of themselves. We play with this and flirt with it but we’re trying to be aware this production is a Newfoundland comedy; a Newfoundland musical being created in 2021 and not relying on the Newfoundland tropes from 40 years ago. What intrigues Brad Hodder post Covid? Chekhov really intrigues me, and I want to direct. Obviously ‘Harry Potter’ is intriguing me at Mirvish and I’m looking forward to getting going on it. I’m really intrigued about what the next ten years will be like for my kids. I know that sounds cheesy, but I’m really curious about coming out of this pandemic and everything and what the next ten years will be like. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I credit the late James Lipton and “Inside the Actors’ Studio’ for this idea: If you could say one thing to one of your mentors or favourite teachers who encouraged you to get to this point as an artist, what would it be? Thank you. If you could say something to any of the naysayers in your career who didn’t think you would make it as an artist, what would that be? Thank you (Brad says with a quick laugh and smile) What’s your favourite swear word? Fuck, but I’m told what I usually say is ‘Shitballs’. What is a word you love to hear yourself say? Satiated What is a word you don’t like to hear yourself say? Patronize because I never know which way to say it. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? You are enough. With the professional life experience you’ve gained over the years, what would you now tell the upcoming Brad Hodder from years ago who was just in the throes of beginning a career as a performing artist? Be patient and take your time. What is one thing you still wish to accomplish both personally and professionally? Professionally, I want to direct all of the Chekhov plays. It used to be the Shakespeare history plays but after so much Shakespeare, I now want to hang out with Chekhov. Personally, I want to have really good, good adult children. That’s something I keep coming back to. I just want to make sure they’re okay, and they’re making other people okay, and that they’re a force of good in the world. I aspire to give them love and hope each day, and I hope they will do the same to others around them. Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. Playing Edmund in ‘King Lear’ at Stratford because I never feel like I got it. What is one thing Brad Hodder will never take for granted again post Covid? My family or my work and TIME. Would Brad Hodder do it all again if given the same opportunities? Yah, unfortunately (and Brad has a good laugh) I wish, Joe, I wanted to be an action movie star and I honestly think if I wanted something like that I could be rich and famous. I’ve always to do theatre in a small black box. To learn more about ‘No Change in the Weather’ in November, please visit www.nochangeintheweather.com . Brad will appear next year in ‘Harry Potter and the Cursed Child’ at Mirvish in May 2022. To learn more visit www.mirvish.com . Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back Monty Python's 'Spamalot' The Festival Theatre at the Stratford Festival David Hou. Centre: Jonathan Goad and members of the ensemble Joe Szekeres A VOICE CHOICE Smashing! Absolutely smashing! This ‘Spamalot’ blows the roof off the Avon Theatre from its dazzling choreography to delicious double entendre innuendo. Although 'absolutely smashing' may sound like a borrowed British coined phrase, it fits this theatrical context. The Stratford Festival's production of 'Spamalot' is so much damned fun. Set in medieval England, a land filled with strife, plague, and an abundance of shrubbery, King Arthur (Jonathan Goad) and his loyal servant, Patsy (Eddie Glen), embark on a quest to find brave knights to join the Round Table. Along the way, they recruit Sir Robin (Trevor Patt), Sir Lancelot (Aaron Krohn), Sir Dennis Galahad (Liam Tobin), Sir Bedevere (Aidan deSalaiz), and even Sir Not Appearing (McKinley Knuckle), who decides not to join the Knights at Camelot. The mysterious Lady of the Lake (Jennifer Rider-Shaw) bestows the name Galahad upon Dennis. After arriving at Camelot, a female-voiced God instructs the Knights to find the Holy Grail, the cup used during the Last Supper. The quest leads Arthur and his Knights on a journey filled with encounters with all sorts of strange beings, including cattle-tossing French soldiers, the infamous Knights who say "Ni," and even an evil bunny rabbit. The Knights decide to stage a musical not unlike ‘Spamalot’ and will eventually settle down with those whom they love. I was never a huge Monty Python fan during my undergraduate years because I didn’t get the humour some thirty-five years ago. And it finally dawned on me why I enjoyed this ‘Spamalot’ and encourage you to see it. Throughout these last few weeks, we’ve been over-saturated with an exhaustive list of information ranging from flying the Pride flag, the future of Catholic schools, and silencing people who do not share similar beliefs. A month that is supposed to bring people together seems to divide and tear many asunder. Director Lezlie Wade, Music Director Laura Burton, and Choreographer Jesse Robb’s triumvirate collaboration gloriously blew the roof off the Avon Theatre opening night. Their vision of Eric Idle’s book, music and lyrics, and John Du Prez’s music maintains the lightning pace required of farce with precision. Everything in the show continues to be a delectable lampoon from sex to Sir Andrew Lloyd Webber musicals, to ‘Fiddler on the Roof’ and even, yes, theatre reviewers. Come prepared to have a solid belly laugh ‘of ridiculousness’ that Lezlie Wade speaks about in her programme notes. Each of us truly needs to laugh right now. As soon as I heard the coconut-clopping sound of the horses off stage when Patsy and King Arthur proudly ride on their imaginary horses, I put my pen down from writing notes and just sat back and laughed. From start to finish, the visuals created by Designer David Boechler, Lighting Designer Renée Brode, and Projection Designer Sean Nieuwenhuis are breathtaking. The medieval castle walls look cartoony with a Pythonesque flair. Although there is no mention of a Costume Designer in the program, it appears that Mr. Boechler has also taken on this responsibility. The medieval clothing is a remarkable recreation, from the knights' armor to the Lady of the Lake's stunning and flowing gowns. The execution of emily c. porter's Sound Design remains solidly consistent when needed. Jonathan Goad is a charmingly silly Arthur and impresses with his strong vocal abilities, effortlessly keeping up with Jesse Robb's dazzling choreography performed by an extraordinary company of terrific dancers. Eddie Glen's portrayal of Arthur's sidekick Patsy is comedic gold, especially in the hilarious expressions he gives his King during 'I'm All Alone'. Jennifer Rider-Shaw's impeccable comic timing shines through in her performances of 'Diva's Lament' and 'The Song That Goes Like This' (which playfully pokes fun at Lloyd Webber's shows). I would love to see Rider-Shaw showcase her talent in other well-timed comedic productions like 'Noises Off'. It's worth mentioning the amusing and lively Knights. Trevor Patts' performance of 'You Won't Succeed on Broadway' is particularly hilarious when the real meaning of the lyrics becomes clear. Aaron Krohn impresses with his energetic disco moves in 'His Name is Lancelot'. Liam Tobin’s ‘The Song That Goes Like This’ with Rider-Shaw is an on-point poke at how musical theatre can drag out some duets interminably long with no end in sight. Great fun. Final Comments: Theatre is meant to make audiences think and that’s so very important. Theatre can also make us just sit back and laugh. We can’t help but laugh at all the nonsense of our woke world right now. As David Seljak says in the Programme: ‘Spamalot’ holds its [skewered elements] up to the sobering light of ridicule and asks us to “always look on the bright side of life”. And to think.” See, good comedy does allow us to think. And that’s why you should go see ‘Spamalot’ at The Stratford Festival. Running time: approximately 2 hours and 30 minutes with one intermission. Monty Python’s ‘Spamalot’ runs until October 28 at the Festival Theatre, 55 Queen Street. For tickets stratfordfestival.ca or call 1-800-567-1600. MONTY PYTHON’S SPAMALOT Book and Lyrics by Eric Idle Music by John Du Prez and Eric Idle A new musical lovingly ripped off from the motion picture ‘Monty Python and the Holy Grail’. Director: Lezlie Wade Music Director: Laura Burton Choreographer: Jesse Robb Designer: David Boechler Lighting Designer: Renée Brode Projection Designer: Sean Nieuwenhuis Sound Designer: emily c. porter Producer: David Auster Performers: Henry Firmston, Eddie Glen, Jonathan Goad, Trevor Patt, Aaron Krohn, Liam Tobin, Aidan deSalaiz, Jennifer Rider-Shaw, McKinley Knuckle, Jason Sermonia, Josh Doig, Devon Michael Brown, Carla Bennett, Amanda De Freitas, Evangelia Kambites, Bethany Kovarik, Ayrin Mackie, Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Innocence Lost: The Steven Truscott Story' by Beverly Cooper Presented by Theatre on the Ridge and now onstage at Scugog Shores Village and Museum, 16210 Island Road, Port Perry Credit: Barry McCluskey. Pictured: Karly Friesen as Sarah Joe Szekeres The strong Theatre on the Ridge ensemble cast handles the dramatic intensity with dignity, tact, and grace. There’s nary a weather of histrionics in the performance. Set in 1959 in Clinton, Ontario, Beverly Cooper’s ‘Innocence Lost’ dramatizes the unfortunate tragedy that erased the innocence of the lives of many young people in the town. Based on the true story of the Steven Truscott judicial case, the play describes the murder and rape of Lynne Harper (Sarah Kaufmann) through the eyes of the fictional character Sarah (Karly Friesen), the story’s narrator. At times, the production describes graphic narration that forever changes the town of Clinton when fourteen-year-old classmate Steven Truscott (Liam Ryan) is charged with Lynne Harper’s rape and murder. ‘Innocence Lost’ recounts how rumours, fearmongering, and lies turn people against an innocent man as the town of Clinton desperately want to close this part of its residents’ lives. The play spans from 1959 – 2007. It’s unfathomable to think it took forty-eight years to dismiss the rape and murder charges against Steven. Additionally, has Lynn Harper's family been able to find any closure? A possible clue is given in the second act I saw ‘Innocence Lost’ at Toronto’s Soulpepper Theatre several years ago. At the time, that edge-of-the-seat production begged to be discussed later because a lot happened underneath the characters’ lives, words, and actions. Theatre on the Ridge audiences are fortunate that playwright Beverly Cooper will attend the July 19 performance and be available for a Q and A following the show to discuss these issues. Please check Theatre on the Ridge’s website for further information on Cooper’s speaking engagement. Does the same edge of the seat feeling still hold for Theatre on the Ridge’s production? It most certainly does, save for a few minor technical issues that can be fixed immediately. The strong ensemble cast handles the dramatic intensity with dignity, tact, and grace under Carey Nicholson’s solid direction. Make sure you pay close attention to the pre-show activity that takes place outside the tent. Director Carey Nicholson shows life in this small southwestern Ontario town in 1959 before the awful events. She captures that feeling thanks to Sarah Jewell’s period costumes and props. A young boy and girl walk by, with the boy steering a bicycle. This is Steven Truscott and Lynne Harper. Two boys are playing catch. Two ladies are walking and talking to each other, perhaps gossiping. Lyle Corrigan’s opening musical soundscape aptly captures the era’s tunes. A slight quibble in Act 2 near the end can be fixed. The dialogue is difficult to hear because the song is too loud. Carey Nicholson has designed the set where the audience sits on both sides, and the action takes place on the raised stage in front. There are steps around to allow the actors to exit and enter. Plot action also takes place on the floor in front of the stage. Nicholson makes a wise choice to do this. Not only does it allow for the use of levels to maintain audience interest, but it also becomes a symbolic reminder that people will always see events from different perspectives since the audience sits on both sides. But another slight quibble regarding the set design. From where my guest and I sat, it is sometimes tricky to hear any upstage dialogue or if an actor’s back is turned to deliver dialogue to the audience on the other side. Hopefully, all the actors will take this note as a reminder about audibility issues in playing to both sides. Most of the eleven-member cast assume multiple roles. For the sake of space and time, I cannot comment on all. As the fictional narrator Sarah, Karly Friesen shares her perspective of the events as a believable 14-year-old classmate of Lynne and Steven’s. Sarah’s wavering between believing and not believing Steven and recognizing how the potential of darkness existing in all human souls becomes genuinely heartfelt. As the young Steven and Lynne, Liam Ryan and Sarah Kaufmann eerily capture a sweetness of youthful innocence where I can’t even begin to imagine the atrocities both endured. As the older Steven Truscott, Austin White exudes tremendous frustration in maintaining his hope of innocence. As Lynne’s parents and Steven’s mother, Adrian Marchesano, Emily Templeman, and Annette Stokes-Harris’s palpable fear and the eventual reality of what has happened to their respective children cuts right to the heart. Thankfully, these three performers do not revert to histrionics. Instead, they allow the meaning of their words to sink into the audience’s understanding in formulating an opinion as to what happened. Reid Martin and Briony Merritt are convincing as mother and daughter who view this volatile situation in the town from opposing views. Elyssia Giancola’s eye contact with the audience as she shares her perspective of the story is intently firm. Regarding Isabel LeBourdais’s book concerning the trial in the second act, Michael Serres’ moment as Reverend Bagnall in confrontation with Adrian Marchesano as Mr. Harper becomes riveting to watch for the few minutes it occurs. Serres and Marchesano remain intently strong, especially when the latter discovers how the former becomes involved with LeBourdais’s book. Again, another quibble in audibility issues comes with Emily Templeman as Isabel LeBourdais. The second act focuses on the book she writes. However, there were moments when Templeman is upstage and I had difficulty hearing what she said. I also found moments when some of her line delivery was rushed with garbled words. My guest and I couldn’t decipher what she said. I could also hear others around me saying, ‘What did she say?’ Final Comments: Watching ‘Innocence Lost’ grimly reminds me of the 1984 wrongful conviction and eventual overturning of the Guy Paul Morin case concerning the rape and murder of his neighbour, nine-year-old Christine Jessop, in Queensville, Ontario. Steven Truscott and Guy Paul Morin’s stories and accusations were horrible. Again, I can’t even begin to imagine what the two men endured in the judicial atrocities thrown at them. These stories need to be told and shared. We need to understand how these mistakes were made and avoid this happening again. I applaud Theatre on the Ridge for staging important Canadian theatre and social justice issues like this. ‘Innocence Lost’ is one important story you must see this summer. And, if you can, go to Beverly Cooper’s Q and A. I’m out of town that performance otherwise I would have attended. Running Time: approximately two hours with one intermission. ‘Innocence Lost: A Play About Steven Truscott’ runs until July 29 at Scugog Shores Museum, 16210 Island Road, Port Perry. For tickets to the production and to learn about Beverly Cooper’s question and answer following the July 19 performance, visit https://theatreontheridge.ca/ INNOCENCE LOST: A PLAY ABOUT STEVEN TRUSCOTT by Beverly Cooper Directed by Carey Nicholson Stage Manager: Emma Church Production Assistant/ASM/Lighting Technician: Parker Drebit Costumes/Props: Sarah Jewell Sound Design and Technician: Lyle Corrigan Technical Direction and Lighting Design: Colin Hughes Digital Production Coordinator: Jana Tolmie Performers: Karly Friesen, Elyssia Giancola, Sarah Kaufmann, Andrian Marchesano, Reid Martin, Briony Merritt, Liam Ryan, Michael Serres, Annette Stokes-Harris, Emily Templeman, Austin White Previous Next

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