Back Chick Reid Moving Forward David Cooper Joe Szekeres Chalk one up for Durham Region. I had no idea performing artist Chick Reid lived and grew up in Ajax, Ontario, and knows many of the same spots that I do in Durham Region. Chick completed her theatre training at Queen’s University in Kingston, Ontario. Other selected theatre credits for her include Stratford Shakespeare Festival (Matchmaker, Cymbeline, Grapes of Wrath, Little Years, Comedy of Errors, Ideal Husband, Noises Off, No Exit, Troilus and Cressida, Much Ado About Nothing, High Gravel Blind, Eternal Hydra, Merry Wives of Windsor, Country Wife among others); Theatre Plus Toronto (Abundance, Holiday, Hamlet, Burn This, Scapino, Marriage of Figaro, Crimes of the Heart, Dora nominee); Shaw Festival (The Woman, Cavalcade, Peter Pan, Marathon 33, War and Peace); Neptune Theatre (The Goat); MTC (Steel Magnolias, The Sisters Rosenzweig); Grand Theatre (Helen’s Necklace); Actors’ Theater of Louisville (Heartbreak House, Anton in Show Business); Broadway (Much Ado About Nothing). She is a recipient of the Tyrone Guthrie award. What an extremely enjoyable and delightful chat I had with her via Zoom. Chick has been teaching at Queen’s University in the Drama Department for 16 years. She and her husband, Tom McCamus, live in Northumberland County where they raise Nova Scotia Duck tolling retrievers. Thank you so much for being a part of the conversation about theatre in a post Covid world, Chick: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? I’m feeling, in spite of everything, I’m feeling hopeful. I’m not getting anxious about it like I’m not hoping it’s going to happen in two weeks or even two months. But I’m feeling hopeful that there will be a vaccine and it will be effective. I’m really hopeful that the long-term effects of this on people’s home lives, finances, work situations, doesn’t go on for ages and ages and ages. I don’t have an end date in my brain, but I hope the long-term effects of this aren’t too horrible for so many people that stand to lose jobs, who have lost jobs, stand to lose homes. If I think about all this too much, I get on the despair bus, but I’m hopeful it will get sorted. But I’m also really hopeful that people will do what they’re being asked to do to help. I don’t think the vaccine is the answer in the meantime. We have to look after ourselves and look after each other, right? Emerging to some new way of living is further ahead in the distance to tell you the truth. I’m not so disappointed in some of the changes that have come about, that have had to come about because of Covid. It pleases me to see people really looking out for people. Maybe I’m more aware of it now because of this pickle that we’re all in together. I like the enforced quiet time that I think we all, everybody, in every walk of society, creates and needs. We rarely can give ourselves that. When quiet time becomes a luxury, there’s something not very right. I would like that to continue for everybody. There are some people who don’t have quiet time right now because they’re scrambling at three jobs when they had one good one, and now they may have three part time jobs, especially in our profession and the ‘in between’ times. I like planning when I go into town as it makes us all a little more mindful. You mentioned about Lucie Arnaz and how she said that perhaps we may not be back until at least 2022. On many levels, I bet she’s right. There are a lot of things that won’t be back in the form that we know of them right now. It might be a new form but the way we knew them in our profession, I have hope for it, of course, because it’s so necessary for everybody that we can get back to listen and tell stories. How have you been faring? How has your immediate family been doing during these last eight months? I have to say that I think I’ve been faring pretty well, actually. I’m a lucky one that I share my life with Tom (McCamus) so I haven’t been alone. I feel so lucky to be at home. We have a little log cabin just north of here and we rarely get a chance to use it when we’re working so we’ve had a chance to have a good couple of meaningful lake time opportunities. That was great. Emotionally, it sometimes hits me. What makes me upset (and it’s not what we’re going through now) is the thought when we get back into the rehearsal hall and a room full of people that we love. That makes me a bit weepy. I don’t pine for it but it’s going to be so momentous for everybody, don’t you think? I can’t even begin to imagine what it’s going to be like when we make that first entrance on to the stage when it’s safe to return to the theatre. It makes me tear up. It’s going to be overwhelming. Will we even get through that first performance? That’s okay, at least we’ll all be in the same damn room. (Chick laughs and so do I) I miss my immediate family. That has been hard on me, I have to say. I have four siblings under me. They’re all married and have children and grand children and we’re a pretty tight family. So I miss that. This year, I was supposed to host Christmas, my whole family, and every other year is the in-law family celebration. Christmas was meant to be here this year and I was supposed to have a house full of 30 people from toddlers to older people. Obviously, that won’t be happening this year, and I’m going to miss that. My immediate family are all healthy and everyone is behaving. My siblings have children and grandchildren and that’s their bubble so they’re not losing contact with their family. We definitely miss each other as siblings but they’re all well. One sister moved back to Scotland a year ago and I was going to see her there after my semester, so that bothers me I can’t go and see her. Two of my other siblings are recently retired and they’re doing fine. We’re lucky. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? I think they’re tied for me. I’m sorry that we didn’t get to do the plays we were supposed to do this summer. We were all looking forward to it. Personally, I miss my friends so much. I have dear friends at Stratford that I won’t be able to go see perform that I would have done had I been at Shaw. And I have dear friends at Shaw – these are people whom I love seeing every day and love spending time with them. We’ve had a couple of Zoom calls when them, cocktail Zoom calls which is lovely. Everybody gets so busy with nothing to do, isn’t that weird? I miss going to work and seeing my people. When I was asked to teach my acting courses online at Queen’s University, I thought, “Uhhhh, okay, I’ll bite and put my hand up and see what I can do.” I asked for permission to go and teach from my studio so that I can go to work every Monday. And they gave it to me. So, all the protocols are in place at the Isabel Bader Performing Arts Centre. I’m teaching live on Zoom from my studio. I drive to Kingston, so I really like that. It makes me feel as if I’m actually doing my job. 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? It was Monday March 16. Tom and I were in the same play, ‘The Devil’s Disciple’ at Shaw. It was our first day of rehearsal. We drove down to Niagara on Sunday, unpacked, left the dogs here for the week with our friend who looks after them. We just packed a week’s worth of clothing as we knew we would be back. We went to rehearsal March 16 at 10:00 am, walked out of the theatre at 11:15 am, and we haven’t been back. So, I’m sorry we didn’t get a chance to do those plays, but I have every hope we will get a chance to do them. The plan is to go ahead with these productions next summer. That’s hopeful given everything else that people are still moving forward. I think that’s fantastic and that makes me happy. Although we were sent home that day and everything closed, we carried on because there was insurance through Shaw. We carried on rehearsing ‘Devil’s Disciple’ and Tom and I started rehearsals for the second show that we would have performed at Shaw just this past summer. Tom was to perform in ‘Desire Under the Elms’, and I was to perform in ‘Sherlock Holmes: The Raven’s Curse’. We continued in rehearsal for all four of these plays online until May 12. What have you been doing to keep yourself busy during this time? Tom and I have been raising puppies. They’re due to go to their new homes in the next week or so. I’ve been teaching at Queen’s University in the Drama Department and this is my 16th year. My semester was over in a couple of weeks. But I go right into elf mode. As soon as those puppies are gone, and yes, I’ll shed a tear as I always do, but I’m right back and ripping open the boxes for those Christmas decorations. I love reading murder mysteries and having a cup of tea if I’m looking for lovely entertainment. But you know what, our deal when we get up here every morning. We deal with the dogs. Tom does his thing. I do my cryptic. And then both of us read for half an hour and then our day starts because we know we won’t be able to sit down again until the end of the day. I love reading. And that’s our routine around here. But when I’m on contract and start rehearsals, I don’t read a book for the whole season. It’s as if my brain tells me that I’ve got too much else to fit in there and there’s no room for a book right now. I think I read two books throughout the entire pandemic. Isn’t that weird? It’s like I’m in a work mode and I can’t pick up a book in the morning. 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? To my students I just keep telling them to go forward because there is somewhere for them to go. They can go forward. It may be a glitch, but everyone is in the same boat. No one is going to be left behind. My students are worried about graduating because they’re meant to graduate this year. And I tell them, “And what if you don’t? It’s okay as others are also in the same boat as you. Literally, you’ve got your whole life in front of you.” For younger actors, I tell them to just hang in. You’ve got it all in front of you. This isn’t going to disappear for you. The older actors, I find, they’re in a real pickle because such maturity comes to you at this age as an actor. You’re so ready and you’ve just got to hang on to it. Find something in the interim that makes you happy. I really do believe it will come back. You have to go forward as if there is somewhere to go. Do you see anything positive stemming from Covid 19? I think if people can hold on to those moments of quiet. Hold on to those moments of “I’m not going to look at the clock today.” I’m going to go through my day, hour by hour as it unfolds. I think there’s something positive about this notion if they are in a position to do this. It’s easy to become unaware of a bigger picture when you’re in a rabbit hole of whatever your job is. It’s hard to easy lose sight of this bigger picture and become unaware, and I think for a lot of people this has reminded us that we are part of something really, really big. And that’s a good thing. I hope we stay aware of the world that Covid has made us become. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? It’s going to change the way we look at being in those big places with those numbers especially if you’re at the Festival in Stratford where it’s 18+, 11+ at the Avon, and 8+ at the Festival theatre in Shaw. I don’t think it’s going to be once everyone gets the vaccine, okay now it’s time to cram together again. I don’t know what they are yet, but Covid will bring a lot of artistic opportunities that are going to crop up because we have to do it a different way. That will be an encouraging way to look at things that we haven’t looked at in the same way in the past. It’s going to take a long time for it to be what it was, if it ever will be what it was. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? You know what, I think those artists that want to stay creative in their chosen field and have the technical skills to tell a story online, I think it’s fabulous for them. It’s not a route I would take because I probably wouldn’t be very good at it frankly. I think these artists who are providing an opportunity for people who are hungry for a creative experience and be part of it are providing a great service. If they can find a way to be compensated for that service that’s even better. I don’t know how these online and YouTube projects and compensation work. I think it was great Stratford aired those projects at the beginning of the pandemic. We were compensated for them at the time and that’s what we signed on to and that’s what was meant to be done. In the early days of the pandemic, Shaw provided online cabarets for their patrons and that was lots of fun. There are questions that need to be addressed concerning compensation both from Equity and ACTRA standards. Tom and I were going to be a part of The Foster Festival in St. Catherines. I love Norm Foster’s work as it makes me howl. We were lucky enough to be chosen as part of 12 married couples and we were each going to be sent to different restaurants in parts of the city in the Niagara Region and read this play called ‘The Christmas Tree’. The play is hilariously funny and Tom and I can’t even get through it without losing it through laughter. It was going to be safe in each of the restaurants as per protocol standards. Tickets were being sold for a dinner and show. It was an Equity contract since Shaw is an Equity company. We were going to rehearse online, show up, do the safe social distance dinner and play thing and leave. Two weeks ago the decision was made to cancel it, and rightly so since the numbers are up. What they’re going to do now is we’re still going to rehearse online and it’s going to be recorded so people can buy tickets to see the recording. So now, it’s not really an Equity issue but an ACTRA issue since we’re being recorded. I’m just going to go do it since I’m a member of ACTRA. If I’m told it’s allowable, I’m just going to go ahead and do it. Despite all this drama, tension and confusion, what is it about the art of performance that Covid will never destroy for you? My love of it. (I can see tears welling in Chick’s eyes on the screen as I truly believe her). I never get tired of being in the same room with a bunch of people who are all there for the same reason. They’re there to tell the story and together in that big, beautiful room and my love of performing in telling a story will never go away for me. Previous Next

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

Back Carolyn Fe Looking Ahead Litratista (www.litratista.com ) Joe Szekeres Carolyn Fe was quite a dynamic and vibrant personality during our Zoom call today. At one point during our conversation, she used the Quebec French term ‘On clique ici’ meaning we’re clicking together, we’re making connections with each other. Listening not only to Carolyn’s voice but to the 150 plus voices I’ve compiled over this last year, I like to think that I’ve also clicked not only with Carolyn but with these other performers who continue to add their voices to the discussion of the live theatre industry in a post Covid world. Born in the Philippines, her family moved to Montreal in the early 1970s. Fluently trilingual in English, French and Tagalog, she started her performing career as a classically trained dancer, quickly moving to contemporary styles. Carolyn Fe eventually became a commissioned choreographer for local & international dance companies, TV and music video productions with her dance company, Phi-X 174 Inc. An entrepreneur at heart, she left the stage to take a 25-year hiatus from performing to join the corporate ranks as an owner/operator of a human resources firm. This was a good decision as the years in corporate life gave her business skills that she utilises in her artistic life. Carolyn came back to the stage in full force in 2005 at Montreal’s Teesri Duniya Theatre’s ensemble production of Miss Orient(ed) by Nina Aquino and Nadine Villasin-Feldman, where she jumped into three very different characters as mother to three different stage-daughters. 2014 brought her to Toronto’s stage as an invited guest singer in Raoul Bhanja’s “Life, Death and The Blues” (Theatre Passe Muraille) but it was in 2018 that confirmed her love of Toronto; when she appeared in Dora Award Winner Audrey Dwyer’s play called “Calpurnia” to sold out shows and thrilling reviews on Carolyn Fe’s performance. She won the 2018 Toronto Theatre Critics’ Award for Best Supporting Actress Award her role as Precy, in ‘Calpurnia’. Other awards and accolades include 2017 Balangay Award Nomination for Best Filipino-Canadian Entertainer and 2015 Filipino-Canadian Artist Award recipient for the North American Filipino Star Newspaper. Carolyn is also an award winning and Juno long-listed nominee as a Blues singer/songwriter with four albums under her belt with many more in the works: collaborating with musicians from around the world with her songs charting top 10 if not, #1 on Blues charts. Her band, Carolyn Fe Blues Collective, had a long-standing 8-year residency at Montreal’s iconic House of Jazz. Sadly it ended when Covid-19 took place. Her self-produced music video, Jerusalem’s Thorns: a song from her 4th album, where she appears as the matriarch won the 2019 Fete du Clip Montreal Award for Best Video and was screened in the Luxembourg edition to compete with other videos from all over the world, while still running the festival circuit and gaining recognition. Thank you for participating in the discussion, Carolyn: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. Okay, now that I can see you at least on screen, Joe, I can comfortably say that I am of another generation and also of another generational mindset. This pandemic has brought me back to my younger years when I was back in the Philippines. I was born there and I, lack of a better word, ‘woke up’, I became aware when, towards the end of the Vietnam War I was still in primary school. I was going to school with the children of the American GIs who were based in the Philippines and then deployed to wherever. The pandemic brought me back to that timeframe and mind frame where there is a new normal that we have to adapt to. That people, places and things are temporary. It’s always evolving. With the pandemic, I was in Tarragon Theatre’s tech week when they announced the lock down. I was still living in Montreal. I was renting an apartment. During tech week, the nerves were bubbling, we’re going on next week, and then the shut down. One by one, theatres started announcing they were postponing their production to three months ahead until finally we went into the theatre and Tarragon management announced they too were postponing. I come home, my husband says don’t take the VIA train or the plane back. This is bad stuff. He drove from Montreal to pick me up, and the next day we went back home to Montreal and that was it. It’s weird that theatres are shut down, but film sets and tv studios are still working (with strict Covid protocols in place). During the year, I did return to Toronto by train. I was masked, put on gloves and wore a shield for the five-hour ride. I still wasn’t feeling comfortable with all that. Will we ever feel comfortable again? Even when all of this is under control, but that’s a later question to answer. Today, with this first question, it brings me back to the major shifts that I lived back in the Philippines at the tail end of the Vietnam War where things were going to be different from then on and will continue to be different. So, from a very young age, I got used to a bunch of new normals happening again and again and again. Another image that flashed, my brother and I stuck among the American children since we were allowed and privileged to attend the American school, but what I do remember my friends crying. The soldiers would get weekend leaves. But when the parents would leave after, the heartbreak and crying my friends would have that was powerful. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? You know that saying ‘Necessity is the mother of invention’? This is where theatre artists and theatre creatives thrive. I believe, in my humble opinion, all of a sudden, a big chunk of what we are used to seeing and having in the theatre world is taken away. As an artist, what do we do? What are we left to do? We continue to create. In my formative years, I was heavily, heavily influenced by the surrealist movement. It was born around World War 1 and continued on. During these wars, what did they have? Nothing!! And from nothing everything came out. I think someone in the Toronto theatre world coined this phrase ‘This Grand Intermission’ we’re living through. It’s a beautiful time for creatives to flourish. It’s a perfect time to sit back, and it’s okay if you don’t want to do anything. Everyone digests this new reality in their own way. But if the urge is there to create, it’s a perfect time. That big chunk of ‘We have to produce’ is taken off our shoulders, that stress, and we can just sit back and let it flow. This is how I see this moment. There are good, bad and okay moments, yes, but these moments are full of creative opportunities. And rightfully so. Look how Tarragon switched from live to the old-style radio plays. Factory Theatre did this thing with video. It was like television in the 50s, or even earlier as it had a ‘theatre feel’. I enjoyed that. I agree with Kelli Fox’s statement that digital theatre is now a part of the industry along with the live element. Also, the day we can get back into the theatre and see the mish mash of technology and live at the same time, it’s exciting. Yes, it might appear frightening and unnerving, but I like being frightened, I like being unnerved. That means something will come out, so in the moment I get scared or worried, the ‘what ifs’, and then all of sudden we take that step forward, and the ‘what ifs’ dissipate. As a professional artist, what are you missing the most about the live theatre industry? The most…. it’s the ‘communion’ of people. Not the gathering, the immediate reaction of the audience while the artist on stage is performing. The communion between the two. The audience witnessing what is unfolding on stage and me, as an artist and still in character but the depths within Carolyn are saying, “Oh, my God, they’re reacting; that’s their reaction to this.” That’s what I miss, that communion. And I’m going to cheat here as well, Joe, as I want to add something else. After the five minute call, there’s that last second of the five minutes where Carolyn disappears and whatever character comes on, that one second for that character is born and says that first line. I miss that. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? It brings me back to my upbringing, to my life experiences of great, great, great losses and great, great, great wins to the extremes of my life. I’ve learned never to take anything for granted. As a professional artist, you get a gig today, and it ends. I’ve learned to live in the moment. I’ve learned that these moments are never to be taken for granted. Joe, thank goodness you sent me these questions earlier for me to think about them before our conversation today. Gosh, you’re bringing me way back. I had a friend in the Philippines. She was Vietnamese. She was from a privileged family. I don’t know how she was able to attend the American school I was in. I remember the day when her family had to take her out of school. We all know now why. I remember the morning. We were bunk mates. She said, “I’m going now. Never forget this moment, okay.” And we were kids, 7 maybe 8 years of age. She held my hand, and put her nose to my nose and said, “Never forget this moment. We will be friends forever even if we never see each other again.” I never saw her again. It never occurred to me what she was talking about. Moments like that as I grew up when I would have great losses – friends, family, things, finances, ups and downs – I would always remember her saying ‘Never forget this.” This pain strengthens. That moment taught me never to take anything for granted. Describe one element you hope has changed concerning the live theatre industry as a result of the pandemic. I’m gonna cheat again, Joe. One is the pushing of limits and boundaries. The pandemic pushed theatre companies and artists already, but there’s more room to push the envelope, more room for growth. Another thing is the normalization of the underrepresented profiles that we have out there. It’s not’s just about the BIPOC/IBPOC and Asians. It’s also about people, and stories about special abilities, about older people, ageism. We too have stories. We too have lives that I believe is interesting. I understand that the theatre community, and a lot of its players and managers and producers are of the younger generation; therefore, a lot of the stories are written by the younger generation. I would love to see the young look at the old. I would love to see the perception of the elders. I think it’s too easy to write about ‘me’, the young ‘me’. I’d be curious to see who they would write about ‘us’. Explain what specifically you believe you must still accomplish within the industry. I’m writing for the first time in my life as I approach my sixties. I’ve learned so much already about it, about the technical stuff, but I’m told also to write from my experience, my selfish point of view. I’m thinking, “What about me? My elders have stories that need to be told.” So, I’m pushing it that way. I would like to do, to be involved, to be part of the normalization of the ‘marginalized’ in all senses of the word, whether it be as an actor taking on the roles of a marginalized character, whether it be writing stories thereof; whether it be joining committees in Equity. There’s a lot of normalization to be done within our industry. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. As an artist and audience observer, I say to both, “Why not have a tsunami of Covid themed plays?” As an artist because it was during Covid times that a lot of people who are not used to radical changes or not used to new normals, they came out. Their social media feeds were full of how painful and how lonely Covid was to them. The human stories of Covid came out even more intense. So, why not write about it and have that ‘communion’ on stage when we will be allowed back or allowed ‘on screen’. That communion and connection are so important. One story of being lonely might ease an audience member’s story because they might be able to connect. As an audience member, I look forward to seeing Covid themed plays. I’m looking forward to this tsunami of Covid themed plays because everyone’s experience is a variation on the theme. We come to a certain point in life, and we look at the ‘young ins’ and say, “I remember when…” But for the young people, they may say it’s the end of the world for them on account of Covid, but for us older folks, we can say, “It’ll be okay.” As an audience member to see all of this unfurl on stage and to see the chaos that is going to be written, and then us sitting there saying, “We’ll be fine. We’ll be okay.” What better way to put communion into action then to participate in, to see and to listen to Covid themed plays and stories. As a professional artist, what specifically is it about your work that you want future audiences to remember about you? That I ‘communed’ with them, and that they ‘communed’ with me. One day when we will meet in person and, hopefully, in the theatre environment, I’m very introverted and shy person before and after the show. I will say hi. I’m open with you right now, Joe, because I’m protected by the fourth wall of the screen. But I’m not performing, I want to clarify that point. I want audiences to remember that I ‘communed’ with them while I was on stage telling whatever story I was offered whether it’s my story I wrote or another one. To learn more about Carolyn Fe, visit the following social media links: Youtube channel: www.youtube.com/carolynfe Albums: https://carolynfe.bandcamp.com/ Facebook, Twitter and Instagram: @TheCarolynFe Website: http://www.carolyn-fe.com/ Previous Next

Back 'Lobby Hero' by Kenneth Lonergan Produced by Icarus Theatre now onstage at Alumnae Theatre Alexandra Bolton Joe Szekeres I’m keeping my eye out for Icarus Theatre in the future if this performance of ‘Lobby Hero’ is any indication of where the company is headed. Icarus Theatre challenged itself in tackling Kenneth Lonergan’s gripping ‘Lobby Hero’ at Toronto’s Alumnae Theatre. The script reflects modern twenty-first-century daily life in Manhattan. It was an apt choice made by Icarus to stage it, but not an easy one, as the play addresses issues that have been heightened throughout the pandemic. Lonergan’s story is set in the lobby of a Manhattan apartment building where we meet the on-duty night security guard Jeff (Anthony Goncharov) and three others who strongly influence his life at this moment. There is Jeff’s strict and perhaps a tad overbearing boss, William (Matthew G. Brown) and two cops on the beat who end up in the lobby – senior officer Bill (Connor Briggs) and new police officer Dawn (Emily Anne Corcoran). A tad insecure about his life, Jeff has big plans for himself. He’s not that interested in this job but it’s security for him to stay there to put the first month’s rent down on a nice apartment and move out from his brother and sister-in-law’s home. Jeff is on the computer, reads a book and will sometimes place his feet on the desk and close his eyes for a nap. His supervisor William has a lot on his plate right now and is rightfully testy with Jeff. William has learned his wayward brother might be involved in a murder investigation. Jeff and William’s professional relationship is on tenterhooks now as well. On-duty and unpredictably mannered police officer Bill and his intensely focused on-the-job rookie partner Dawn end up in the lobby a few times. For some questionable reason, Bill periodically ends up here with Dawn and tells her to stay down in the lobby while he goes up to a specific apartment. Dawn doesn’t question Bill’s authority but later we learn something is going down in that apartment which puts their professional relationship in jeopardy regarding police ethics, honour, and duty. Additionally, Jeff’s building personal interest in officer Dawn also places her in an awkward personal situation when we learn about her past. Racial issues also influence the story deeply and strongly. There are some challenges with Naomi Daryn Boyd’s set design on the Alumnae stage. I liked how the angled corners of the sides of the building give the sense we are peering in on the story’s action. The back wall housing the mailboxes is in dire need of a paint job which shows this apartment is not an upscale Manhattan building. The security desk is located centre stage with a computer. There is a sitting area downstage far left that looked comfortable enough for those who are waiting for something or someone. I was puzzled by the door entrance to the lobby stage right. It does not convey the sense this is an apartment building. Most apartment buildings in Manhattan would have larger entranceways. Additionally, when the said door was opened and closed, sometimes quickly, the braces shook and at one point looked as if the door would crash down. Doesn’t convey we’ve entered a building. The other design choice made that puzzled me was the elevator upstage left on the wall. Most apartment elevators would be a tad larger to accommodate furniture. Instead, this one appeared rather tightly compact. As well, when officer Bill pushed the button, and got into and out of the elevator, he had to pull the door open and closed instead of it opening and closing automatically. That brought me out of the moment when this occurs. Carley Melvin’s lighting design subtly and effectively underscores the intensity of the scene when needed. However, there were a couple of times when some actors were in shadows, and I had difficulty deciding how I was to pay attention to this scene. Bjorn Kriel’s sound design of the outside noise of midtown Manhattan evoked a real sense of being in New York City. Where this production does shine is the character performance and their various emotional levels. Directed with a solidly believable understanding of each moment by Liam Eric Dawson, I saw some very real characters on the Alumnae stage. Anthony Goncharov intently listens and responds naturally as the insecure Jeff. At one point he tells rookie officer Dawn something about her partner, Bill, who is upstairs with one of the building’s residents. When Bill returns to confront Jeff, Connor Briggs smartly plays with Goncharov at first to set him at ease before the imposing threat of intimidation not to talk about whatever Jeff sees ever again with Dawn. This moment is terrific to watch the cat and mouse game between the two, and the look on Goncharov’s face indicated to me he was going to follow through with Briggs’ suggestion. Connor Briggs brings just that right amount of cocky smarm both in his police-swaggering gait and on his face that just made me bristle inside. Emily Anne Corcoran builds a credible emotionally conflicting intensity as rookie cop, Dawn. She wants to be the best officer she can be. However, Corcoran offers quite an interesting take on how she deals with her possibly developing interest in Jeff juxtaposed with how she deals with her smugly and ingratiating cop partner, Bill. I remained completely and fully engaged with Matthew G. Brown’s performance as building security supervisor, William. There remains a bubbling intenseness in Brown’s work that I kept wondering if, and or when there would be a complete explosive gush of anger as William has many responsibilities to which he must tend. There is a fixation on ensuring Jeff writes down when police enter the building to visit residents. William is also faced with an ethical dilemma regarding his brother and the possible murder investigation. Final Comments: On the theatre scene, it’s exciting to see how change and growth can strongly influence a new professional theatre company on the ground floor and where it is headed if the right decisions have been made in the process. As Icarus is a new theatre company, I’m sure there was a limited budget. I want to keep an eye on Icarus in the future. I spoke with Artistic Director Anthony Goncharov after the show for a few minutes and I could sense he is set to move forward in meeting growth and change and confronting artistic challenges on all levels. I look forward to Icarus’s next production. But go and see ‘Lobby Hero’ by all means to support a new professional theatre company. Running time: approximately two hours and fifteen minutes with one intermission. ‘Lobby Hero’ runs until December 17 at Alumnae Theatre, 70 Berkeley Street, Toronto. For tickets: onstagedirect.com/lobbyhero or at the door on performance night. Evening performances begin at 7 pm while matinees begin at 2 pm. ‘Lobby Hero’ by Kenneth Lonergan An Icarus Theatre Production Co-Producers: Anthony Goncharov and Liam Eric Dawson Executive Producer: Anthony Sweeney Directed by Liam Eric Dawson Stage Manager: Lauren Fahey Set Designer: Naomi Daryn Boyd Lighting Designer: Carley Melvin Sound Designer: Bjorn Kriel Performers: Connor Briggs, Matthew G. Brown, Emily Anne Corcoran, Anthony Goncharov Previous Next

Back Louise Lecavalier "Dancing was never about telling stories for me. It was about finding and touching our essence as beings. This is a long journey." Massimo Chiaradia Joe Szekeres Artist Louise Lecavalier has been described as a rebel on stage. She has created her own category of contemporary dance. Her frenetic, athletic and technical moves are daring and riveting. She is deliberate in the selection of music for her productions for their escalation in musical intensity. Since founding her own company, ‘Fou Glorieux’, in 2006, her movement research has been symbolic of her entire career, emphasizing the surpassing of limits and risk-taking, a search for the absolute in which she seeks to bring out the “more-than-human in the human. Lecavalier will perform her solo show ‘Stations’ November 23-25 on the Harbourfront Centre stage. Harbourfront calls the production her most personal work to date. ‘Solos’ marks the first time the Order of Canada recipient has performed a solo show of her own choreography. She is one busy lady right now and I was thankful she had the chance to answer some questions via email before the production opens. OTV: You have had quite an illustrious career as an artist. What is it about the art of dance that still connects you to tell stories to an audience? LL: Adolescent. Dance caught me in the flight. When I discovered dance, on top the pleasure of improvising freely and learning steps from others, I saw a beauty in it that came from those incredible possibilities to expand the body in unexpectable ways. i I thought also that dance was capapabe to express something that went beyond what was measurable in sports, or the simple valoriation of specific aspects of one’s morphology. Strangely or not strangely with time, I think I am even closer if possible to my most inner impulse to dance. I might have been at the beginning too caught up by my admiration for the technical aspect of it and the dancers I saw dancing. They were to me like the most beautiful animals. And I wanted to be in their world Over time, dance has become wider and more personal. My appreciation of the human boday for its natural sense of dance has expanded. While still dancing I do not think of myself so much as a dancer now but as a someone who dances. I see dance everywhere and I want to dance atom like. Dancing was never about telling stories for me, it was about finding and touching our essence as beings. That is a long journey. OTV: In your professional opinion, does one need to have a specific educational background or training to appreciate the art form of dance? LL: I hope that is not necessary. You like a dance or you don’t. Same with music. Same with painting…it touches you or it doesn’t. In the end, happy or not with a live show that you saw, some trace is left. It can be questions, it can be awe, it can be that your recognize your whole life there, or your hopes, your ideas, or you simply had a good time and forgot your personal worries. Education in art starts by seeing a first thing…then a second one..And art informs about the other art forms, and informs us of something without our knowledge. OTV: The title ‘Stations’ intrigues me. What is it specifically about your upcoming Harbourfront performance that you want audiences to remember about the meaning of Stations and stations in life? LL: I never think about what I want people to remember from my shows. Hum…Maybe I should ask myself this question. Or maybe not. I bring a dance on stage with no big hopes about others, but I do everything I can prior to coming on stage to arrive with the best possible version of the dance. Most clarity or most precision or most liberty or wildness. Lots of practice and re-thinking the piece over and over, this I can do, but expect something or impose an idea to the audience I cannot. I take the chance that dance talks a real language by itself and that it doesn’t need any explanations. Being on stage with a work that is an opportunity to share some humanity. ‘Stations’ is a solo, and I have to my own surprise…already 45 years of dance behind me, so the piece speaks of a journey, a dance journey. It holds many stories but the sum of the stories for now is this dance named ‘Stations’. Until the next work. OTV: Who has mentored you along the way in your career? LL: No one has officially mentored me. The person I have been the closest to and with whom I developed and expanded myself the most is Edouard Lock. All the 18 years that we worked together I had tremendous admiration for him as a choreographer, and as a thinker, not only for dance but in general. When you work so close to someone maybe you cannot see thisp person as a mentor. We were friends, colleagues and lovers. We shared. I feel like I learned so much from him. I gave to our research everything I had. I was in a perfect mode of discovery and I didn’t hold back anything. All was given for free, all was taken freely and there was no game of power or superiority. There was already lots of laughs and sweat. Having a mentor seems too serious when you are already deeply serious inside. Others who have influenced me through rich connections are Tedd Robinson and Benoit Lachambre. OTV: What words of professional advice would you give to young dance artists just beginning their careers and to their training grounds of dance? LL: Advice I give only one to one, and even then I am never very sure of its importance. I asked no advice from teachers or performers in the dance world. I took my advice or inspiration in my readings and discussing with people from dance and from other disciplines, day to day life, observation and mostly in dancing out of my skin. I took dance classes, and it sent me in one particular direction. I stopped taking dance classes and it sent in other directions. I moved on and on, but I always kept dancing. Injured or when pregnant, I dance in my head if I couldn’t dance so much with my feet So what kind of advice to give? Each dancer has to find his or her own liberty. ‘Stations’ runs November 23-25 in the Simon Fleck Dance Theatre at Toronto’s Harbourfront Centre, 207 Queens Quay West. For tickets, visit harbourfrontcentre.com. Previous Next

Back [title of show] Book by Hunter Bell and Music & Lyrics by Jeff Bowen Produced by Whitby Courthouse Theatre and now on stage at the Whitby Centennial Building 416 Centre Street South Credit: Sam Moffatt L-R: Benjamin Conroy, Carly Richard, Nicole Strawbridge, Barrett G. Moore Joe Szekeres “Hey, Whitby Courthouse Theatre. You’ve a jim dandy summer show going on.” [title of show], a unique identification label, was selected as a production by the Musical Theatre Festival and premiered there in September 2004 in New York City. In 2006, it ran off-Broadway at the Vineyard Theatre and finally made it to Broadway in 2008 for 102 regular performances. The story is a one-act musical written by two ordinary guys, Jeff Bowen and Hunter Bell, who want something more from their artistic lives. The musical centres on two guys named Jeff and Hunter who are writing a musical called [title of show]. Rather than getting bogged down by a title at this early stage of composition, [title of show] indicates the writers and composers will return to it later. Throughout the musical, the characters of Jeff and Hunter (originally played by Bowen and Bell) acknowledge they are appearing in the finished show that they have not yet written. Along with two actress friends, Heidi and Susan, [title of show] follows the struggles and triumphs of these two ordinary guys as they do their best within three weeks to bring the show first to the Musical Theatre Festival with the ultimate goal of transferring it to Broadway. In this opening night Whitby Courthouse Theatre summer production, Barrett G. Moore (who also appears as Jeff) directs with a creative purpose and good vision. The production also features Benjamin Conroy as Hunter, Nicole Strawbridge as Heidi, and Carly Richard as Susan. The pianist Larry (played by Colin Frotten) is situated upstage behind the keyboard and says very little during the show. He becomes that keen observer, an unseen friend we all need when life can sometimes be challenging. What’s unique about Frotten? He brings his adorable dog to the stage and keeps him company while the show’s going on. The dog even takes a curtain call bow. (Sam Moffatt will play the keyboard at the August 16 performance.) Moore has been kept rather busy during the rehearsal. He’s also listed in the programme as Set and Technical Designer. In his Director’s Note, he writes that the show has been challenging, enriching, and inspiring, as it’s about the journey of creation and bringing it to fruition through all kinds of testing. But what a solid challenge he has set for himself. I’d like to see more of Moore’s work in the future, whether as a director or actor, as he has potential and an eye for live performance. The set amply fills the intimate playing space of the Whitby Courthouse Theatre stage—four chairs (three rolling, one easily pulled, and a keyboard). There are three doors: stage right, stage left, and just off-centre. The pianist’s keyboard is located upstage right. From where I sat in the house, there was something far stage right that I couldn’t distinguish. I discovered later it’s an answering machine. The characters will leave messages on it, usually for Jeff or Hunter. This Whitby Courthouse Theatre production is very New York and adult-oriented in its dialogue and humour. There are many cultural references to the Big Apple, and Moore ensures that the connection is never lost. I smiled because I recognized many of these references. The actors appeared to know who or what they were, so they’d done their homework. During the pre-show, as the audience enters, various theatre show tunes blare from the speakers as the audience takes their place in their seats. I understand why the songs are blaring. It’s Manhattan and the creative team wants us to know this is New York. It’s a good choice; however, the volume could be adjusted as it’s extremely loud, almost bordering on deafening. Let’s not forget that audience members like to talk to each other or read that terrific-looking programme while waiting for the show to start. Try not to make it uncomfortable even before the evening begins. While a few sound issues and shadowy lighting glitches exist, these can be remedied for the next performance. I’m willing to overlook these quibbles. Why? Music Director Sophia Daunt has adroitly captured some solid vocal numbers and pleasing-sounding harmonies in Jeff Bowen’s often clever and witty lyrics. I closed my eyes for a couple of moments because I wanted to listen intently to the harmonies this committed foursome sang. Barrett G. Moore shows promise as a stage director. He keeps the pace moving, and it never appears rushed. He creates four likeable and realistic New York characters. He had some interesting stage business during the pre-show that I particularly liked. The four actors are engaged in hushed stage conversations that appear natural. As one of them is engaged in speaking, the other listens attentively and responds in kind. The other actors create uniquely distinct characters. Moore is level-headed Jeff. Benjamin Conroy’s performance as ‘wanna-be famous’ gay friend, dreamer and collaborator Hunter is sometimes over-the-top. Still, Benjamin makes his performance work as Hunter because the other three recognize and respectfully accept that ‘he is who he is’ (with apologies to Stratford’s current production of LA CAGE AUX FOLLES and my pal, Steve Ross, who plays Albin and sings the closing Act One number “I Am What I Am.’) By the end of the show, Conroy’s Hunter also becomes a friend. Carly Richard’s Susan is the only one with a stable day job so that she can do her artistic work at night. Nicole Strawbridge’s Heidi is the only one who appears to have ‘made it’ on Broadway (albeit as an understudy/swing/ensemble). Richard and Strawbridge offer lovely work as juxtapositions to the guys. Strawbridge’s Heidi is level-headed like Jeff, while Richard’s Susan is the dreamer like Hunter. At one point, about halfway through the show, Moore has Heidi move towards Jeff, and Susan moves towards Hunter. That’s a compelling picture moment because that’s the dream all wanna-be artistic people want – to work with other like-minded individuals and be happy in what they are doing. A Final Thought: Creating art is never easy, whether it’s done professionally, non-professionally, or community theatre-based. Art needs to be seen nevertheless by an audience. It makes the efforts of everyone involved worthwhile. [title of show] needs to be seen. If this is the quality to be expected from Whitby Courthouse Theatre’s summer shows, I hope to see more in the future. Running time: approximately 90 minutes with no interval/intermission. [title of show] runs to August 23 at the Whitby Centennial Building, 416 Centre Street South, Whitby. For tickets: whitbytheatre.ca or call (905) 668-8111. WHITBY COURTHOUSE THEATRE presents [title of show] an original broadway musical Book by Hunter Bell. Music & Lyrics by Jeff Bowen Produced by Amanda Walchuk Directed by Barrett G. Moore Music Director: Sophia Daunt Set and Technical Designer: Barrett G. Moore Properties Lead: Shannon Widdis Sound Design and Operator: Sophia Daunt Lighting and Sound Effects Operator: Mack Gillies Stage Manager/Projection Design: Mack Gillies Performers: Barrett G. Moore, Benjamin Conroy, Nicole Strawbridge, Carly Richard, Colin Frotten, Sam Moffatt (August 16) Previous Next

Back 'Russell's World' written and directed by Herbie Barnes, Artistic Director Young People's Theatre Young People's Theatre website Joe Szekeres ‘Imagination helps us get through any problem or challenge. Einstein once said imagination is more important than intelligence’ – Herbie Barnes In the talkback immediately following the on-demand presentation of ‘Russell’s World’, writer, director and Young People’s Theatre’s Artistic Director, Herbie Barnes’s above statement captured succinctly the inherent and magical essence of childhood that, for me, is always endearing to experience time and time again from an adult perspective. Imagination! Yes, childhood is full of times when we were victims of bullies and other times when we may have been the bullies, and that’s not a pleasant part of any person’s childhood he/she/they want(s) to remember at all. Some of us coped through all this using our imagination. For me, what makes childhood so magical is its essence of that necessary creative spark. As a retired 33-year schoolteacher, I was witness to many, many moments of seeing creative imagination in action both in the classroom and outside. Over the years, I’ve seen many adults who have lost that sense of childlike wonder especially in experiencing when something new was introduced to us. And that’s sad when some adults sometimes lose or forget what it’s like to see things from a child’s perspective. Thank you, Herbie Barnes, for allowing us to see imagination at play in your script and production. The story - Russell has moved to the city with his Mom from a home they didn’t want to leave. They had friends at the house and their life just felt right. Unfortunately for Russell, their new circumstances aren’t quite what they had hoped for as they feel they have no friends at the new school, and no one to whom they can turn as an older lad is bullying them. The only escape for Russell is to retreat into their room after school is done where their imagination (and belongings!) come to life. Can their friends Bear, Jacket and Book help Russell figure out how to deal with the problems outside their bedroom as well as those hidden inside? I want to applaud and thank writer and director Herbie Barnes for allowing me to enter that safe space of wide-eyed wonderment in a jim-dandy and terrific on demand video presentation through Young People’s Theatre. I had my pen and paper ready to make notes; however, when I saw protagonist Russell (a charmingly unpretentious performance by Ziska Louis) enter their bedroom, bolt the chair under the door handle and call “Safe’, I put my pen and paper to the side and instead just revelled in being with Russell in their enchantingly exciting world of pretend and make believe for the next fifty some minutes. Anna Treusch has magically created a delightfully colourful and fantastical bedroom for Russell with bright colours of orange, green, blue and red. Certain set pieces appear to be enlarged which helped me to believe that Ziska Louis convincingly plays a young boy. Various props are strewn about the room which is also indicative of a child/young person’s messy bedroom. Treusch’s selection of oversized clothing from his hooded pullover jacket to large trousers and blue striped t shirt once again reinforce that we have entered the world of a child, and I completely bought right into it. Very nice touches. Kelisha Daley and Mike Petersen’s puppetry work in making Book, Jacket, Bear, Bedspread (and a few more objects which come to life that I don’t want to spoil here) was most certainly appealing to watch. Along with these various objects, there are also appearances of spectral looking beings, and I won’t state when they appear as that is all part of the fun of Russell’s world. Again, I bought into every inch of the recreation of a child’s world because it is such a danged good phantasmagorical world of make believe. As an adult, if I really liked it, I certainly do hope young children will also enjoy it. Cathy Nosaty’s sound design and composition effectively enhances the childlike world in which the audience finds itself. I especially liked the sounds used when Russell becomes a pirate. So much fun. Shawn Henry's lighting design firmly accentuates the present mood of a particular moment. It heightens some of the tension as the inanimate objects come to life in the bedroom. The swashbuckling pirate moments are in silhouette which in turn on the wall shows how larger than life Russell feels as he is battling. Again, great fun. Herbie Barnes winningly captures that youthful, wanton spirit both within his script and direction. I’m sure we’ve all experienced when we were younger those the true child like feelings of thinking you’re the only person who is feeling what you’re feeling, and that nobody else can understand at all what you’re going through. For example, at one point, Russell tears his jacket and then panics because he knows his mother will be cross with them. How many of us remember tearing our clothes when we were kids for whatever reason and then panicking thinking our mothers would be so annoyed with us because money is so tight or that it doesn’t grow on trees? So true to life. Finely tuned cinematography and precise editing by Joshua Hinds maintained my focus on where the specific plot action was occurring. In turn, this allowed for unnoticeable camera optical effects to be in place and offer surprises for the viewer. Ziska Louis is delightfully precocious as the free-spoken Russell. I have no idea of Louis’ age, but their performance work as a ten/eleven-year-old lad was dead on exact. Louis naturally assumed the idiosyncratic movements of a young person with arms periodically flailing around or the temper tantrum stand when things weren’t going the way they wanted them to transpire. Final Comments: As in all good things from Young People’s Theatre, their productions also contain important life lessons for their audiences, and the same holds true here for ‘Russell’s World’. I don’t believe for one second that Barnes’ just wanted his story to be merely entertaining. From listening to his Q & A at the conclusion, it appeared to me Barnes also believes in treating his youthful audiences respectfully while letting them know of the harshness of the world. In this case, for ‘Russell’s World’, young audiences will see that there will be times where children must learn to face challenges and obstacles head on to deal with them. “Herbie Barnes’s ‘Russell’s World’ waxes genuine for children and youth in learning to cope bravely and deal honestly with those little things that may appear monumental as a child but, in reality, are not the end of the world. This retired schoolteacher gives a thumbs up for schools and families to watch it.” Approximate running time: 55 minutes Recommended for ages 5-10. Teacher Guides and other resources are available. ‘Russell’s World’ streams until June 30 on the Young People’s Theatre website. Visit www.youngpeoplestheatre.org . RUSSELL’S WORLD written and directed by Herbie Barnes Young People’s Theatre Written & Directed by Herbie Barnes Featuring Kelisha Daley, Ziska Louis & Mike Petersen Set & Costume Design: Anna Treusch; Lighting Design: Shawn Henry; Composer & Sound Design: Cathy Nosaty; Cinematographer and Editor: Joshua Hind; Stage Manager: Kai-Yueh Chen; Apprentice Stage Manager: Sophi Murias. Previous Next

Back Naishi Wang and Jean Abreu “As we got deeper into the collaboration, we were constantly trying to explain things, and we’re thinking about how meaning is transported, and that then became very central to what we wanted to do.” Maya Yoncali Zoe Marin Dancers Naishi Wang and Jean Abreu are currently touring their show 'Deciphers' across Canada, having started on January 26 and ending on February 23. I sat down for a Zoom call with both of them where I got to learn more about each one as artists and the history of how 'Deciphers' came to be. Although their Dramaturg, Guy Cools, formally introduced them in 2019, Abreau jokes that they had been “flirting” for years– following each other’s work, liking each other’s social media posts, and expressing an interest in collaborating. With Wang based in Toronto and Abreu based in the U.K., it was not possible for the two to meet in person in 2020 like they had intended. However, they still began to bounce around ideas that eventually culminated in Deciphers. When Cathy Levi at the National Arts Centre asked Wang about projects he was working on, of course he mentioned Deciphers; this led to the NAC offering Wang and Abreu a space to “explore” this ambitious project. However, with the ongoing travel restrictions, their residency had to live on Zoom. Over a 3-month period, the two met biweekly and presented a “letter” to each other. Aided by their dramaturg, they would each write out “whatever [they] wanted to tell each other” and base their creation around these letters. At the end of this virtual process, they finished with seven letters that centered around the idea of “translation”. Of course, this process was limiting, but it was integral to the next step of their creation– finally meeting at the National Arts Centre in Ottawa. Here, these seven letters were printed and splayed out in the studio space, allowing them to really visualize all the letters in relation to each other and begin to physicalize them. The theme of “translation” had permeated all parts of this creation process– translating their ideas into these seven letters, translating their at-home movements to a virtual space, and now translating those letters into what Abreu describes as “poetry of the body”. Not just movement, but creating a language from that movement. By exploring the translation motif, the two artists began to see how each of their immigrant experiences fit into Deciphers. Naishi Wang was born in Changchun, China and moved to Canada in 2004 to train with the The School of Toronto Dance Theater. Jean Abreu was born in Brazil and moved to London in 1996 to study at the Trinity Laban Conservatoire for Music and Dance. While the two had a similar artistic upbringing and shared interests, a lot of their exploration came from the concept of “misunderstanding”. Wang explains that: “In the beginning stages, we didn’t just say Okay, this is it. We’re going to focus on this immigrant experience. That came later.” By working on the show, they recounted their teenage experiences of immigrating to an English-speaking country twenty years ago when translation technology was limited. This shared “perspective of misunderstanding” now started to infiltrate the creation process. Wang explains how the entire process is “based on our experience with misunderstanding. Not everything is very clear. We don’t understand everything. We are trying so hard to find this natural rhythm of the body. Reading the body distance. Reading the tone. Reading facial expressions.” Abreu shares that once they got over the “romanticism” of working on this project, they began to face the challenges that come with any creative process– they were just getting to know each other, they now had to translate their online work to a studio space, and they had to try to understand why the theme of translation was so important to them. “We realized we were living in this continuous translation mode. Thinking in these two terms, between these two places all the time… As we got deeper into the collaboration, we were constantly trying to explain things, and we’re thinking about how meaning is transported, and that then became very central to what we wanted to do.” These complimentary and contrasting experiences are reflected in 'Deciphers' through its cultural fusion and interdisciplinary elements. In addition to dance, there is also “spoken word, breath, and ink on paper”. Even the Chinese Folk Dance and Brazilian dance styles themselves are not straightforward. While Wang trained in Chinese folk dance when he was little, he now has more training and experience in a Western “contemporary form of embodiment”. Instead of being “authentically” Chinese or Western, he feels that he’s been able to form a new cultural identity as an artist by mixing the two styles. Similarly, although Abreu has experience in Brazilian dance, he’s also lived in the U.K. for over 20 years. His idea of Brazilian culture “has been so diluted that it’s hard to claim”, and still, he “can’t fully claim the UK side”. However, instead of trying to put labels on his artistic style, he has also embraced the beauty of fusing his cultures. When I asked them about anything else they wanted to mention about the project, they chose to highlight the artists who shaped Deciphers including: Lucie Bazzo (Lighting Design), Ivy Wang (Visual Designer), Olesia Onykiienko (Composer), Guy Cools (Dramaturg), Ginelle Chagnon (Outside eye), Xing Bang Fu (Rehearsal Director), Fides Krucker (Voice Coach), Emerson Kafarowski (Technical Director), and A.J. Morra (Stage Manager) And give thanks to Canadian support from: the National Arts Centre, the Harbourfront Centre, MAI Montréal, PuSh International Festival, the Canada Council for the Arts, the Ontario Arts Council, the Toronto Arts Council, as well as U.K. support from: Fabric Dance, Dance City Brighton Dome, South East Dance, Towner Gallery, and the Arts Council of England. A co-presentation with Harbourfront Centre and DanceWorks, 'Deciphers' runs February 8, 9 and 10 at the Harbourfront Centre Theatre, 231 Queen's Quay West. To purchase tickets: https://harbourfrontcentre.com/event/deciphers/ Previous Next

Back 'How To Survive In The Wild' by Jean-Philippe Baril Guérard. Translated by Rebecca Gibian Presented by Persephone Productions in The Studio at the Segal Centre, 5170 Chemin de la Côte Sainte-Catherine, Montréal Presented by Persephone Productions in The Studio at the Segal Centre, 5170 Chemin de la Côte Sainte-Catherine, Montréal Joe Szekeres “A wickedly razor-sharp script. Smartly directed and performed with courageous bravado.” Performed in French in 2021 at Théâtre Duceppe to sold-out houses under the title ‘Manuel de la vie sauvage,’ Persephone Productions’ English-language premiere set in The Studio at Montreal’s Segal Centre begins like a Ted Talk. The story begins with Kevin Bérard (Jonathan Silver), Quebec’s millionaire tech founder of Huldu. Bérard wants to share how we can win in our own lives. He plans to pull back the curtain on his own success and offers simple steps to remember. Signs in the lobby proclaim, “You’re Here Because You Want to Win.” Audience members are given a lanyard to wear around their necks, with a Huldu logo on the front and the QR code on the back (the house programme.) The audience enters The Studio and sits in a three-quarter theatre in a round setting with a giant projection screen. On stage right and left are the logos for Huldu. ‘How to Survive in the Wild’ becomes a story of giant tech creations and cutthroat choices in developing an app for the Canadian market. The app raises eyebrows; at least, it did for me. Persephone bills this opening night performance as a social satire with an unexpected twist: we witness the creation of an app with existentially dangerous repercussions: an AI chatbot that allows us to communicate with those who have passed away through the digital trace they leave behind. Indeed, the play does become a social satire. But there’s more, oh so much more, that can be considered dangerous territory in this Montreal-based tale. Catholic Christian moral and ethical implications strongly permeate this wickedly razor-sharp script. For those of us of the Faith, that’s called playing God and entering an unheard realm. But it also makes for a terrific evening (or afternoon) of entertainment at the Segal Centre. ‘How to Survive’ remains a thinker of a play. That’s always good when audiences are encouraged to think through laughter or shock, whether uncomfortable or not. Audiences need to experience more of this instead of the traditional ‘feel good’ stories. Designer Stavri Papadopoulou creatively places the story in a sleek 21st-century setting sharply accentuated by Chris Wardell’s focused lighting. The visual look the two have created is inviting yet stark and harsh, and it works gloriously. Props and set pieces are moved on and off by the cast and some crew members efficiently. The desks and chairs are on roller casters, and there is no hint of a squeak. There’s a crispness behind Julian Smith’s sound design, and its impact is strong. I can forgive a couple of momentary lapses, however, because actor Jonathan Silver did not allow the sound miscue issue to distract from his performance. Papadopoulou’s suitable costume choices aptly fit the characters. The women are smartly dressed, groomed, and coiffed, which gives the impression that they are assertive. There’s no messing around with these women, which becomes real as the story continues. The men are dressed a tad more comfortably than the women, which gives the impression that they appear to be secure in who they are and what they can offer in the giant corporate tech world. Does that seem a tad unfair? Perhaps, but one of the hard facts ‘How to Survive’ addresses is how men appear to have an edge over women in business. Director and Translator Rebecca Gibian securely keeps the story’s pacing always grounded in credibility. The story never appears rushed. The audience experiences many emotions, from laughter, albeit uncomfortable, to potential concern and shock regarding the lack of the human element. The implications can become devastating for everyone involved. This remarkable cast maintains a strong sense of commitment to tell the story with a gritty determination. Business is cutthroat in the corporate world. At times, there are no holds barred and be damned with any personal/familial relationships that have already been established in this production. There’s a bold confidence in Jonathan Silver’s preppy looking from a wealthy family Kevin. Silver's performance also verges on the cocky, which ultimately comes back to bite him, big time. Nevertheless, his Kevin is likeable for the most part. He shares some valuable tips on how to survive and win in business, and who doesn't want that. Kevin also tells the audience that the success we might want in our lives might not be what we get. Take that piece of advice for what it’s worth. There’s both a positive and negative connotation. Kevin’s university roommate and friend, Laurent (Noah Labranche), develops more of a victim complex rather than be seen as a loser in life. This is a relevant sign of the times in our 21st century when many around us have adopted this victim mentality. Yet Labranche adopts a quirkiness that makes him engaging. One can’t help but root for the guy, especially when Kevin sees about trying to recommend him to his boss, Carl (Brian Dooley). But can Laurent hang on to this job amid his insecurities? That realization must be experienced in person at the theatre. Dooley’s Carl is determined, smarmy, and self-righteous. Yet he knows his stuff. He knows what he talks about. He’s seen stuff before and knows how to play the game. Dooley’s Carl plays hardcore in the first app Kevin develops for the company, which leads to an important lesson about relationships and money learned in the tech corporate world. Oumy Dembele’s performance as lawyer Claude remains reputably sharp and witty. Her Claude can smell insincerity quickly and will use that to her advantage. I find it interesting that the female-identifying character uses a male name here. Is this intentional by playwright Jean-Philippe Baril Guérard? As actress Camille, Lula Brouillette-Lucien's Camille (spokesperson for the Huldu company product) initially views her involvement with the app as another job and gig to fulfill. Her further involvement in the app's continued development leads to alarming discoveries. Juliette Diodati’s Eve has had dalliances with Laurent and Kevin. With the former, she left him a mess as she played mind games with his head. With the latter, there is a hint that a relationship is going on, but it’s only for purely physical purposes with no human strings attached. Diodati remains decidedly sharp as a tack regarding the app's further development. She’s not cut-throat (although teetering on it), but she’s probably learned the hard way how to cope in what is still classified as a man’s world. In a cameo appearance that has been taped, Pepita Capriolo is an adorable Italian Nonna who explains to the audience how business is conducted between Kevin, Laurent, Eve and Claude using an analogy of pasta sauce. It's hilarious. When one considers what Capriolo says in comparing the tech company to the pasta sauce, it surprisingly makes sense. Final Thoughts: Two bits of advice Kevin shares with the audience still strike a chord: a) I became who I am today because of my failure, and b) Every human relationship is a transaction. The first makes sense. The second intrigues me more regarding the word ‘transaction.’ Yes, there is the business sense of the word, but it also leads to further pondering of other connotations of the word. ‘How to Survive in the Wild’ is performed and directed with courageous bravado. As I left the theatre, I could hear others talking about what they had just seen. That’s a sign of good theatre, and this one is good theatre. Please go and see it. Running time: approximately one hour and 40 minutes with no interval/intermission. ‘How to Survive in the Wild’ runs until September 29 in the Studio at the Segal Centre for Performing Arts, 5170 Chemin de la Côte Sainte-Catherine, Montréal. For tickets: (514) 739-7944 or visit segalcentre.org. PERSEPHONE PRODUCTIONS presents ‘How to Survive in the Wild,’ the English language premiere of ‘Manuel de la Vie Sauvage’ by Jean-Philippe Baril Guérard Directed and translated by Rebecca Gibian Assistant direction by David Noël Assistant direction by Adam Capriolo Set and Costume Design: Stavri Papadopoulou Sound Design: Julian Smith Video and Lighting Design: Chris Wardell Video Associate and Technical Director: Zachary Weibel Performers: Oumy Dembele, Juliette Diodati, Jonathan Silver, Brian Dooley, Lula Brouillette-Lucien and Noah Labranche, Pepita Capriolo. (Photo Credit: Emelia Hellman. Pictured Front: Jonathan Silver. Back (L-R): Noah Labranche, Lula Brouillette-Lucien, Juliette Diodati, Brian Dooley.) Previous Next

Back 'Counter Offence' by Rahul Varma Onstage at Montreal's Segal Centre for the Performing Arts Courtesy of Teesri Duniya Theatre's Facebook page. L-R: Arash Ebrahimi, Oliver Price and Howard Rosenstein Joe Szekeres A highly complex drama of integrity and grit. It is the mid-nineties in Québec. ‘Counter Offence’ follows the story of Shazia (Amanda Silveira), an Indo-Québec woman caught in an abusive marriage with Shapoor (Arash Ebrahimi), an Iranian man who deals with parental problems and immigration concerns. Shazia’s mother, Shafiqa (Ambica Sharma) and father Murad (Andrew Joseph Richardson) are at their daughter’s side during her ordeal. Shapoor is arrested on domestic violence charges by Sgt. Galliard (Oliver Price), a Québec police officer. Galliard shows his true colours in how he feels about what Shapoor has done. Moolchand (Aladeen Tawfeek) a lawyer/activist comes to Shapoor’s defence by accusing Galliard of racism. Clarinda Keith (Sophie-Thérèse Stone-Richards), a social worker, defends Galliard even though the Québec police are noticeably racist against people of colour to support the voices of vulnerable women. Ultimately a dramatic turn of events occurs which changes the lives of these characters. There was a talkback after the show, and I stayed because I wanted to hear both what the playwright had to say and what the other audience members were thinking. The audience sits on opposite ends of the auditorium with the action taking place in the centre. The stage is divided into smaller playing spaces from Gilles Prougault’s office to Shapoor’s holding/prison cell to Clarinda Keith’s office. The play is set in the mid-nineties as there is a reference to then Québec premier Jacques Parizeau’s racist incendiary comment of the reason why the 1995 provincial referendum did not sway on account of the ethnic vote. As the play moves forward, the actors sometimes will sit on stage left in chairs. Playwright Rahul Varma’s script is part courtroom drama. At times, the transition seemed clearly obvious. At others, I wanted to see a bit more of the personal drama playing out first. Periodically, the characters break the fourth wall and speak to the audience as if they are in a courtroom. It appears as if the audience becomes the jury trying to make sense of and get to the truth of what happened. The audience sits on opposite sides of the auditorium with the story’s action taking place in the centre. Marie-Ève Fortier has nicely designed the front of where the audience sits as the jury box. Aurora Torok’s lighting design effectively spotlights those individual scenes with a clear focus. Since the play takes place in the mid-nineties, Diana Uribe has selected appropriate contemporary clothing of the time period. Playwright Rahul Varma has written a highly charged edge-of-the-seat drama that kept me focused to the end. Murdoch Schon’s direction remains assuredly clear throughout. The tight-knit ensemble cast offers uniformly solid and believable performances. The topic of racism not only in Québec but in any province is a complex and troubling one for other underlying associated issues. Schon points this out in the Director’s Note when Schon stated: “Counter Offence is not a single-issue play [as it cannot be reduced]…to shrink the enormity of what [the play] grapples with. Varma writes in his Programme Note the play: “addresses the struggle for justice at the intersection of race, gender and culture simultaneously.” Indeed, with this background, it becomes extremely important to keep our eyes and ears always open and try to get as clear of a picture as we can. It’s not easy to always do this during the performance because the language gets nasty and hurtful. Arash Ebrahimi is a tortured Shapoor who credibly showed he wants to make amends with Shazia, but can he be trusted? Amanda Silveira’s performance singlehandedly made that clear to me he can’t, and I bought it. Anytime a man raises his hand to a woman is the last time he will raise a hand to her, and I was pleased both Andrew Joseph Richardson and Ambica Sharma supported this in their performances as the parents. Sophie-Thérèse Stone-Richards quietly assumes her strength of character as Clarinda in her interactions with Shazia and Guy Galliard. Oliver Price’s Guy is a hard-hitting and in-your-face brutal police officer. Yes, Guy’s heart is in the right place when he believes violence against any woman is wrong; however, to hear the language he uses when speaking to someone from another race is difficult and awful to hear. I persevered nevertheless and let him tell me what he wanted to say. Howard Rosenstein is a tough-as-nails Gilles Prougault who does his best to ensure he can keep Guy from losing his job. Aladeeen Tawfeek delivers a trustworthy performance as Moolchand. I truly believed he wants to help Shapoor at all costs. Even when Shapoor declares he shouldn’t have behaved as he did with Shazia, Tawfeek’s Moolchand becomes that strong parental figure Shapoor so desperately craves that is lacking from his own life. The surprise at the end of the play certainly made me do a double-take. That’s why I wanted to stay and hear what Rahul Varma had to say. Final Comments: The production closes on April 2. Go see it for the strong ensemble work. Running time: approximately 90 minutes with no intermission. The production runs until April 2 in the Studio Theatre at Montréal’s Segal Centre for the Performing Arts, 5170 de la cote Ste. Catherine, Montréal, Québec. For tickets, call (514) 739-7944. TEESRI DUNIYA THEATRE presents COUNTER OFFENCE by Rahul Varma Director: Murdoch Schon Stage Manager: Ava Bishop, Set Designer: Marie-Ève Fortier Costume Designer: Diana Uribe Lighting Designer: Aurora Torok Sound Designer: Violette Kay Performers: Arash Ebrahimi, Oliver Price, AndrewJoseph Richardson, Howard Rosenstein, Ambica Sharma, Amanda Silveira Sophie-Thérèse Stone-Richards, Aladeen Tawfeek Previous Next

Back Colin Ainsworth "Endless discovery is wonderful. You never stop learning. That’s the joy for me." Colin Ainsworth's website Joe Szekeres The first time I heard Colin Ainsworth sing was at the opera. He has participated in this stunning art form for twenty-plus years. Opera is one of his passions. He never stops learning as there are more roles he wants to sing and more he wants to learn. Now, I have no formal training or education in opera. I’ve attended several productions since I started reviewing. I have exited the theatre and sometimes have learned something about this dramatic art form. Sometimes I understand completely what’s going on. Other times, I think I might. There have been those rare moments where I didn’t understand a thing. However, from my brief experience, I’ve learned there is something for everyone at the opera. Co-Artistic Directors of Toronto’s Opera Atelier (OA) certainly espouse this thinking. Marshall Pynkoski and Jeannette Lajeunesse Zingg reached out over two years and encouraged me to attend. OA continues to look for audience members who want to learn more. It doesn’t matter if someone has no background or education in this field. Come, see, and hear unique stories told and sung with passion and intrigue. Colin concurs wholeheartedly with this goal Marshall and Jeannette have set for OA: “If we don’t encourage the next generation to come and see opera, there won’t be an audience in five, ten, or fifteen years. The art of opera must continue to cultivate emerging audience members.” If he could look into a crystal ball and see where the art of opera is headed over the next five years, Colin adamantly states there has been a big shift in inclusiveness for everybody, not only for singers and performers and artists but also for the audience. For example, he was working in Pacific Opera and there is an initiative there to include the blind and the deaf, people whom one would think might not like opera. Opera Atelier has also begun initiatives to include audience members who are deaf and blind. Colin’s parents are both deaf, so this initiative is very close to his heart. His parents love the opera because it’s very visual, everything from the theatrics right down to the lighting, the costumes, and the dancing. Some operas incorporate American Sign Language interpreters and they are placed at the side of the stage. The deaf students who attended that Pacific Opera performance were enthralled because the production was in their language. Ainsworth works with various school groups across Canada as well. Every single time students come to the workshops and programmes offered either through OA or other companies, and then see the opera, the young people are enthralled with what they are watching. “They love it!” Most of the time, students say they want to come back to the opera. How is Colin feeling about this return to the theatre even though we are still in Covid’s embrace? He says it has been a long time coming but it is nice to be back in the theatre. Ainsworth recognizes audiences have been a bit apprehensive about returning. From his artistic perspective, he’s fine with that but he wants people to come back. What’s important is the fact confidence is re-building about sitting indoors again in crowds. Just take a look at Blue Jays’ games where people are sitting shoulder to shoulder, screaming and wearing no masks. During the pandemic, Colin completed several digital projects with various groups, but he is quick to add: “It’s not the same. You don’t get feedback from the audience. You don’t get the energy from the audience. You can’t play off that give and take there is in live theatre.” ‘The Resurrection' will be staged just before Easter Sunday. I did see the digital production during the pandemic, and it was fine; however, I know it will be a completely different experience live. Colin even pointed out something of which I was unaware. He found the digital production challenging: “You’re lip-syncing to a recorded production of your voice. You have to make sure your voice and your lips are moving at the exact same time. That takes a bit of practice in remembering where you sped up or slowed down, or perhaps sung differently.” With a laugh, Colin added he has learned and enhanced a new skill. What is it about opera that keeps Ainsworth focused and makes him still enjoy what he has chosen as his career? Opera has so many layers that you never seem to stop discovering. There are operas he has performed four or five times, and Colin continues to discover layers and pieces of things whether it be in the orchestra, the story, or the character. With a return to a role he may have played or sung before, Colin always discovers something new he may not have understood or hadn’t heard the first time. He’s also interested in diving into new roles now that he is of a certain age: “Endless discovery is wonderful. You never stop learning. That’s the joy for me. That’s so cool.” Colin has participated in new operas of the day. He never seems to tire of the older ones. If he can’t sing Handel’s Messiah each year, he humorously states it’s just not the same for him. (Note: I must make a concerted effort to hear him sing Messiah next year). What is it about the biblical story of ‘The Resurrection’ that lends itself so well to opera? “It’s dramatic” He further adds: “You go through the Bible from Noah to prophets and through Jesus Christ, these are very dramatic stories. Religious themes, the pathos from Jesus’s death and his mother, Mary, and Mary Magdalene. These are all dramatic stories that come together as a cohesive unit to make a beautiful story.” When I asked what Biblical story he’d like to sing if there was an opera written, Ainsworth paused momentarily and then with an: “Ooooo, Samson.” There’s also a piece by Benjamin Britten called ‘Abraham and Isaac’ that calls for alto and tenor and that’s it. And what’s next for Colin Ainsworth once ‘The Resurrection’ concludes its run just before Easter?: “That is always the hard question (and he has a good laugh). I travel to Parry Sound for a summer festival up there. In the fall, I’m coming back to Opera Atelier. There are a few items that I cannot share at this time, but they’re wonderful upcoming things.” ‘The Resurrection' runs April 6 and 8 at 7:30 pm and April 9 at 2:30 pm. The three performances will take place in person at Koerner Hall at the TELUS Centre for Performance and Learning, 273 Bloor Street West. To purchase tickets online and to learn more about Opera Atelier, visit www.operaatelier.com . To learn more about Colin Ainsworth, visit his website: www.colinainsworth.ca . Previous Next

Back Jeff Ho Looking Ahead Dahlia Katz Joe Szekeres Over the years in attending Toronto productions, I’ve seen Jeff Ho’s name either as a writer or a performer. I had the chance to see his work in an extraordinary online production of ‘Orestes’ in 2020 through Tarragon Theatre. Earlier in the pandemic when I began compiling this series, I was encouraged by someone to get in touch with Jeff simply because his work as an actor and playwright speaks for itself. Before we began our Zoom interview, I asked Jeff how he had been faring during this time. He paused for a few seconds before he began to answer and I could just sense, like all of us have been feeling, that Jeff had a great deal on his plate during this year plus long absence from live theatre that he was unable early during the pandemic to be a part of the On-Stage Blog conversation. I so wanted him to be a part of this series and to add his voice to the discussion that I was determined not to give up in asking him. When he finally sent me a message saying he would love to chat and to add his voice, I was elated and immediately blocked Zoom time with him. Jeff is a Toronto-based theatre artist, originally from Hong Kong. Acting credits: Orestes (Tarragon Theatre), trace (Remount - NAC/Factory Theatre), Ophelia in Prince Hamlet (Why Not Theatre, national tour: Canadian Stage, PuSh Festival, and National Arts Centre), Hana's Suitcase (Young People's Theatre, tour: Toronto, Montreal and Seattle), Unknown Soldier (lemonTree creations/Architect Theatre), Murderers Confess at Christmastime (Outside the March), Kim's Convenience (CBC), The Handmaid's Tale (Hulu), and Orphan Black (BBC America). As a playwright, his works include the critically acclaimed Iphigenia and the Furies (On Taurian Land), produced by Saga Collectif; Antigone: 方, produced by Young People's Theatre; and trace, produced by Factory Theatre, b current, and the National Arts Centre. His work has been developed with the Stratford Festival, Tarragon Theatre, Young People's Theatre, Human Cargo, Factory Theatre, Cahoots, the Banff Playwrights Lab, Nightswimming Theatre, and he is the current OAC Playwright in Residence at the Tarragon Theatre. His plays are published by Playwrights Canada Press. Jeff is the Company Dramaturg with Outside The March. Jeff is grateful to have been honoured with a Toronto Theatre Critics Award for Best New Canadian Play (Iphigenia); the Jon Kaplan Legacy Fund Award for a Young Canadian Playwright; the Bulmash Siegel Playwriting Award (Tarragon Theatre); nominated for four Dora Awards, and a Harold Award (House of Nadia Ross). He is a graduate of the National Theatre School. Thank you again for adding your voice to the discussion, Jeff: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. It’s completely changed, different priorities personally and some of these are also tied in professionally. I just wanted to acknowledge, Joe, and thank you for reaching out earlier in the pandemic. That’s something that is really true and, at first, it was difficult to reach out and talk to anyone about the feeling, the isolation and just trying to navigate all the cancellations the artists had to go through. It was really quite difficult. Family was also important. I have a baby niece who I am lucky have been able to meet a lot and to see and re-connect with my family before the pandemic. During the pandemic it’s been really distant. My niece is talking, well, she’s babbling but she’s walking. It’s a huge joy to see her at this time. Thank God for technology that way. There are missing moments that I can think we can all identify with because of the pandemic, and it’s been more than a year now. We adapt quickly. Some things remain really difficult to parse through. With live indoor theatre shut now for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? (Jeff paused for a few seconds and I could tell from looking at his face on camera that this would be a challenging question for him) I’m both really optimistic for multiple reasons because of the creativity folks have been able to adapt with through the pandemic. There’s been some really great virtual showings. I felt really fortunate to have worked on ‘Orestes’ with Tarragon Theatre, that was a huge experiment. It was wild because everybody just went in together to collaborate. We made something happen, whether it was equivalent to live theatre or not, I’m not sure. But at the same time, I feel really optimistic that, in all of the adaptations and all the ways we’ll persevere, when we come back live, we’ll be really triumphant, beautiful and joyous. But, at the same time, I have a deep sadness for a lot of the shows that, who knows if they’ll be able to come back or if we’ll be able to see them. My biggest worry is sometimes with, I think of the newest generation of students who just graduated theatre school last May, and the ones graduating this May, and the ones who are in school right now, how it feels to be training over Zoom. It’s [The theatre industry] is a very hard industry to enter, and so I worry about a generation lost and the stories we might miss on. Ultimately, I’m hopeful and I’m trying my best to remain hopeful because it’s so important to do so. Theatre artists are really creative and adaptive. I certainly miss an audience, being in an audience. The [theatre] industry is not dead but Zoom theatre or You Tube theatre is not live theatre, by any means. What I’ve been grateful for with these platforms is at least the connection with the community that can chat with virtually or to see a performance live, even though it’s not live and in person. Through a small technical delay, it always fulfilled a few criteria of going to the theatre but never that full package of being sensationally with an audience, feeling the heat of the lighting design, and the actor really going at it full throttle. Zoom and You Tube can’t capture that heat of live experience, but it always held little bits of that experience that always made the missing part a little deeper each time, but at least I’ve been able to see other artists over Zoom. Or chat with other audience members I’ve seen over the years. The fun is having national audiences and national connections through the internet. That is something I hope we take forward where we can workshop a play with other artists around the country As a professional artist, what are you missing the most about the live theatre industry? So many things, but the first that comes to mind is the pre-show experience and immediate post show experience, and the actual show, of course. Those were the moments especially in the preshow you’d be like, oh, there are people I want to connect with, the ritual with the programme that is given to me in recognizing someone I’ve seen earlier or a new face on the stage whom I haven’t seen. Sitting and waiting for the lights to go dark and lose whatever was carried in from the outside world or sometimes you’ re carrying it fully on account of the show you are seeing. And the moment after, where there is always that ‘moment’ of celebration or that moment of judgment, or for better or worse, I have taken all those moments for granted. That moment of discussing what we just saw with friends. Ultimately, it’s the community in the preshow and post show experience that builds into an audience and then magically dissipates until the next time, whether it’s the next performance next day, next week. Every theatre does its preshow differently. I love the preshow experience at The Theatre Centre with its café or outdoors. What I also miss is the shared laughter and the shared tears. When we come back it’s probably going to be incredible laughter at any joke and any actor who tries to make a joke, and we’ll all be, “Yes, thank you very much for that.” And the actor just instinctively knows to stop for the laughter and everyone is going “Yes, we’re all in this together and we’re right there.” And the actor just picks it up on a dime. Oh, and also the shared complicity when we see something tender and felt and we feel that tear in the corner of our eye. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? So much of it…(Jeff paused for several seconds and again I could just sense that he and me too are missing live theatre so much) I never want to take for granted the experience and privilege of having a platform on stage and telling a story. I never want to take a story for granted again. It’s wonderful that we’re chatting right now, you and I, but it’s been a heavy week of stories in the news cycle for real both nationally and internationally. It makes me think of the stories that while I was rehearsing or while I was writing, we get exhausted because we work really hard. The artists put in so much time out of passion over economics. At times, it felt like okay I’ll just put it up and just do the thing, I’m just going to rehearse it. And I never want to take for granted whatever the story will be, that chance to connect and share something in a laugh, or something really ridiculous, to celebrate the small joys. If I make a mistake on stage, I also don’t want to take that for granted. It felt like that in training as an artist for so many years that there is that pursuit of perfection, like there’s a perfect way to tell a story. This last year plus away from live theatre has shown us how we can embrace those imperfections and adjust to them, that’s all part of the story. Even in live theatre when an actor ‘corpses’ or a prop breaks in performance on stage, I don’t want to take that for granted again. That’s a moment to connect and think, “Look, we’re in a theatre. Things don’t always go as planned. Isn’t this beautiful?” Describe one element you hope has changed concerning the live theatre industry. Yeah, hmmm…. It’s really exciting and also sad, I’m not sure if sad is the right word, but there’s a monumental shift that’s going on with the theatre nationally too. Every week so far has felt like there’s been new news of departure of artistic director who have been leaders for twenty years. There’s a major shift around of who’s helming these theatre companies that are also in quite a vulnerable position, programming wise and resource wise. And so, with those shifts in leadership, I also see a shift in what artists are identifying quite simply, I’m just going to name them, reckoning equity and diversity inclusion that we’re seeing across many companies. Last summer it was pretty hot with Black Lives Matter, at times informative and at times really felt an active way of change. More recently just this past month with ‘Stop Asian Hate’. There’s been a different way to see how the companies are reacting politically and seeing sometimes the inaction of it. Empty words. And sometimes seeing individual artists rise up and speak and demand the change within theatre. I hope there’s a more embrace of those real-world politics and real amplification of artists who have those stories and the urgency to tell them, and the space for that to happen to really and honestly and safely and bravely engage with those conversations in the theatre in a way that we haven’t been able to achieve in the past. I feel it’s all connected to the new leadership we will see in the coming years. Explain what specifically you believe you must still accomplish within the theatre industry. (Jeff carefully pauses and thinks) Must accomplish…oooo… (several seconds to pause and to think) In a really selfish way, one of the cancellations last year that really broke my heart was I slated to perform in ‘M. Butterfly’ at Soulpepper directed by Nina Lee Aquino. I was to have played Song Liling. This role has been my dream role since theatre school, since I was 17. That cancellation really wrecked me in a real personal way. Since then, ‘Orestes’ at Tarragon was my one acting experience, but I’ve been very, very grateful to be able to maintain playwrighting commissions and begin new plays with different theatre companies I haven’t had a chance to work with. And so, my personal must accomplish, is in some capacity with whatever company, I still hope to tackle that dream role and play one day. ‘M. Butterfly’ is so beautiful, and I so wish to share that story and I’ve been yearning to play it. So that’s a real personal must accomplish and, in the scheme of being connected to the companies I’m in service with right now, yeah, I feel like I must accomplish my playwrighting duties. It’s my passion, playwrighting. Duties isn’t quite the right word. I both love serving and writing for my Chinese Canadian community and really specific ethnic stories to really broaden these representations on stage. But I also love adapting Greek classics, and I really love adapting classics from the Euro central canon, and that’s part of the interrogation of why I adapt them. My two Greek play adaptations are being published by Playwright’s Canada Press this fall, and already I’ve had conversations with universities or theatre school students who always have to go to theatre school auditions with a classical monologue. But now I can provide, even in some small way, a Chinese specific Antigone so that Chinese specific students can still find a classical monologue that somehow sees through this culturally specific lens just a little bit more. That’s something I feel I can accomplish is to continue adapting new stories that speak to a community that’s close to my heart, and then to also, with a lot of whimsy and mischief. adapt a canon that I want everyone and folks who have felt other from it, to feel safe in tackling them and grappling them, with a lot of fun and with a lot of play. That feels like a little passion that I have. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I think it’s inevitable, and I think the theme will be more surprising than we may think. There will be ones that will go into the isolation of the experience, but I also think about the experience of the audience. I keep on thinking how we always have a cougher in the audience. That’s now going to have a different meaning when we go back. When the actor and the audience now hear the cougher, it’s now going to be “Ummmm….” In terms of stories, however subtle or however on the nose the Covid reality is, ideas around isolation, ideas around being hermit at home, ideas around hygiene in our going to the theatre, that’s going to shift. I think it’s inevitable that we’re going to have a series of plays that will capture this moment. Or through the lens of Covid, there might be some plays that examine some of the things we’ve talked about during this interview because it’s been a year of great strife and inequality, and it’s all been through the lens of us being often at home, unable to take to the streets or in limited ways to mobilize with communities. We’ll hear those stories with a touch of reality that Covid is. As a professional artist, what specifically is it about your work that you want future audiences to remember about you? That’s a tough question. I’m not sure. Okay (and Jeff pauses again for a few seconds) I want everyone to remember joy, mischief, and that trickster quality that’s both really sad - laughing until we cry until we laugh. That’s what I hope people will remember from some of my plays in a real, simple, human way. But I also don’t mind if I am forgotten quite honestly because that is the cycle of things and the cycle of life. But I hope the books will live on even if my name is lost, it’s okay. Follow Jeff on Twitter: @kjeffho. Previous Next

Back 'Trace' by Tristan R. Whiston and Moynan King A ReDefine Arts and Theatre Passe Muraille Co-Production Credit: Henry Chan. Pictured: Tristan R. Whiston Joe Szekeres ‘Trace’ Draws a Shadow of Incompleteness Is it possible to be both intrigued and puzzled by choices made in a theatrical production? Whether or not this is true, ‘Trace’ (now in the middle of its run at Theatre Passe Muraille) did just that. I’m all for really hearing and listening to learn of themes and messages, but I am also puzzled by choices here made that didn’t draw completeness for me. A press release from Theatre Passe Muraille bills the production as: “an interdisciplinary performance about the voice in transition, ‘Trace’ focuses on the ongoing nature of queer being and becoming by transforming a private story into a public performance that takes the audience on a journey across time and identity.” It is performer Tristan R. Whiston’s voice that is in transition throughout. As a retired Catholic educator, I know the importance of interdisciplinary studies within the secondary school system. Nevertheless, a great deal of planning is necessary to ensure the cross boundaries of pulling various disciplines together to ensure student success and learning is of the utmost importance. I’m not convinced enough planning was set aside in gelling the audio, visual, sight and sound together. As an audience member, I felt incomplete leaving the theatre and wondering what I have missed. Trixie and Beever’s set design piqued my attention. The striped beach huts where one could enter and learn about voice technology were interesting. During the show, an invited audience member went in to record something that we could hear on our way out. Jasmine King’s costume designs nicely accentuated the uniqueness of each of the characters in the live choir. Whiston’s white suit complete with a white hat was a classy look a la the 1940s. However, ‘Trace’ showcases too much in this interdisciplinary performance. It’s as if director Moynan King wants me to pay attention, here, then here, then over there and don’t forget this. I really couldn’t figure out where my focus was to be. Am I to focus on the experimental sound art (which I found fascinating by the way)? Jeremy Mimnagh’s video designs of the visualization of the lake juxtaposed with Tristan R. Whiston/Moynan King’s sound designs are rather impressive to view and hear. What was also fascinating was the whispering of the echoes of ‘Can You Hear Me?’ which worked well within the auditorium of the Mainspace theatre. Okay, is the theme of ‘Trace’ one where we are to do our best to hear, to really hear, what someone is saying? That’s what I gleaned especially when I could hear Whiston’s singing voice in transition. Not only is it polite and proper but very important to hear what everyone has to say since the world that we know now has changed so much. A transgendered male, Whiston moves down to tell us about Tristan’s journey. Tristan uses some stand-up comedy and some good old-fashioned storytelling. Okay, so I wanted to hear what Tristan was saying and I paid attention. Tristan did make me smile and laugh a couple of times at some of the anecdotes he shared. But am I now to focus on the stand-up comedy routine and hear what’s being said about the voice in transition? The archival video footage of The Boychoir of Lesbos and the live choir of a newly realized trans/non-binary/gender-queer choir provided some astounding vocals to hear and listen. It was a moving presentation of the live choir near the end to hear Styx’s ‘Come Sail Away’. The harmonious vocals of the singers were powerful. Charissa Wilcox’s lighting design framed this musical moment sharply. I could clearly see the singers’ faces from my seat. But why ‘Come Sail Away’? Where did this production want to sail away with me? What is the final destination? At one point, I read the Visual Link of ‘Trace’ in the programme. (Possible spoiler alert ahead) Within this link, Tristan is described as a transgender worrier rather than a transgender warrior, and the worries have changed over time. Tristan used to worry about how Tristan’s transgender identity will affect Tristan’s daily life. Now Whiston worries about Tristan’s life and being an average man. That last sentence is a contentious issue in our world right now. It is one causing a great deal of violence and disagreement. So, am I to glean I was sailing away to confront this controversial issue? If I was, then I felt uncomfortable about it. The production did not prepare me for this voyage. I can’t have a trace of an understanding of a social issue that has wreaked controversy, and that’s why I felt incomplete leaving the theatre at the end. Final Comments: I have no problem with theatre challenging audiences at all. Good theatre intends that. Passe Muraille has presented some quality productions since I’ve begun reviewing where I’ve been challenged to think about the story and the characters. I like when that happens. Unfortunately, ‘Trace’ is only a shadow of what it could be. Running Time: approximately 60 minutes with no intermission. The production runs to April 30 in the Mainspace at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto. For tickets, visit passemuraille.ca. TRACE by Tristan R. Whiston and Moynan King Director: Moynan King Performer: Tristan R. Whiston’ Co-Producer: Anna Camilleri Video Designer: Jeremy Mimnagh Sound Designer/Composition: Tristan R. Whiston with Moynan King Production Manager/Lighting Designer: Charissa Wilcox Set Designer: Trixie and Beever Costume Designer: Jasmine King Stage Manager: Becky Gold Previous Next

Back 'A Case for the Existence of God' by Samuel D. Hunter Now on stage at Coal Mine Theatre, 2076 Danforth Avenue, Toronto. Credit: Cylla von Tiedemann. Pictured L-R: Mazin Elsadig and Noah Reid Joe Szekeres “Smart and sharply written text that speaks to men. ‘A Case for the Existence of God’ remains a beaut of a play. It’s a rare gift when a story like this might just be what brings men to the theatre.” Before the above statement is misinterpreted as sexist-sounding, the intention is not to do that. ‘A Case for the Existence of God’ powerfully addresses men’s issues when children enter the picture. Playwright Samuel D. Hunter’s script pulses believably in how men speak, think, feel and react. It’s rare for a play to delve honestly into male relationships without them either sounding sappy or perhaps turning the characters gay. Director Ted Dykstra was touched by ‘Case’s script when he first read it. What spoke to him about the play? In his Director’s Note, he writes that it’s a story about loyal, loving fathers, flawed or not, who put their kids first. That’s why this opening-night production is a beaut of a play that I hope will bring men to the theatre. The story is set in designer Nick Blais’s ultra-modern-looking and tidy office space of Keith (Mazin Elsadig), a highly conservative mortgage broker who takes his job seriously. Blais has interestingly designed his set on top of stone pillars, which become potent reminders of Keith’s persistence in always wanting to do the right thing. Keith speaks to working-class guy Ryan (Noah Reid), a worker at the local yogurt plant looking to secure a loan to purchase land his great-grandparents once owned to rebuild the burned-down house. What draws Ryan and Keith together? They each want to be good fathers to their fifteen-month-old daughters. Keith works on finalizing the adoption plans for his foster daughter, Willa. Ryan remains down on his luck but wants to secure a bright future for his daughter, Krista. The two young children attend the same local daycare. Ryan seizes the opportunity to learn more about securing a loan when he learns what Keith does for a living. The men’s lives are polar opposites even though they become fast friends in bonding over the first events and moments in their children’s lives. Ryan’s current marriage is on the rocks. He faces addictions while being a grown adult of divorced parents. Ryan hopes the desired land purchase can show he can offer stability for his child even as his relationship with his wife crumbles. Keith grows up in a wealthy family. He is a member of the LGBTQ+ community who wants to adopt his daughter on his own merits. He periodically speaks to an unseen social worker on the phone who assists in securing the adoption. Costume Designer Des’ree Gray selects appropriate clothing that delineates the social status differences between the two men. Elsadig is smartly dressed in proverbial and preppy white-collar attire. Reid’s hard hat, boots, oversized coat, ripped pants, and torn white shirt strongly indicate that his work takes him outdoors most days. Ted Dykstra directs confidently and steadily, ensuring that the emotional moments between Elsadig and Reid do not verge on hysterics, as men typically do not express themselves that way. When either of them has emotional outbursts, they pierce right to the heart and gut, making them ever so poignant in their juxtaposition with the plot events. The actors do not move much at the beginning; however, when they do, there is an intent and reason why. Near the end of the play, when voices are raised and answers are sought, Elsadig and Reid remain passionate and dynamic performers who ultimately control their emotions. They give believably genuine performances as father figures who only want the best for their children’s futures. They also only want what’s best for each other as friends. Final Thoughts: Although the smartly written and sharp two-hander does not directly reference God or any spiritual being, Hunter firmly establishes the tone of having faith in a higher power. Sharing said specific plot elements would spoil how Ryan and Keith navigate their search in trying to understand something in a world that often seems to work against them. Ryan and Keith encounter heart-wrenching circumstances that did bring a tear to my eye, but the boys also provide moments of laughter amid the absurdity of their situation. That’s faith right there as the two men try to navigate their search to understand the world. This realization makes this Catholic Christian smile and his heart leap for joy. Running time: approximately 90 minutes with no interval/intermission. ‘A Case for the Existence of God’ runs until December 6 at the Coal Mine Theatre, 2076 Danforth Avenue, Toronto. For tickets: coalminetheatre.com. COAL MINE THEATRE presents ‘A CASE FOR THE EXISTENCE OF GOD’ by Samuel D. Hunter Directed by Ted Dykstra Set and Lighting Designer: Nick Blais Costume Designer: Des’ree Gray Sound Designer/Composer: Aaron Jensen Stage Manager: Robert Harding Performers: Mazin Elsadig and Noah Reid. Previous Next

Back 'Rosencrantz and Guildenstern Are Dead' by Tom Stoppard The Neptune Theatre production now onstage at The CAA Theatre, Toronto The Neptune Theatre production now onstage at The CAA Theatre, Toronto Joe Szekeres “A Voice Choice." "Led by the glorious performances of Dominic Monaghan and Billy Boyd, ‘Rosencrantz & Guildenstern Are Dead’ becomes one of those productions a theatre lover must experience. Highly respected Canadian theatre artists in supporting roles accredit this master class in acting. Do not miss this one.” Tom Stoppard's sharp, thrust-and-dagger dialogue sounds oh-so-good in Halifax’s Neptune Theatre production of Rosencrantz & Guildenstern Are Dead. I never realized just how good it truly sounds. Avail yourselves of this opportunity. It’s the world of Shakespeare’s ‘Hamlet.’ Although you don’t have to be thoroughly familiar with the story, here’s a quick recap. Hamlet’s father has died under suspicious circumstances, possibly murder. The late king’s brother, Claudius (uncle to Hamlet), is now ruler and has married Hamlet’s mother, Gertrude. Hamlet is morosely sickened by what has happened and plans to ‘attack the conscience of the (new) king’ and entrap Claudius to confess the murder. Claudius asks Hamlet’s friends Rosencrantz and Guildenstern to follow Hamlet, speak with him, and then report on what has been said. In Stoppard’s play, the story is told from the perspectives of the central characters Rosencrantz (Dominic Monaghan) and Guildenstern (Billy Boyd), who, as the title indicates, end up dead. The script veers in and out of the ‘Hamlet’ tale when the central characters are not on stage. There’s an amusing, sometimes esoteric take on the Bard’s tale in Stoppard’s, at times, playfully absurdist script. For one, Rosencrantz and Guildenstern are trying to remain ahead of Stoppard’s Hamlet (Pasha Ebrahimi), and that becomes a task because the young man is cunning and intelligent. Additionally, Rosencrantz and Guildenstern playfully confuse their own identities and use the other’s name to identify themselves. Jeremy Webb's direction remains intelligent and astute because he ensures the characters are continuously grounded in their motivations and intentions. He always keeps the audience on its toes as we watch the machinations play out in front. Webb’s staging becomes a chessboard. Throughout the many discussions from all the characters on the meaning and understanding of reality, their existence, and life and death, the characters listen intently and move with purpose and reason because of what was just said. Set Designer Andrew Cull has captured a striking visual look on the CAA stage that is continually moving. Free-flowing curtains, a few furniture pieces and moveable designs of metal intertwining risers become reminders of where the story occurs, whether on board a ship or in a theatre. Deanna H. Choi’s sound design caught my ear during the pre-show. There’s a tremendous sense of unease with the eerie reverberation sound resonating throughout the auditorium. Kaelen MacDonald’s costumes are effective replicas of the era that caught my eye, especially when lit by Leigh Ann Vardy’s subtle lighting design of brightness and shadows. What was a nice touch? Along with the opulence of some clothes, I could see the dirt and tear, mostly Monaghan and Boyd's blue and green costumes. Performances become master classes in acting delivered by theatre artists who showcase their talent with enthusiasm and élan. That’s what makes this opening production a Voice Choice. Monaghan and Boyd remain in complete synchronicity with each other akin to the central characters from ‘Waiting for Godot.’ At times, Rosencrantz and Guildenstern are confused about who each of them is or how they got to the situation in which they find themselves. It is their reaction to this absurdity that provides laughter. Monaghan’s Rosencrantz is the more physical of the two, while Boyd’s Guildenstern is philosophical and chatty. The rapid rat-a-tat delivery of their dialogue remains continually at a breakneck speed. When they speak slower during heightened dramatic moments, the intensity becomes heightened. For example, at the top of the show, Monaghan and Boyd play a game of heads or tails with a coin. Watching the back-and-forth banter between them about statistics and probabilities of landing the coin in a specific pattern is terrific. Their reactions and intentions are impeccably timed for a particular effect, whether comic or dramatic. There’s more of that throughout the nearly three-hour running time, so sit back and relish two actors who know what they’re doing and do it well. Remarkable supporting performances by a gelled ensemble of renowned Canadian theatre artists play The Tragedians. Michael Blake is a towering Leading Player who participates in this same delicious back-and-forth banter with the central characters. Walter Borden becomes a regal and majestic Polonius. Raquel Duffy’s Queen Gertrude is snappy. Helen Belay’s Ophelia is sweetly confused. Pasha Ebrahimi effectively captures a brooding mystery about his Hamlet, one that veers very close to the edge of snapping but never crosses the line. And Another Thought: I’ve never seen the 1990 film, so it merits a look sometime soon. In his Programme Director’s Note, Jeremy Webb writes that Stoppard encourages every production of the play to approach it fresh and not treat it like a museum piece. That has been accomplished in this Neptune Theatre transfer. Magnificently. Gorgeously. Beautifully. With this stellar cast now onstage to April 6, please do anything you can to get tickets. It is a moment in the theatre not to be missed. Running time: approximately 175 minutes with two intervals. Photo credit: @stoometzphoto ‘Rosencrantz & Guildenstern Are Dead’ runs until April 6 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. David Mirvish presents the NEPTUNE THEATRE production of ROSENCRANTZ & GUILDENSTERN ARE DEAD by Tom Stoppard Directed by Jeremy Webb Set Designer: Andrew Cull Lighting Designer: Leigh Ann Vardy Sound Designer/Composer: Deanna H. Choi Costume Designer: Kaelen MacDonald Movement Director: Angela Gasparetto Stage Manager: Christine Oakey Performers: Dominic Monaghan, Billy Boyd, Mallory Amirault, Helen Belay, Michael Blake, Walter Borden, Drew Douris-O’Hara, Raquel Duffy, Pasha Ebrahimi, Jonathan Ellul, Santiago Guzmán, Jacob Sampson, Erin Tancock. Previous Next

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

Back Nora McLellan Moving Forward ---- Joe Szekeres Performing artist Nora McLellan made me laugh quite a bit during our one hour Zoom conference call. She has certainly tried to stay positive in these long eight months. Well, Nora, please keep up your sense of humour in looking at things as sharing it with others is a gift indeed. I’m quite impressed with Nora’s background as a Canadian performing artist. She acted in JOHN for THE COMPANY THEATRE. Additionally, she has performed in some outstanding productions including AUGUST: OSAGE COUNTY at the Arts Club in Vancouver, THE MATCHMAKER at The Stratford Festival, MRS. WARREN’S PROFESSION and GYPSY at The Shaw Festival, and THE STONE ANGEL at Canadian Stage and London, Ontario’s GRAND THEATRE to name a few. Thanks again, Nora, for an enjoyable discussion and conversation: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living? I was thinking about what it would be like the first time we go to a theatre and we see somebody shake hands or stage. Or hug on stage. Will it be a period piece, or will it be shocking? Will it be a sense memory? So these are the kinds of questions that occupy my thoughts when I go for walks. I think about those little noticing details. What we are in right now is the new way of living, I guess I would say. For me, living in Niagara means I am able to go for walks in the country. When I go to see my guy in Toronto, we try to go on interesting urban hikes. Two weekends we went to Downsview Park, an urban park where the airbase was. I hadn’t been here before. There were other people around but we were miles away from everyone as we walked. So, this new way of living means it’s quiet, I will say that (Nora laughs). Some new way of living is here right now. How have you been faring? How has your immediate family been doing during these last eight months? How have I been doing? There have been some personal struggles but I’m doing okay. I’ve been doing an astonishing amount of walking for me, at least 5-6 miles a day. So that is something that I feel I have to do, I feel as if I have to go walking daily. I’ve got headphones and listen to the CBC or podcasts or just take off all the external accoutrements and just listen to the sounds of the birds. It’s been very interesting. I got home in March and I’ve been really watching the seasons. Because I’m not usually here as much as I am this year, I’ve seen the same trees go through spring, summer, fall and then descending into winter. And I guess I’m going to be here to see your spring again aren’t I, Tree? (she says with a laugh and so do I) There are colleagues of mine in horrible situations in terms of health and personal things. My ‘chosen’ family are in Louisiana, Oakville, and Alberta. My guy Ted has his job as a Systems Administrator. He’s working from home 9-5 Monday – Friday in Toronto. Everybody just seems to be plodding along. My family are my closest friends that I picked. As an artist within the performing arts community, what has been the most difficult and/or challenging thing for you professionally and personally? During this time, it would be the lack of routine from working. Luckily, I have been working a lot in recent years. I miss that – warming up in the theatre, working on the text, the camaraderie. I miss watching other actors work or at work. I miss how a director works. I love Tech Week and I miss Tech Week. Some of us from Vancouver once a month will participate in Zoom calls and just to talk stuff. I miss the critical thought about the work. The thing about theatre is we’re filled with stories of all kinds. The short answer: “I miss it all.” 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? Yes, I was. I’m sincerely hoping that some of these projects will continue in the future. Fingers crossed, here’s hoping. What have you been doing to keep yourself busy during this time? I am Ontario Councillor for Actors’ Equity Association. We have a lot of meetings and depending on how many committees I’m on, I’m busy in reading a lot of documents. Walking and Zoom therapy! 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? Well, I don’t know necessarily if I’m a very wise person. At Equity, there’s a Mental Health Wellness Task Force, and the committee has been calling on the senior members of Equity to check in on how they’re doing. Many of the more senior members are saying: “We’re used to this uncertainty, this pause. It’s the young theatre graduates you should be contacting.” For the graduates, this time of the pandemic is a crash course in how to live in uncertainty and how to keep going. I’m incredibly impressed by my colleagues and how they have shifted to other professions in the interim while staying firmly planted in the live theatre/entertainment industry. And my colleagues have adapted to the digital world and how that adaptation has now become a part of theatre. The astonishing amount of people from across the country who have the ability (which I don’t and which is why it impresses me) to sit down and decide to discover how they can still create during this time of shutdown in the industry. I don’t have that ability. Someone has to tell me to do something, and I do it. For the young creators out there, talk about being put into a box and punch your way out of it. This is the time to realize, “Okay, I’ve been put into a pandemic lockdown box. How do I punch and do something?” It’s an extraordinary time and to the young performers I say, “if you’ve got it, go for it.” Do you see anything positive stemming from Covid 19? Yes, I do. The ability to take care of each other and to be kind to each other. In the arts community, I find them to be a very caring group. It seems right now that when our friends and colleagues are going through difficult times on top with the isolation, there is a great desire to reach out. That kindness, support, and idea for being thrilled for a colleague when a part is offered to them is rewarding. It’s not much of why didn’t I get that role or that part? Instead, it’s triple fold excitement for our colleague who was offered work in the industry during this time. The professional and community theatres are caring groups. Ted was involved in community theatre. It was important for him. I think the world of community theatre – people who donate their time for weekend and evening rehearsals do it for the love of it. They are a caring group. They really love what they’re doing, and it is this hope that I see stemming from Covid. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? There’s been such a huge shift in the arts world, and a well-timed shift. There’s a new generation. I think the people that are showing that kind of leadership – the festivals have all demonstrated that. I’ve been seeing things happen right across the land. It’s incredible to me that I was streaming a show from the Arts Club in Vancouver the other night, watching Natasha Mumba in ‘acts of faith’ the other night. I was streaming something from California the other night that involved an acting lab from my teacher, Uta Hagen. I see a lasting impact in a deeper connection we will make with each other when we’re allowed back into the room and the performance space and utilizing the digital techniques and elements that were already in use. A few years ago, at the Blyth Festival, I saw ‘The Last Donnelly’ co-created by Gil Garratt and Paul Thompson with beautiful slide and digital work by Beth Kates similar to live music mixing in concerts. I think this is the future and it is fascinating. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? Believe me, as a Councillor for Equity, this is an ongoing discussion especially these days. It’s a new world. I’ve seen some incredible work. One of the first things I saw in lockdown was a terrific performance at Factory Theatre with Kevin Hanchard in HOUSE. It worked. It was as if Kevin was talking to us. Then I saw Daniel McIvor, the playwright of HOUSE, perform the play in Cape Breton in August. Wonderful production with Daniel as well. Two streamed productions that were incredibly different, but that’s the mark of a great play. That kind of stuff has been eye opening. The Stratford filmed productions have been a tonic for us. I’ve also seen live concerts at Shaw where we were socially distant. Something that I truly miss as I was watching a streamed performance the other night – I miss being in the audience. I miss the shared experience. I miss being with Ted and knowing that we, as an audience, collectively receive something together that particular night. I still get it when I watch a performance digitally but being with people in the room is really something that cannot be replaced. We’re both on the same page, but ACTRA and EQUITY have to figure out the compensation element which is wobbly. People want to get out to do something but not being paid….it’s such a challenging issue right now. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Destroy? This question sounds like such a Game of Thrones kind of thing. (Nora laughs). To me, I’m just getting warmed up. I hope I’m part of the Canadian Theatre fabric when we all get out of this pandemic. What cannot be destroyed is my desire to be on stage. I feel like I’m just in the wings ready. I’m hoping I speak for so many of colleagues. Our love of telling stories and being part of the ritual of theatre – there’s nothing like it. Previous Next

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

Back Andrea Rankin Theatre Conversation in a Covid World Mat Simpson Joe Szekeres Artist Andrea Rankin has quite the impressive list of resume credentials on her website. I had the opportunity to see her work at The Stratford Festival in ‘Mother’s Daughter’ and ‘The Crucible’, and her other credits in theatre, film and television are varied in range. Her training and educational background are solid. She is billed on her personal website as a multidisciplinary Canadian artist with a passion for live performance and equitable spaces. Andrea is an actor, singer, musician, and songwriter born in Amiskwaciwâskahikan on Treaty 6 Territory (Edmonton, Alberta). Thankfully there is a section on the website where I can listen to some of her songs. 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? I am healthy, I have enough food and a safe and comfortable place to live - so I am doing alright, despite everything. Thankfully my family is safe and healthy too. Some days I feel hopeful and able to appreciate my surroundings and the present moment, some days are difficult and full of grief and I find myself needing to sit or lie down. I’m getting more used to the ebbs and flows and to trying to accept instead of resisting the emotions that come up; I think this will be a life-long practice. How have you been spending your time since the theatre industry has been locked up tight as a drum? At first, after the 2020 Stratford season was cancelled, I poured my energy into what you might call the ‘domestic arts’. Before the lockdown, I had just closed a nearly-year-long run of “Mother’s Daughter” by Kate Hennig at Stratford/Soulpepper and had started rehearsals to play Ophelia in “Hamlet” and Hero in “Much Ado About Nothing” at the Stratford Festival. I was spending my days in rehearsal halls with passionate artists and spending my evenings continuing to work. My last rehearsal was a Saturday afternoon and then I received a note on Monday morning not to come into work. Stopping suddenly felt like whiplash at first. There was a period of waiting to know how long this would go on that has never really ended. For comfort, I became very invested in my sourdough starters (Peg and Diane, respectively) and in trying to bake a perfect loaf of bread. I started cooking new things and testing out long, detailed recipes. I started writing every morning, as a place to put my thoughts. I felt no other creative impulses for a long time and frankly, tried not to think about anything artistic. To deal with the anxiety I took up running. To stay hopeful, I tried to hold onto what I did have available to me: the outdoors. I spent time walking, running, having bonfires, at the beach, camping, hiking; I did whatever I could to be outside at all times. Near the end of the summer, my partner and I drove across the country and camped our way to Alberta to have distance visits with family and friends. That was a highlight. In the fall my creative energy came back and I decided to embrace another artistic passion of mine: music. I’m a trained classical singer and pianist, and the journey to discover my own style has been a satisfying one. In November 2020, I decided to release my first EP of alt-pop music, called Tides. It’s given me a lot of purpose and meaning and I’ve learned a lot about the music industry in Canada. I’ve also started writing in other ways – meeting weekly with friends to work on script ideas. I don’t know what will become of them, but the act of meeting and writing together has been deeply satisfying. I also started teaching voice and acting lessons online over Zoom and now I teach students from across the country every week. I’ve still been auditioning here and there for film and television, but I’ve certainly channeled my creative energies into music. Luckily, it’s an art that I can still do from the confines of my living room. 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? At times it’s felt like an escape from the relentless momentum of productivity and chasing notions of success, but in almost every other way, this has felt like the opposite of an escape. I think it’s a gift to have more time to pay attention to the world we’re living in. It has involved a new kind of listening and feeling anger and grief; and the grief I feel for all those suffering is immense. In my experience, it’s been a time to look at myself, my life, my community, my work and my participation in systems and structures and ask why. What stops me from listening? Why am I not fighting for change every day? It’s been a chance to listen deeply and a chance to educate myself. It has been a chance to let go of things and reimagine. In other ways, I’ve tried to look at this as an opportunity to discover parts of myself that are changing: interests I’ve neglected, relationships I’ve taken for granted. I’ve tried to think of my creativity as a daily experience, present everywhere in all things. I can find it when I cook, in choosing my outfit for the day, in the trees when I go for walks, in calling friends on the phone and listening without distraction. It has felt like a year-long exercise in mindfulness. I’ve really felt that when you can’t go backwards, and the future is unknown, the safest place to be is in the present. The more I’m able to be in the day I’m having and live slowly, the more I find I’m able to be okay, learn and listen. When I worry about what’s happened or what’s to come, I start to feel fear and anxiety. There has also been a great deal of time sitting with these feelings and trying to accept what I do have, what I can learn, who I am and who I could be. 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’m not sure how things will go. I often think about artists at home, grieving and breathing and I wonder what will come out of this for everyone. Who will have left the industry? Who will have studied something new? What art will be made and shared? We’ve experienced a collective trauma, and this takes time to heal. At times, I try to remind myself of how this is creating space for everyone to explore other parts of themselves, their other interests, skills and curiosities. I imagine watching strangers hug someday in the future and how joyful that will be. I imagine standing next to a stranger at a concert and sharing a sweaty moment of shared humanity and I think - I can wait. To keep people safe so that we can all share moments like this again: this is worth waiting for. Whenever it happens, it’s going to be spectacular. 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? As it’s ongoing - and in Ontario in a lockdown state similar to what we had in the spring of 2020 - I’m not sure how this has transformed me just yet. I know I will be a different artist. I know that my voice can be used for things I believe in and to protect the safety, creativity, and spirits of all artists in the room. I think I’ll be less desirous to please and more desirous to connect. I look forward to discovering how I’ve changed and how this time has changed me. The late Zoe Caldwell spoke about how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre? I think the idea of ‘danger’ in the work is a difficult notion and worth expanding upon. The notion of artistic danger can sometimes be a privilege and used as a way to wield power over those without it. Speaking generally about 'danger' can mean that we’re not all having the same conversation. For some, danger in the rehearsal hall and in performance is very real: not being seen or heard, having a fellow artist look at you through a lens of racism, ableism, sexism, ageism, homophobia, body-shaming; people that believe you only deserve to be there if you play by their rules. As a community we’re waking up to these discoveries, but they have been the lived reality of many artists for a long time. If danger creates fear, then I disagree with Ms. Caldwell. Declan Donnellan speaks of this in his book “The Actor and Its Target.” He writes “No theatre work absorbs more energy than dealing with the effects of fear; and fear is, without a single exception, destructive. Fear makes it difficult to disagree. Fear creates as much false consensus as strife. A healthy working atmosphere, where we can risk and fail, is indispensable. Fear corrodes this trust, undermines our confidence and clots our work. And the rehearsal must feel safe so that the performance may seem dangerous.” In other words, a safe room creates dangerous work. I believe in this very much. On a personal level, in the characters I have played, I’ve been strangled, hanged, beaten, suicidal, died tragically, institutionalized, silenced and murdered in just about every play I’ve been in over the past decade; the canon for young women, especially in classical theatre, is rife with danger. If the process threatens the safety and autonomy of the artist, if they are not given a space to use their voice and there is inequality in who is allowed to express their experience and who isn’t – these things are not only detrimental to our art, but damaging to the brave and vulnerable individuals who choose to make theatre their craft. As far as danger in the time of Covid – absolutely. It is a wild and terrifying thing to experience a constant, invisible threat. I think the experience of this kind of danger will influence my work in reminding me not to take anything for granted. Our time on this planet is not guaranteed and that’s what makes it beautiful and worth paying attention to. It is a precious thing to have time in a room with people and I won’t ever take that for granted again. 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? It has. I’m still experiencing this, so it might be too early to describe how, but it has forced me to live more slowly and to pay more attention to the world around me. Thich Naht Hahn – a buddhist monk and writer whose work I admire and read often – talks about how the meaning of life can be found in the experience of wonder. When we experience wonder – with others, in the natural world, alone - we feel connected to something and this gives us meaning. I think this time has made me sensitive to wonder and to the world around me. This wonder isn’t always easeful; it can be wonder at the problems in the world, at people’s willingness to allow others to suffer. This time has made me ask why I am living the way I do, who I’m living for, what my values are. It’s asked me to sit with myself and offered a chance for me to make choices consciously. I will bring this all with me. There’s no going back. 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? It certainly has. I have been curious about what’s possible in my life and in my ability to help and support others. I have been curious about having hobbies! I have been curious about myself as a songwriter and musician, and I’ve had the chance to release music and explore this great love of mine. It has made me curious about political structures and inequality; cooking and baking; nature and the outdoors; what it means to be a good friend; how suffering is universal; where socks go when they get lost in the dryer; that we need to look out for one another; the power of a phone call, of a Christmas card; of the ebbs and flows. In some ways, while you’re busy making art you don’t always take the time to make your own life a work of art. This is a cheesy way of saying this but I think it’s sometimes true. The mundane, the boring, the ugly, the exhausting, the beautiful; these make up a life and are the very things I am so desirous to see on stage. I hope these reflections, observations and discoveries come with me whenever and however I return to this art form. Thank-you for the chance to reflect on this time in my life and to consider the answers to these questions. I’m grateful for the opportunity. To connect with Andrea, visit her personal webpage: www.andrearankin.ca . Twitter: @heyandrearankin Instagram: @andrealindsayrankin Previous Next

Back 'The Fixing Girl' by Kevin Dyer Now onstage at Toronto's Young People's Theatre Credit: Dahlia Katz. Pictured: Eponine Lee as Meghan and Eric Peterson as Grandad. Dave Rabjohn 'Recovery from loss is magic in this production' Very short history lesson: Young People's Theatre has been dedicated to bringing theatre into the lives of children since 1966 creating thousands of life long theatre lovers. Golden. This week presents the world premiere of UK playwright’s ‘The Fixing Girl’ – a moving story of a young girl wrestling with loss and change. The centrepiece of the production is the “space” – a backyard shed once the domain of Meghan’s beloved Grandad. Anna Treusch’s set design is an extraordinary highlight – an eclectic variety of cupboards and drawers, old hand tools and, of course, an actual skeleton in the closet. This is Meghan’s environment where fixing things is paramount. Grandad has always resisted the ‘throw away’ world and championed reclamation. Meghan and her Mum’s world has been tragically turned with the loss of Grandad and they both react in different ways. Mum has turned inward and quiet – Meghan rebels by defiantly rushing into the shed and locking herself in with her many memories of Grandad. Meghan takes up Grandad’s cause as she repairs something as innocuous as an old lava lamp. Grandad appears with a brilliant entrance as he climbs out of an old trunk. Played with vigour by the irrepressible Eric Peterson, Grandad shares the joys and hardships of their lives. Peterson’s Grandad is sweet and calm – always full of life and bad “dad” jokes. What did the policeman say to the belly button? You’re under a vest. Sorry! Highlights also include a brilliant jig that energizes the cast and audience. Another fine moment is a video appearance as a saucy pirate complete with shoulder parrot. Meghan is played by Eponine Lee – energy and wonder abound. She does a fine job of running the course of fear, anger, curiosity and eventual reconciliation. Zoe Doyle, as Mum, begins the play with quiet sadness and fear for her distressed daughter. As she pulls herself together, her relationship with Meghan is reaffirmed certainly with the help of Grandad’s memory – he is always “fixing” things. Director Stephen Colella does a fine job of spinning this story and integrating both high and low tech – video designer Joshua Hind cleverly arranges on stage cameras to highlight Meghan’s repair work. The “pirate” video is displayed via a 70’s style 20 inch TV reminding us that Grandad reclaims everything. Some sound issues made for difficult hearing at the beginning of the play – adjustments were probably made through the course of the performance. As mentioned, the heart of this play is the warm and distinctive set. It literally exudes the love of a grandfather and all of his eccentricities. As a side note the audience is made to understand that every component used to make up the set is recovered materials – Grandad’s passion for sustainability is visually right in front of us. Recovery from loss is magic for mother and daughter. ‘The Fixing Girl’ by Kevin Dyer Performers: Zoe Doyle, Eponine Lee, Eric Peterson Director: Stephen Colella Set and costume design: Anna Treusch Video designer: Joshua Hind Performances run through May 2, 2024. Suggested ages for audience: 8 – 13. Tickets: youngpeoplestheatre.org Previous Next

Back 'Rock of Ages' Book by Chris D'Arienzo with arrangements and orchestrations by Ethan Popp Presented by More Entertainment/John Hauber at Toronto's Elgin Theatre Credit: Raph Nogal. Dave Comeau as Lonny Barnett/Narrator Joe Szekeres If this ‘tubular’ Rock of Ages is any indication of what’s to come theatrically with More Entertainment, then I say: “More, please, More.” This gnarly cast rocked the hell out of the Elgin Theatre on opening night with confident aplomb and unabashed enjoyment. (It’s the eighties! I haven’t seen the words ‘tubular’ and ‘gnarly’ in a long time) Who really cares if Chris D’Arienzo’s book of this jukebox musical built from some of the rock classics of the 1980s might seem a tad silly and out of date for the twenty-first century? Really, I don’t care about that at all. There are no great messages to analyze or cogitate over in this ‘Rock of Ages’. A couple of modern Toronto references and a piercing jab at former Toronto mayor, John Tory, brought much laughter which is one of the points of the show. Remember, ‘Rock of Ages’ is a jukebox musical. The songs are the primary focus. Go and have some fun and relive those classics that did feel ‘just like paradise’, according to Director J.P. Gedeon’s Director’s Programme Note. Two gentle reminders: this ‘Rock’ is not meant for young, impressionable children. Let’s not forget it was the 1980s with a lot of liberation regarding all things cultural and sexual. Context is also of extreme importance regarding this production. The 80s were times of freedom to be who you were and what you wanted. Keep this in mind as some human behaviour staged in this production can/could/might/would be viewed differently in the #metoo world. The year is 1987. Narrator Lonny Barnett (Dave Comeau) breaks the fourth wall (as do a few others during the show) and sets the traditional girl meets boy story. We are in a seedy area on the Sunset Strip in West Hollywood in The Bourbon Room, a bar/nightclub, owned by Dennis Dupree (Kent Sheridan) and managed by Lonny. The bar has seen better days as has Dennis. Aspiring rocker Drew Boley (Trevor Coll) works as a busboy in the Bourbon Room. Drew falls head over heels for Sherrie Christian (AJ Bridel) newly arrived in Hollywood from Kansas. She wants to make it big as a film actress. Drew convinces Dennis to hire Sherrie as a waitress for the club. German developers Hertz Kleinman and his son Fritz (Larry Mannell and Tyler Pearse) persuade the LA mayor (Jeremy Lapalme) to bulldoze this area of West Hollywood and clean up the ‘sex, drugs and rock and roll’ and make this area of town clean living much to the anger of city planner Regina (Steffi Didomenicantonio). When Dennis learns the Bourbon Room will be part of this razing to the ground, he invites rock star Stacee Jaxx (Jonathan Cullen) and his band Arsenal to perform. Stacee just announced he is venturing out on his own. Dennis believes this final show will generate money. A decision is made whereby Drew will open the set for Stacee, but things don’t turn out as planned when Drew learns of a tryst involving Sherrie and Stacee. Record producer Ja’Keith (Jeff Madden) hears Drew perform the opening set and believes Drew should take over for Stacee. Plot action flies by quickly and you’ll have to pay close attention to what happens. But it’s all part of this spectacular retro trip to the past. It was tremendous fun not only watching what was happening on the stage but also seeing (and hearing) what was being shouted from the audience. My eyes kept moving quickly around the set as I tried to pick up as much as I could visually. Ellie Koffman’s selection of primo costume designs to Erroll Reinart and Narda McCarroll’s stellar neon and laser lights are spectacular. Nick Blais’ multi-tiered set design with matching staircases left and right is appropriately set centre stage. Simon Clemo’s projected video designs were another part of the visual treat from an audience perspective. Hello, Max Headroom. Periodically, John Lott’s sound design needed some necessary tweaking to hear the spoken dialogue. During several ensemble numbers where there was heavy electric guitar accompaniment, some of the song lyrics were drowned. Personally, that was not a big issue for me. It can be forgiven as those of us who grew up with these songs knew the words anyway. Sean Cheesman’s electrically vibrant choreography keeps the show pulsating. It’s one of the highlights of the show. Mark Camilleri’s music direction is top-notch. I was impressed with many of Ethan Popp’s arrangements and orchestrations. Two of them come to my mind: ‘Every Rose Has Its Thorn’ and ‘I Want to Know What Love Is’. The Act Two opening with ‘The Final Countdown/We Built This City’ blew the roof off the Elgin Theatre vocally and visually with the dance number. Spectacular indeed. Director J. P. Gedeon wonderfully captures this bygone 80s era with magical panache in style and action. I couldn’t stop smiling for the entire show, so I must thank J.P. for this proverbial trip down memory lane. And what a sultry and ‘hawt’ ensemble cast of artists he has assembled which is another reason to see the show. The dancers perform incredible backflips combined with suggestive sexy movements that might just leave future audiences wanting to cool themselves off later. Dave Comeau’s Lonny Barnett mightily grabbed my attention at the top of the show. He exudes natural confidence in wanting to tell a story as the Narrator. As the gravelly-voiced, Sam Elliott look-alike regal owner of The Bourbon Room, Kent Sheridan’s presence grandly hovers even when he is not in the scene as Dennis Dupree. Jonathan Cullen’s bad-boy sans-shirted Stacee Jaxx may be the steamy boy toy at the beginning, but as Shakespeare once wrote: “All that glisters is not gold/Often that have you been told.”. Louise Camilleri is a big-hearted welcoming entrepreneur/madam of the nearby Venus ‘gentleman’s club’. Steffi DiDomenicantonio’s Regina (as in the capital city of Saskatchewan) is a dynamite force to be reckoned with as the City Planner. And she’s also a hell of a dancer too. Larry Mannel and Tyler Pearse are a hilarious Mutt and Jeff father and son who ironically and amusingly believe it is their job to clean up West Hollywood. Jeff Madden’s suave blond-headed record producer Ja’Keith is a terrific throwback reminder of the Miami Vice television show. Trevor Coll and AJ Bridel’s vocal numbers soar past the roof of the Elgin Theatre. As central characters Drew Boley and Sherrie Christian, they remain in continued harmonious synchronicity in their performances and vocal delivery. It’s almost as if they can just sense what the other is thinking and feeling. Final Comments: In his Director’s Note, Gedeon once again speaks about the transformational and healing power of rock, the thrilling power of theatre and the binding power of community. We need ‘Rock of Ages’ right now. Allow it to bring a smile to your face. Go see it. Running time: approximately two hours and 45 minutes with one intermission. ‘Rock of Ages’ runs until May 20 at Toronto’s Elgin Theatre, 189 Yonge Street. To purchase tickets online, visit moreentertainmentgroup.com or call the Box Office at (416) 314-2901. MORE ENTERTAINMENT AND JOHN HAUBER presents ROCK OF AGES Book by Chris D’Arienzo with arrangements and orchestrations by Ethan Popp Directed by JP Gedeon Music Direction by Mark Camilleri Choreography by Sean Cheesman Set Design: Nick Blais Lighting Design: Erroll Reinart and Narda McCarroll Sound Design: John Lott Video Design: Simon Clemo Costume Design: Ellie Koffman Production Stage Manager: Matthew Macinnis Performers: AJ Bridel, Trevor Coll, Louise Camilleri, Dave Comeau, Jonathan Cullen, Saphire Demitro, Steffi Didomenicantonio, Jeremy LaPalme, Jeff Madden, Larry Mannel, Tyler Pearse, Kent Sheridan, Joey Arrigo, Evan Taylor Benyacar, Karly Bon, Maeve Cosgriffe, Tiffany Derriveau, Gabi Epstein, Paige Foskett, Will Jeffs, Taran Kim, Lakota Knuckle, Kae Kae Lee, Jordan Joseph Mah, Alana Randall, Conor Scully, Adam Sergison, Kristi Woods. Previous Next

Back 'Playing Shylock' by Mark Leiren-Young Now on stage at Toronto's Berkeley Street Theatre, 26 Berkeley Street Credit: Dahlia Katz. Pictured: Saul Rubinek Joe Szekeres VOICE CHOICE ‘A masterclass in theatre practice. The audience is not watching a performance. The audience watches a character emerge and grow before our eyes. Saul Rubinek is a class act not to be missed.” Thank you, Canadian Stage, for allowing audiences to see another of our fine Canadian artists back in Toronto. Maev Beaty recently graced the Bluma Appel Theatre stage for her unforgettable work in ‘My Name is Lucy Barton.’ This time, it’s Saul Rubinek. Currently being staged at Toronto's Berkeley Street Theatre, "Playing Shylock" is an adaptation of Vancouver playwright Mark Leiren-Young's 1996 play, "Shylock." The opening night performance serves as a masterclass in theatrical practice, skillfully led by Director Martin Kinch. The plot revolves around a production of Shakespeare's "The Merchant of Venice," which is abruptly cancelled mid-performance due to public outcry over its antisemitic elements (one being Shylock's demand for the pound of flesh as collateral for the money loaned to the character Antonio). The actor portraying Shylock learns of the cancellation during the intermission rather than at the performance's conclusion. Throughout Leiren-Young's engaging new work, the actor playing Shylock addresses the audience directly, reminiscent of a theatre talkback session that follows a show. According to the Canadian Stage press release, the actor playing Shylock delivers a candid and passionate appeal about identity, public discourse and the theatre. No argument from me on what Canadian Stage promises in its release. None. Leiren-Young’s script masterfully engages the audience. The successful collaboration among the playwright, director, actor, and creative team demonstrates a strong sense of ownership. This collective commitment results in extraordinary authenticity that effortlessly captivates an audience and draws them into the story. One cannot help but get caught up in Leiren-Young’s cleverly adapted storyline. I most certainly did. For example, even though Canadian Stage has not included ‘The Merchant of Venice’ in this season’s lineup, I wondered if it had because I got caught up in what I was watching on stage. On the car ride home, my guest asked the same question. What’s also intriguing about ‘Playing Shylock’? Rubinek is not portraying an actor playing Shylock. Instead, Rubinek removes that distance by playing himself. He takes on the role of Shylock, who learns that the play will be closing. Additionally, Rubinek mentions his director, Martin Kinch, by name and refers to Canadian Stage while breaking the fourth wall and speaking to the audience. Clever, very clever indeed. Shawn Kerwin’s exceptional set design, expertly illuminated by Steven Hawkins, effectively establishes the theatrical ambiance. At the center of the stage is the judge’s trial bench from ‘Merchant’. It serves as a focal point for the play’s courtroom. Suspended prominently above is a large crucifix, its tattered and shredded state contributing to the sombre tone of the environment. The back wall poignantly reflects the horrors associated with the Second World War, as evidenced by the spray-painted word "JEW." This serves as a stark reminder of tragic world history. Additionally, the floor is strewn with remnants of bricks and fragmented wood, suggesting the aftermath of a bombing. This evocative visual composition invites the audience to deeply reflect on horrific historical events, thereby enhancing the overall impact of the theatrical experience. Olivia Wheeler's sound designs create a powerful sense of realism, especially for theatre enthusiasts. Before the performance begins, bells ring to remind the audience to take their seats. I don’t want to spoil the surprise of an unexpected sound cue that occurs. Saul Rubinek is magnificent as Shylock. His on-stage work is fearless, brave and bold. The news ultimately settles that the play will be abruptly closed. Saul deals with that and removes his costume (an apt replication by designer Shawn Kerwin). He discusses how Shylock has historically been portrayed as a villain. This portrayal is complicated by the prevailing attitudes towards Jews during the era in which Shakespeare had written the play. Productions have often depicted Shylock—as he only appears in five scenes—either as a clown or as a victim, all while enduring the hostile attitudes of the Christians toward him. Additionally, Rubinek, being Jewish, faces unique challenges in taking on the role of Shylock. Ultimately, 'Playing Shylock' examines ongoing questions about controversial elements in theatre concerning diversity in art, audience reactions, and critical responses from reviewers and bloggers. What makes the play exceptional is Saul Rubinek’s ‘stop-the-presses’ solo work on this opening night. Under Martin Kinch’s observant and attentive direction, Rubinek doesn’t perform Shylock. The audience does not watch a performance of Shylock. Rubinek is Shylock. He becomes Shylock. That’s the difference right there. Rubinek becomes jaw-droppingly magnificent to watch, hear, and listen in his theatrical process of becoming Shylock. Final Comments: There are moments where I held my breath as I was watching an artist in action. Rubinek’s deliveries of Shylock’s speeches are alone worth the price of admission. The piece de resistance for me and what makes ‘Playing Shylock’ a VOICE CHOICE? His delivery of ‘Hath Not a Jew’ from ‘The Merchant of Venice’ in Yiddish. Again, Rubinek is a true artist in action, doing what he loves to do. Please go and see ‘Playing Shylock.’ Running time: approximately 90 minutes with no intermission/interval. ‘Playing Shylock’ runs until December 1 at the Berkeley Street Theatre, 26 Berkeley Street, Toronto. For tickets: canadianstage.com or call (416) 368-3110. PLAYING SHYLOCK by Mark Leiren-Young Directed by Martin Kinch Set and Costume Designer: Shawn Kerwin Sound Designer: Olivia Wheeler Lighting Designer: Steven Hawkins Script Consultant: Rachel Ditor Stage Manager: Neha Ross Performer: Saul Rubinek Previous Next BACK TO TOP

Back 'GYPSY' Book by Arthur Laurents, Music by Jule Styne, Lyrics by Stephen Sondheim Now onstage at the Festival Theatre SHAW FESTIVAL Credit: David Cooper. Kate Hennig as Momma Rose Dave Rabjohn RABJOHN'S VOICE CHOICE Directed with a fulsome brashness, the production erupts with talent both on stage and off. The frothy and ever popular musical ‘Gypsy’ is playing throughout the summer and fall at the Shaw Festival in Niagara-on-the-Lake. Book by Arthur Laurents, music by Jule Styne and lyrics by the incomparable Stephen Sondheim, the musical is based on the memoirs of burlesque artist Gypsy Rose Lee. The main character (stage mother of all stage mothers), Momma Rose, requires a performer of nuclear energy from her very first bark at a producer to the last resounding note of ‘Rose’s Turn.’ Kate Hennig offers that energy and then some with an absorbing performance. Having said that, Julie Lumsden’s performance as the withering child actor turned burlesque star is equally sensational. Directed with fulsome brashness by Jay Turvey this production erupts with talent both on stage and off. Choreographer Genny Sermonia, set and costume designer Cory Sincennes, and lighting designer Kevin Fraser are elbowing each other for title of most daring and creative artist. The well-known story of acting sisters Louise (Julie Lumsden) and June (Madelyn Kriese) vigorously pushed by their mother Rose through the dregs of the last days of vaudeville, we observe their modest triumphs and their more frequent struggles. Rose will lie, steal and badger producers for her girls’ success. At Louise’s expense, Rose chooses June as the star performer but pushes her too far and she bolts the troupe. Rose’s new agent and love interest, Herbie, played with tender acquiescence by Jason Cadieux, also is pushed into leaving. A main strength of Ms. Lumsden’s performance is her versatility. Of all the colourful characters, Louise travels through the greatest spectrum of emotional decisions. The orchestra is superbly robust and Rose is equally vociferous, but Louise’s quiet moment as she stares at the floor considering the uncomfortable borders of the burlesque industry is poignant and powerful. Her transformation into a confident and global star is remarkably displayed. Kate Hennig’s performance also runs crushing through men, agents, and producers to do anything for her girls - the girls she doesn’t realize are individual women. She cannot let them go until it is realized in the agonizing final scenes of her awareness. Acting aside, Ms. Hennig belts out the big numbers with vigour including ‘Some People’, ‘Everything’s Coming up Roses’, and ‘Rose’s Turn.’ With limited roles at the beginning of the play, Ariana Abudaqa and Hanna Otta as the ‘baby’ sisters offer remarkable performances. Brilliantly inspired lighting and choreography transforms the girls into their older version right in the middle of a dazzling number. Inventive design and choreography is also displayed in a number with a full-sized car rolling on and off the stage. Further creativity is in full gear with the number ‘Mr. Goldstone.’ A singular moment of Cory Sincennes’ set design is a backstage proscenium-like wall of glass-covered shelving full of stage articles. Along with her dashing singing performances, Ms. Hennig also displays a character all about ‘change.’ This is a story of change – the girls grow up, vaudeville is fading, Rose’s role must adapt. Taking in this prodigious production may not change your life, but it will resonate well beyond the final applause. ‘Gypsy’ by Arthur Laurents, Jule Styne, Stephen Sondheim. Director: Jay Turvey Music Director: Paul Sportelli Choreography: Genny Sermonia Set and costume design: Cory Sincennes Lighting design: Kevin Fraser Sound design: John Lott Runs through October 7, 2023. Tickets: shawfest.com Previous Next

Back 'Isle of Demons' by Robert Chafe THE TORONTO PREMIERE Produced by Guild Festival Theatre and now on stage at the Guild Park and Gardens, 201 Guildwood Parkway, Scarborough Credit: Raph Nogal. Foreground: L-R: Josh Johnston and Kiera Publicover. Background: Helen Juvonen Joe Szekeres “A craftily woven supernatural thriller of a story with suspenseful intrigue.” Dedicated to telling a Canadian tale with intrigue and suspense that kept my interest piqued, co-artistic GFT director (and director of the play) Tyler Seguin has craftily woven a story of suspense with his committed trio of actors in this Toronto premiere of ‘Isle of Demons.’ The play closes out the 2024 summer season at Scarborough’s Guild Park and Gardens. Written by Governor General Award-winning playwright Robert Chafe, ‘Isle of Demons' tells the incredible yet true tale of Marguerite de la Roque (Kiera Publicover). She accompanies her unseen guardian, the Sieur de Roberval, on his new appointment as the first Lieutenant Governor of New France. Through timely exposition, we learn that Roberval discovers Marguerite’s passionate affair with a young officer, Eugene (Josh Johnston). During their affair, a furious Roberval abandons them, along with Marguerite’s nurse, Damienne (Helen Juvonen), on a remote island in the Gulf of St. Lawrence in 1542, known as the Isle of Demons. This gripping and fascinating tale involves the hardships and dangers that the three face in the barren area of the Gulf of St. Lawrence. Chafe’s script also imbues the text with shades of a supernatural thriller, which worked exceptionally well on this opening night. I hope it will continue to do so for the rest of the run. For it to work well, the weather and theatre gods joined forces on this opening night regarding a literary term we all learned from our high school English class. Whenever I see an outdoor production at Scarborough’s Guild Park and Gardens, I wonder if the weather will possibly add some dramatic tension. On this opening night, the weather and theatre gods did just that—they underscored the pathetic fallacy ever so subtly to heighten tension. This device also heightens the ghost story in the text. Who remembers that term from their high school English classes? The literary/dramatic term pathetic fallacy involves the external weather conditions mirroring the characters' internal experiences. How reasonable that the weather cooperated. The rustling leaves from the movement of the fading summer wind and impending dusk create an idyllic atmosphere for a gripping story with a hint of a ghostly tale intermixed. In his Programme Note, Director Seguin writes that Chafe’s gripping text is a testament to human endurance’s limitless potential. That it is, but there’s more, and Seguin has sharply carved out the play’s potential of grief and hope. I always marvel at how the Guild Festival Theatre stages its outdoor productions. Each production I’ve seen creatively considers how to bring faraway places to local audiences. It’s all designed imaginatively, and the ‘Isle of Demons’ design team continues to live up to that standard. Kalina Popova utilizes the elongated Guild Park Gardens and Amphitheatre stage to its full potential. Her set suggests the island's craggy, rocky terrain. Ashley Naomi Skye’s sound design is timely executed at specific points to heighten the suspense. As dusk approaches, Adam Walters’ lighting hues continue to elevate the characters' probable impending doom. Popova’s costume selections are appropriate sixteenth-century re-creations. The dark, earth-tone colours of Eugene and Damienne’s clothing juxtapose neatly with the whiteness of Marguerite’s dress that will soon absorb those same earth tones of dirt, grime, and filth. Hardy performances keep the play’s pacing moving along and maintain interest. As the young and impressionable heroine, Kiera Publicover’s Marguerite never ventures into histrionics in her ever-changing emotional state of grief and hope. There are several moments when the audience sees a fully fleshed woman who yearns for intimacy, and they are believably shown in her brief, sexually suggestive encounters with Eugene. A strong acknowledgment goes to Intimacy Director Leslie McBay for her work in staging these scenes. As the handsome love interest, Eugene, Josh Johnston’s attraction to Publicover’s Marguerite becomes palpably believable and realistic. Without revealing too much, Johnston’s performance shines as the supernatural thriller element emerges before an unsuspecting Marguerite. Helen Juvonen’s Damienne seems enigmatic at first. At the beginning of the play, she shares a great deal of exposition to establish any previous story context regarding Marguerite so that the plot can move forward. Juvonen smartly moves Damienne from becoming a mere conduit of information to an individual far more valuable to Marguerite. Juvonen never ventures over the top in her dizzying emotional upheaval. She is upset because she feels abandoned on the island with Marguerite and Eugene. Damienne has far more to contend with regarding the two lovers. For one, she warns her young charge about the dangers of falling in love too quickly with the young man. Damienne then has to decide where the safest place to live on the island is. A Final Thought: In his Director’s Note, Seguin again comments on Chafe’s script. While based on real events, one can only guess the truth of Marguerite’s experience on the Isle of Demons. When an imaginative and creative director solidly understands how taking license can work to his advantage in storytelling, it makes for good theatre. Combining that with a dedicated production crew and focused actors intent on telling a good story also makes good theatre. Guild Festival Theatre (GFT) continues hitting its mark in doing just that. Go see “Isle of Demons.” Running time: approximately one hour and 25 minutes with no interval/intermission. ‘Isle of Demons’ runs until August 25 at the Greek Amphitheatre at Guild Park and Gardens, 201 Guildwood Parkway, Scarborough. For tickets: email boxoffice@guildfestivaltheatre.ca or call 647-250-7438. GUILD FESTIVAL THEATRE presents the Toronto premiere of ISLE OF DEMONS by Robert Chafe Directed by Tyler J. Seguin Production Design by Kalina Popova Lighting Design by Adam Walters Sound Design by Ashley Naomi Skye Leslie McBay - Intimacy Director Kiera Doerksen Smith - Stage Manager Performers: Kiera Publicover, Josh Johnston, Helen Juvonen. Previous Next

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

Back John Ng Ng's honesty and candour are stark reminders we're still not out of Covid. Joe Szekeres John Ng appears next month in the Canadian premiere of ‘The Chinese Lady’ by American playwright Lloyd Suh. It was one of those rare occasions when I was running late to interview John as traffic was terrible and I felt awful about my tardiness. An actor’s time is precious especially if he or she has had a full day of rehearsal and then has other responsibilities. What a most accommodating individual. John was more concerned about me because I ran into the room huffing after running from the taxi to get to the rehearsal room where we would speak. After I composed myself, we got into John’s love of performance and why he wanted to be an actor. He has appeared in CBC’s ‘Kim's Convenience’ (2016), ‘Rising Suns’ (2020) and ‘The Swan’ (2020). Ng completed his training in the Honours Programme in Directing at the University of Ottawa. He laughed and told me it was a five-year plan for him in theatre studies. His goal was not to go to New York City but to come to Toronto and do a show at Theatre Passe Muraille, at Factory and Tarragon Theatres. He has done all that. In that respect, John feels he has fulfilled a goal upon graduation. Coming out of university, he was getting roles in acting. He wrote plays, one of which was performed at the Toronto Fringe in 2001. The production did quite well, and John proudly stated the Fringe play was his launching pad into the Toronto scene which was the start of the golden era of Chinese Canadian theatre in the city. Marjorie Chan who will direct John in ‘The Chinese Lady’ appeared in Ng’s Toronto Fringe play. ‘The Chinese Lady’ (a two-hander) is his first show in three years. This time around, he is working with Rosie Simon and director Marjorie Chan (Artistic Director of Theatre Passe Muraille) at the helm. He’s worked with Rosie before and describes her as fearless. She fights for things and she always comes out ‘rosy’. He has so much confidence in Simon and Ng draws on that. John describes Marjorie Chan as ‘a great people person’. She gives an actor lots of room and is very perceptive. Because she has worn every hat in the theatre, Marjorie has such a vast toolkit for the actor. An actor can trust Marjorie when she speaks because she knows what she is talking about. After a three-year absence from the theatre, (his last show in the fall of 2019), John smiled when he said he thought he still knew what was involved in the theatre rehearsal process. He also joked he hasn’t performed in a two-hander since his undergraduate years, so he has been quite attentive. For him, there has been a seismic change in the theatre at the top post-Covid. Many theatre companies and artistic directors have stepped aside and opened up to be more inclusive. These changes in the theatre are for the next generation of theatre artists and theatregoers. John then shared a personal story about how he felt with the return to the theatre even though we are still in Covid’s embrace: “I have to be honest. I was ready to give it up. I was ready to just pack it in. I didn’t think I would return. I didn’t think theatre would return even to the extent that we’re in now. Those were dark days. How would we ever get back to theatre especially when I had heard of actors getting sick when theatres were allowed to return? So many shows were lost over these past few years.” Ng’s honesty and candour are startling but a stark reminder we’re still not out of Covid. He still muses ‘The Chinese Lady’ might very well be his last show. Or, if he does another show, that could be his last one. That’s how he’s looking at it. The rehearsal room has been exciting and fun. John praises director Marjorie Chan for keeping rehearsals light in the room. Everyone is comfortable with each other and there is no pressure to perform. There’s a sense of creation and exploration. According to John and Crow’s website, ‘The Chinese Lady’ is the first documented Chinese female, Afong May, to arrive in the United States from Guangzhou Province in 1834. She is 14 years of age. She has been hired to promote merchandise. Purportedly the first Chinese woman to set foot on U.S. soil, Afong May has been put on display for the American public as “The Chinese Lady.” As the decades wear on, her celebrated sideshow comes to define and challenge her very sense of identity. Alternatingly dark, poetic, and whimsical, the play is a searing portrait of Western culture seen through the eyes of a young Chinese woman. John compares ‘The Chinese Lady’ to being an absurdist play. Periodically, the fourth wall is broken and the characters speak to the audience. What message does John hope audiences will take away after seeing ‘The Chinese Lady’: “That’s a metaphysical question for discourse and, for me, that’s what the play’s about. I hope audiences will leave and think about in terms of how they perceive things in reality and question how much they have been influenced by advertising by propaganda and social influencing.” What’s next for John once ‘The Chinese Lady’ has completed its run? Nothing has been confirmed, but a couple of projects will hopefully get the green light. The one thing John will confirm - he will go home and tend to his cat. Produced by Studio 180 Theatre in association with fu-GEN Asian Canadian Theatre Company in association with Crow’s Theatre. ‘The Chinese Lady’ runs May 2-21 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets, visit crowstheatre.com or call (647) 341-7390 ex. 1010. To learn more about Studio 180 Theatre, visit studio180theatre.com. To learn more about fu-GEN Asian Canadian Theatre Company, visit fu-gen.org. Previous Next

Back 'Murder For Two' Book and Music by Joe Kinosian and Book and Lyrics by Kellen Blair Now on stage at the Firehall Theatre, 185 South Street, Gananoque. Presented by Thousand Islands Playhouse. Now on stage at the Firehall Theatre, 185 South Street, Gananoque. Presented by Thousand Islands Playhouse. Joe Szekeres PLEASE NOTE: I REVIEWED THE PREVIEW PERFORMANCE SO CHANGES MAY HAVE BEEN MADE GOING FORWARD AFTER OPENING NIGHT Credit: Stoo Metz. On piano: Jackson Seib. On floor: Scott Pietrangelo “Delightfully silly and campy. Dynamically charged with witty lyrics and two very fine performances.” Get to Gananoque and spend an afternoon or evening in a murder whodunit with Scott Pietrangelo and Jackson Seib, two engaging song-and-dance guys who know how to pull out all the stops. Under the accomplished guidance of Director Jeremy Webb, ‘Murder for Two’ becomes delightfully silly and campy. That’s okay by me. Sometimes, we need that brand of absurdity in our lives for a couple of hours. I left the theatre with a big ol’ smile once again. The plot is easy enough to understand. Officer Marcus Moscowicz (Pietrangelo) is a small-town police officer who dreams of becoming a detective. One fateful night, shots ring out at the surprise birthday party of novelist Arthur Whitney, and the writer is killed. With the nearest detective an hour away, Moscowicz jumps at the chance to prove his sleuthing skills—with the help of his silent partner, Lou. But who committed the crime? Jackson Seib plays all the suspects. We do find out at the end who the killer is. Honestly, I didn’t care if I knew or not. My guest and I had one hell of a good time watching Pietrangelo and Seib do their thing with tremendous musical flair, thanks to Joe Kinosian and Kellen Blair’s witty lyrics. The definitive timing of the songs and their lyrical context produced raucous audience laughter that bounced off the walls of the Firehall Theatre. There were a few moments in this preview where possible mishaps brought more laughter yet again. This adds to the fun and does not detract from the storyline. At one point, Seib announces Director Webb was sitting up in the last row and taking notes. Another moment – yours truly got into a coughing spell (damned allergies) during the show. I couldn’t stop for a few seconds. Seib stopped what he was saying, turned, looked at me, and said Gesundheit. Visually, Vickie Marston’s dark mahogany musty look of the set and Ingrid Risk’s hued lighting certainly caught my eye when I sat down and scoped the span of the Firehall stage. But it’s not an immaculate-looking Agatha Christie/Sir Arthur Conan Doyle drawing rooms from murder mysteries of long ago. This drawing room is chock full of prop items and set pieces in topsy-turvy crammed bookshelves of various bric-a-brac. There’s a grand piano on centre stage, slightly angled for maximum view in the ¾ round setting of the Firehall Theatre. Equally scattered across the apron of the stage are mystery novels flayed open. Diego Cavedon Dias’ upscale men’s suits aptly fit Pietrangelo and Seib, allowing them to move around the stage and off, sometimes at breakneck speed. Thank you to Paul Morgan Donald’s sound design that remains crystal clear throughout the show. I could hear all the lyrics, and that’s tremendously important since Music Director Avery-Jean Brennan has conscientiously worked at ensuring the humour and wit are never lost in the musical accompaniment. Pietrangelo and Seib are the reasons to see the show. They have natural chemistry and remain entirely in sync throughout. Watching them at the piano and tickling the ivories is theatre gold. There’s also audience interaction which is part of the fun. A heads up about that participation – the guys don’t necessarily point to people sitting in the front row. As Moscowitz, Pietrangelo appears to be the grounded of the two. His snappy portrayal of poking fun at the Sam Spade film noir detective kept me smiling. In juxtaposition and contrast, Jackson Seib delivers tip-top work in playing each murder suspect. He’s lean and limber. He frolics and cavorts, sometimes leaves the stage through the house, and appears from the other side with nary sounding out of breath. Oh, to be that young again, to move quickly and not get winded in the process. Another Thought: When I taught high school drama for one year many years ago, I dreaded teaching improvisation—it’s one of the hardest things to do with high school students. They only wanted to sound and be like the latest comedian. Pietrangelo and Seib have demonstrated that there’s more to improvisation as an art form. Doing it well requires stamina, concentration, and the innate ability to know when improvisation will work. These two guys deliver standing-ovation performances that are well-earned and deserved. They never upstage each other. By listening and responding appropriately, comic effect naturally ensues. I admire that, as I could never ad-lib in improv when I was involved in community theatre years ago. It was always a ‘stick to the script’ format for me. Don't be concerned if Seib and Pietrangelo don’t follow the script when you see the show. It’s so much fun watching how they get back on it. In his Director’s Programme Note, Jeremy Webb writes that “Murder’ proved to be a most challenging play to put together when it was created last year as part of Halifax’s Neptune Theatre/Festival Antigonish’s Summer Theatre partnership. Webb was ecstatic when Thousand Islands Playhouse Artistic Director Brett Christopher said, ‘Let’s do this in Gananoque. My guest and I were also pleased the show travelled westward. Go and see it. Running time: approximately one hour and 45 minutes with one interval (intermission). ‘Murder for Two’ runs until August 25 at The Firehall Theatre, 185 South Street, Gananoque. For tickets: call the Box Office at (613) 382-7020 or visit 1000islandsplayhouse.com. THOUSAND ISLANDS PLAYHOUSE presents ‘MURDER FOR TWO’ Book and Music by Joe Kinosian; Book and Lyrics by Kellen Blair Director: Jeremy Webb Musical Director: Avery-Jean Brennan Choreographer: Liliona Quarmyne Set Designer: Vickie Marston Costume Designer: Diego Cavedon Dias Lighting Designer: Ingrid Risk Sound Designer: Paul Morgan Donald Stage Manager: Jenn Hewitt Assistant Director: Matt Lacas Performers: Scott Pietrangelo, Jackson Seib Previous Next

Back 'The Saviour' by Deirdre Kinahan CANADIAN PREMIERE Now on stage at the Stratford Perth Museum, 4275 Huron Road, Stratford ON Pictured: Rosemary Dunsmore. Photo credit: Ann Baggley and taken from HERE FOR NOW Facebook page Joe Szekeres VOICE CHOICE “Bravura and masterclass performances by real-life mother and son Rosemary Dunsmore and Robert Gerow. Jaw-dropping and viscerally real. A brute and raw honesty.” As Dunsmore and Gerow have adopted convincing-sounding Irish lilts in their voices, I assume the story takes place in Ireland. I will explore the reason for this assumption shortly. It’s the morning of Máire’s (Rosemary Dunsmore) 67th birthday. In a nearly ten-fifteen-minute monologue at the top of the show, she sits in bed smoking a cigarette and appears to be enjoying it. Máire has spent the night with a much younger man, Martin (whom we have never met), in passionate lovemaking. She is also surprised at what happened but basking in the memory of what transpired the night before. Throughout this monologue, Máire also talks to Jesus. When Máire’s son Mel (Robert Gerow) enters, the play's tone changes focus and direction. He brings some startling information to his mother that may change Máire’s understanding of the world she knows now. The Here for Now website describes the company as offering an off-Broadway experience for theatregoers. This experience focuses on the actors’ performances, but that’s not to say that other elements should be minimized. Director Brenda Bazinet makes suitable visual choices that soundly work in the playing space under the tent. For example, Fiona Mongillo’s set design efficiently helps establish scenes. Upon entering, we see a rolled-up carpet and a tarp covering set pieces of chairs and what looks to be a kitchen pantry. A clever idea then followed. What I thought was a Murphy bed (which it is) also doubles as a kitchen table. Dhanish Qumar Chinniah’s Sound Design allows the audience to hear every word of Deidre Kinahan’s riveting script. Brenda Bazinet elicits bravura performances from real-life mother and son. It is breathtaking to watch Dunsmore and Gerow delve deeply into their characters with a visceral and often brute rawness. My guest told me later that her eyes were getting dry, but she couldn’t blink because she was (in her words) ‘gob-smacked at what was unfolding in front of me.' As a practicing Catholic, Deirdre Kinahan’s play becomes of utmost importance on a personal matter. As Mel begins to relay the truth about Martin to his mother, Máire begins looking towards Jesus to help her through. This is exactly what Catholics do in times of trial – we give to God the personal or emotional trial we are enduring to help us through. On a personal note, I understand entirely what Máire is doing. In the recent loss of my mother, I have had to give to God several times already my struggles for a while because I could not deal with them in the moment. However, here’s where the play diverges from the Catholic personal experience of quiet prayer and turning to God. Máire’s practice of faith becomes alarmingly fanatical in her agitated confusion and questions about what has supposedly happened involving Martin. There are moments from Máire’s past which suggest that both she and her husband have beaten Mel. Additionally, there are hints that Máire may have also endured brutal treatment from the Catholic Church, considering the Magdalene Laundries run by some orders in Ireland in the 19th and early 20th centuries. If anything, ‘The Saviour’ does not become Catholic bashing, for which I am grateful to the playwright and director. I’m growing tired of hearing and reading about those who practice the Catholic/Christian faith being maligned, mocked or scorned for their beliefs. The play does something else I hope HERE FOR NOW will address for future audiences. It boldly opens the door for further discussion on some societal issues that must be discussed. For instance, two questions my guest and I talked about in the car on the way home: a) Can one truly forgive another human for any atrocity committed, whether one practices a religious faith or not? b) Who are we to impose our mores and values on what might be considered an atrocity if another person does not see it that way? I hope a talkback is available during the run of ‘The Saviour.’ It would also be beneficial to ensure that a member of the Catholic clergy might be there to assist in gathering thoughts together. Final Thoughts: I give ‘The Saviour’ a VOICE CHOICE because Dunsmore and Gerow remain believably in emotional synchronicity with each other. It’s a production NOT TO BE MISSED. Please go and see this. Running time: approximately 80 minutes with no intermission. ‘The Saviour’ runs until August 16 on the grounds of the Stratford Perth Museum, 4275 Huron Road, Stratford, ON. For tickets, call the Box Office at (519) 272-HFNT (4368) or visit herefornowtheatre.com. HERE FOR NOW presents the Canadian premiere of ‘THE SAVIOUR’ by Deirdre Kinahan Director: Brenda Bazinet Sound Designer: Dhanish Qumar Chinniah Set Designer: Fiona Mongillo Stage Manager: Sam Snyders Performers: Rosemary Dunsmore, Robert Gerow Previous Next

Back 'The Wolves' by Sarah DeLappe Presented by Imago Theatre and Geordie Theatre at Segal Centre for the Performing Arts, Montréal Credit: Emelia Hellman and taken from Geordie Theatre's Facebook page. Pictured: some of the cast members Joe Szekeres "Captivating! A true ensemble effort in the theatre. ‘The Wolves’ grabs attention immediately because the characters speak and sound like genuine young people in the twenty-first century. Go see it, particularly for the nine talented young performers who will surely shine on stage in the future.” Nine high school adolescent girls practice in an indoor soccer facility. Throughout the story, the girls are never referred to by name in their conversations; instead, the audience knows them only by the numbers on their jerseys. However, this changes at the end in the final scene when we finally hear the names of some of the girls. As the girls warm up before the game, the audience overhears their candid discussions about themselves, their relationships, their experiences, and their feelings toward certain adult figures. While their conversations can be harsh at times, this reflects how young people communicate with one another. They also talk about the possibility of earning sports scholarships after high school graduation. At first, Sarah DeLappe’s raw one-act play slaps in the face for its unapologetic way in which the characters speak to each other. It makes sense, nevertheless. These girls are comfortably ensconced on their own turf in their soccer world, where they have defined themselves among themselves. The phrase "being thrown to the wolves" suggests that individuals must learn to be strong in a harsh and competitive world that can potentially destroy them. DeLappe’s play addresses destructive themes head-on, including bullying, racism, and eating disorders. The nine girls in this story must confront these issues to survive on the soccer team. And that's the reason why I find 'The Wolves' an appropriate production for young people to see because it deals with these issues. Because the girls are only known by their numbers and not their names, 'The Wolves' becomes universal in nature. It becomes a story that can happen anywhere and to any young person. These are real girls who live anywhere or everywhere. As the plot develops, additional themes emerge; however, I would prefer not to discuss them further to avoid spoiling the experience for future audiences. As a retired high school educator, I know these themes have not changed in over forty years. There are parental and educator resources Geordie and Imago Theatres provide that I would recommend for further enlightenment and discussion. The artists behind the scenes have created a visually engaging production. Set designer Julia Carrier utilizes an ‘alley’ or ‘traverse’ staging configuration, where the audience is seated on both sides of the performance area. This arrangement effectively mimics a real-life soccer field, with bleachers positioned on either side. No matter where patrons sit in the theatre, they have excellent sightlines. On stage left, which corresponds to stage right for the audience on the opposite side, there is an astroturf; on stage right, or stage left for the other audience members, there is a large soccer goal made of mesh. Designers Jesse Ash, Tim Rodrigues and Rachel Quintero Faia have paid careful attention to minute details respectively in the areas of sound, lighting and costuming. They become more visual and sound highlights of the production. The sound of the off-stage crowd watching the game gives an idea of how large this indoor facility might be. Rodrigues beautifully captures that intense lighting that one might find in an indoor sports facility. Quintero Faia selects terrific-looking soccer sportswear right down to cleats. Krista Jackson and Jimmy Blais co-direct the production with keen observation and insight. While it's uncommon to see co-directors for plays, the production team's decision proves wise and practical. One director focuses on character development and blocking, while the other oversees the technical elements, ensuring they align to create the desired dramatic effect. With nine emerging and talented actors involved, I hope to see them perform on stages across Ontario in the future. This production of ‘The Wolves’ is another fine example of a genuine ensemble effort in the theatre. Each of these women is fully committed to and in the moment. They listen and pause when necessary. There are moments when the ladies allow the words of the other to speak and resonate before responding. Emotional peaks and valleys are equally balanced, never reverting to hysterics for dramatic effect. However, I wanted to hear more about how the play was constructed regarding the believability of playing soccer on the stage, so I attended the talkback after the performance on the second night. Did these ladies all play soccer? Was that a pre-requisite for the audition? That talkback taught me more about the believability of these nine ladies playing soccer because none had been trained in the sport. Soccer consultant Gillian Clark and director Jackson discussed owning the soccer ball and the text and how important it would be to build teamwork together to create that magical believability. They compared it to someone listening to an orchestral symphony of music—there are silences and builds to cacophonous yet angelic music. But it all takes effort to do that. That same effort and teamwork in soccer were also needed to ensure that ‘The Wolves’ appeared believable as the ladies warmed up and practiced soccer drills. The nine made that moment in the theatre magical for me and the packed house that night. Running time: approximately 85 minutes with no interval/intermission. ‘The Wolves’ runs until November 17 in Le Studio at the Segal Centre for the Performing Arts, 5170 chemin de la Côte Saint-Catherine, Montréal. For tickets, visit segalcentre.org or call the Box Office at (514) 739-7944. GEORDIE THEATRE AND IMAGO THEATRE present ‘The Wolves’ by Sarah DeLappe Directors: Krista Jackson and Jimmy Blais Sound Designer and Composer: Jesse Ash Set Designer: Julia Carrier Lighting Designer: Tim Rodrigues Soccer Consultant: Gillian Clark Costume Designer: Rachel Quintero Faia Technical Director: Tibeau Mathews Stage Manager: Kate Hagemeyer Performers: Alyssa Angelucci-Wall, Meenu Atwal, Masha Bashmakova, Nora Barker, Quinn Dooley, Maria Jimenez, Darragh Mondoux, Amy Ring, Espoir Segbeaya Previous Next

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

Back Nuns Just Want to Have Fun at Saint John Theatre Company for this 'Nunsense' Saint John Theatre Company, New Brunswick Saint John Theatre Company Facebook page Aaron Kropf, Canadian East Coast blogger/reviewer Saint John Theatre Company welcomed audiences back to the theatre with the exuberant, joyous and often outrageous romp of Dan Goggin’s Nunsense. I have to start by saying that it was wonderful to see people back in theatre seats, even while I enjoyed the production from home. Saint John Theatre Company made some wise decisions during the pandemic and often had to change course throughout so they could continue to entertain New Brunswickers. Nunsense is one of those wise choices; this slot in their schedule was supposed to be ‘Mary Poppins’, but given the restrictions in New Brunswick something else needed to be brought to the stage. Nunsense is the story of five nuns, and one priest, putting on a show to raise funds to bury the last four sisters that died tragically of botulism that killed almost the whole order (except these five survivors, because they were at Bingo, of course they were). They decide to put on a talent show as a fundraiser. Each of the nuns gets a chance to shine, tell their own story, and let their musical talents shine. A major side story is that of Sister Mary Amnesia who was hit on the head with a cross and cannot remember anything about herself and joined the order after the incident. There is so much to enjoy in this production. One highlight was Sister Mary Amnesia’s (Jen Downey) number “So You Want to Be a Nun” done with a foul-mouthed puppet. Downey has a wonderful sense of comedic timing, and her interactions with the puppet were hilarious. Another gem in this production was Andrea Paddock’s portrayal of Sister Mary Leo the dancing nun. Her dancing was delightful to watch, and I was surprised to see some on point dance during her big dance numbers. Each time she danced I longed for more. Finally, it needs to be noted that “Holier Than Thou” was a real showstopper. Sister Mary Hubert (Jo-Anne MacDonald) lead the cast in this foot stomping, hand clapping, gospel crowed pleaser of a number. It is one of those songs that makes you want to get up and move. Nunsense brought a lot of humour, tones of joy, and such a fantastic show to welcome audiences back to in-person theatre. This was a show that welcomed audiences back to the theatre with a bang! And it was nice how they involved the at home audience throughout the production as well. After so many months of the pandemic and not being able to enter the theatre, and share those experiences with others, the thrill of it is back. I look forward to joining those that were at the theatre for the next production. Thank you, Saint John Theatre Company, for bringing us together again. Nunsense wraps Saturday May 22 with another hybrid in person and online show at 7:30 pm. There are still a few chances left to attend the show at Imperial. To reserve your socially distanced seats, call 506-674-4100 or go to https://www.showtix4u.com/event-details/45542 if you wish to see tonight’s production from the comfort of your home. Previous Next

Back Lynn Slotkin "I will continue with fairness and objectivity. And I'll probably be as angry about the state of things. But we also live in hope." Provided by Lynn Joe Szekeres At the bottom of her email correspondence, Lynn Slotkin concludes with: “Reviews for people serious about the theatre.” That’s the first thing I remember about meeting her several years ago at a Theatre Ontario workshop, ‘Writing Reviews that Matter,’ which she moderated. One thing is sure—from reading her articles, she is serious about the theatre, and her passion for the industry is undeniable. She cares deeply about it and wants people to attend. That passion remains prominent even in her periodic rants on her ‘Slotkin Letter’ website. I respect those rants. Highly. Let’s stop and think about what it means to be passionate. In my 33-year career, I held tremendous zeal for education in Ontario, specifically Catholic education, as Lynn does for the theatre. I’m retired now, but when my school board employed me, I wanted kids to succeed and reach their full potential. I never wanted anyone to be unsuccessful. As a Catholic educator, I wanted my preparatory work behind the scenes to be top-notch because it was worth it for kids and parents. Accountability and standards were part of my daily work ethic. I held myself and others to these markers for success in and outside the classroom. Lynn is just as fervent about how theatre can influence people to their full potential. She also believes in that same ethic of accountability and holds the industry to standards onstage and offstage. I cared about the Ontario education system, and I still do even after retirement. Lynn cares about the theatre and still does, even after an illustrious 35-year+ career. Not everyone had to agree with me when I was a teacher, and not everyone has to agree with Lynn’s review of a production. When I taught, I was allowed to voice my opinion openly regarding education for young people. Some tried to silence me, but I wouldn’t allow them, nor would my federation. I was a professional and sought to be treated as one without a question. Lynn, too, is a highly respected professional in the industry. I’ve heard her give talks and continue to read her articles. She has and must continue to voice her opinion freely about the theatre. That’s the way it works in a free society. There’s nothing wrong with adhering to standards, especially when this province's education and theatre industry costs big bucks to maintain and produce. Now that I’m freelancing as an emerging theatre reviewer, I am learning about standards and accountability again. I believe there are more significant changes coming in the theatre industry. In a continued woke world, I’m doing my best to know what might be coming soon. Lynn is someone who keeps herself aware of what might be coming soon. She shares her thoughts in her writing and on her website. So, I get where this observant ‘Passionate Playgoer,’ comes from in her rants. We recently had an email check-in conversation. Three years have passed since our first chat. That link can be found at the bottom of this profile. Three years ago, she saw her role as a theatre critic as telling the truth about evaluating an event in a fair-minded, respectful, and entertaining way so that the quality, flavour, story, artistry, and many other elements of a show are conveyed to readers and listeners. She sees it even more now: “As the decimated media becomes more pronounced and serious theatre coverage is also diminishing, I still think a robust, thoughtful, fair assessment of a piece of theatre is important. It informs the audience; it acts as a historical record of the play, what it looked like and the assessment of its intention and whether it was worth doing or successful as a piece of theatre.” Slotkin raises a good point about the decimated media becoming more pronounced and the diminishing of serious theatre coverage. That’s the keyword here- serious. In the future, she believes we need more informed, educated, diverse voices writing about theatre with rigour, assessment, evaluation and fairness. And without an agenda. She also offers some sage advice to theatre bloggers: “As more and more bloggers offer varying opinions, also varying is the background and rigor of the blogger and the knowledge or lack thereof, of theatre and plays. A review without an assessment of the play’s successful and not successful aspects is not helpful to the art form, the audience or for the record.” Lynn continued by stating that there are as many opinions of a theatrical event as people in the theatre watching it. The opinions are all valid, but they are not equal. What does an audience member have to know then about opinions about being valid but not equal: “A person has to evaluate whether or not they consider an opinion valid or not to see a show based on their own criteria. In my practice, I needed an education to take me deeper into the art form so that I could do that form justice when I wrote about it.” Lynn has voiced two essential statements for all theatre lovers that have made me think. Yes, we are all entitled to our opinions about a play. However, hopefully, any articles and reviews we read about the play will help the audience understand what makes a production successful. That’s where education comes in, perhaps through a discussion in an informative talkback immediately after a show or a written/oral review. I also know of a theatre company in my hometown that provides that kind of educational experience immediately following a performance. Three years ago, Lynn thought theatre makers and heads might rethink what is important about art and how to create it and engage with their audience. According to her, this grand objective still has a long way to go. Statistics still indicate that audiences are NOT returning to the theatre after Covid. There have been reports of concern from the U.S., Canada, and the UK regarding the diminishing audience, lack of funding, and coverage of the art form in only three areas of concern. It’s not just the high-ticket prices in Toronto that are of concern. Slotkin points out many theatres have Pay What You Can tickets. There are Arts Worker tickets and free tickets for people under a certain age. What she did say made me think again: “It’s been noted that programming is the deterrent [why people are not returning].” Hmmm… Lynn explained further that Crow’s and Coal Mine Theatre are two not-for-profit theatres doing something right by catering to their audiences with challenging fare. In the for-profit sector, Mirvish Productions offers fare that its audiences want to see, and the result is full houses. In these three examples, keeping track of the audience is easy. She asks a good question that theatres may want to take into consideration: “I wonder if anyone asked people not returning to the theatre WHY they aren’t returning. That might give a clue.” As our email conversation began to wind down, I inquired about Lynn’s crystal ball gazing into the future to see where she believes the industry is headed in the next three to five years. Crystal ball gazing is not her thing. No one looked into one and saw a pandemic coming in 2019. She said the pendulum that was ‘way over there’ with divisiveness and anger was swinging back quickly. It doesn’t matter what one perceives in three to five years as it will be different and maybe even the same. And where does Lynn Slotkin, the observant, direct and point-blank theatre critic, see herself in that same three-to-five-year time period: “The role is the same. I will continue to do it with fairness and objectivity. And I’ll probably be as angry about the state of things. But we also live in hope.” Visit www.slotkinletter.com to read Lynn’s reviews and her varied rants or two. To read the first check-in with Lynn, go here: https://www.onstageblog.com/profiles/2020/4/14/inside-the-artists-self-isolation-studio-toronto-profile-of-lynn-slotkin?rq=lynn%20slotkin Previous Next

Back Genny Sermonia Moving Forward Pierre Gautreau Joe Szekeres Genny Sermonia is one person whom I hope to see on stage again very, very soon. The first time I had seen her work was in ‘A Chorus Line’ where director Donna Feore and the Stratford Festival had received permission to stage the production in a unique way to fit the Festival Theatre. And my goodness, every part of that stage was used to full effect. It was a terrific performance. I had a chance to peruse her resume, and Genny’s work on stage, in film and television is extensive. Her training is top notch as she is an Honours Graduate of the Sheridan Institute with further study at The Charlottetown Festival Young Company and Shaw Mandate Intensive. We conducted our interview via email. Enjoy every moment with your new baby girl in your lives, Genny: 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? I’m not going to lie; I am beginning to feel a little anxious again about the numbers edging up because it broke my heart to not be able to see my family at the beginning of isolation. Summer allowed us to safely be socially distant outside and so going back into isolation indoors, though we’ve already experienced it. I am not looking forward to remaining away from family and close friends. How have you been faring? How has your immediate family been doing during these last six months? Well, I was pregnant all throughout quarantine and so I wasn’t sure if my anxiety was because I was pregnant, being afraid of contracting COVID-19, or just my anxiety in general. I’m an introvert and so staying in wasn’t so bad at first, but not having the option to leave our condo unless necessary made me feel a little trapped. My family and I are very close so in the beginning of isolation we Face Time’d quite often and also kept in touch through Facebook Messenger where we have a family group chat. We’ve safely seen each other this summer but there’s definitely an invisible barrier around each other that I wish wasn’t there. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? I was actually supposed to perform in this season at the Stratford Festival but my husband and I were blessed with news of being pregnant! Even though we were over the moon to become parents, a part of me was sad to let go of not being able to be in one of my favourite dream shows, ‘Chicago’, and to be in the world premiere of ‘Here’s What It Takes’ in the newly built Tom Patterson Theatre. It was a whirlwind of emotions coming to terms with letting go of my professional dreams for my personal dreams but oddly in the end, I wasn’t the only one who wasn’t able to perform this season. Is that weird to say? 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 guess I sort of answered this question with the previous question. I’m not quite sure what is to become of these two musicals. Donna Feore, who is the director of both ‘Chicago’ and ‘Here’s What It Takes’ invited me to sit in on a technical rehearsal one day for ‘Chicago’ and it was incredible. I would hate for all of Donna’s work and the work of the actors and creative team to never see the light of day. The talent and caliber were out of this world. What have you been doing to keep yourself busy during this time? During isolation I was taking dance classes through Zoom, reading up on pregnancy and parenting, baking, self-tape auditions for commercials, and lots of yoga and meditation to keep me centered. As of late, I’ve been giving all of my time to my newborn baby girl and now teaching Jazz technique to the Music Theatre Program at Sheridan via Zoom. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? You know it’s such a dark time for many right now. I feel like while we’ve been going through this pandemic for months now; we have also been seeing many social and racial injustices come to light. So much is coming out of us mentally and emotionally, and as artists our job is to portray and mirror society, and so my advice for fellow performers and colleagues but really for anyone who is trying to find light in such a dark time is to be gentle with yourselves. Take this time to reflect on how we treat each other, and how we’ve been treating each other while we have time…and we have lots of time right now. Take that Zoom dance class, brush up on vocal scales but pace yourselves and remember to work on your well-being. We rarely get that chance to slow down in our fast-paced “God, I hope I get it” industry. How are you able to mirror reality as an actor if you’re not grounded as a person? Do you see anything positive stemming from Covid 19? I am actually seeing a lot of positives coming out of COVID-19. Me personally, I have been able to spend time and LIVE with my husband in Toronto for almost an enter year now as I am usually living and working in Stratford or Niagara on the Lake. I’ve seen many friends develop new skills and create their own businesses. I’ve been able to be present and have a baby! I am hopeful that if and when theatres are back that the talent is going to be show stopping because many of my colleagues are itching to get back and have been keeping up with their training and finding ways to keep themselves grounded which I find so important as an artist. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? Like I said, my colleagues are itching to get back to work and already Canadians are known for their talent and work ethic it being such a smaller theatre scene in Canada already. I can’t wait to see what’s in store when we eventually get there! Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I think it’s great that artists have been showcasing their work online. We are entertainers living in a new era where we have to be even more creative wit how we share our art because our job is to remind people how to feel. I’m not saying it’s our duty because not all artists feel open right now, but it’s certainly an outlet for some and I’m enjoying watching our theatre community come together if not for an audience but for each other. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Performing is a feeling, an emotion. I can’t ever fully put into words but when I act and dance it says it all. Even if it’s just dancing in my kitchen right now or looking at stage photos it makes me happy. A recent clip of ‘What I Did for Love’ from ‘A Chorus Line’ that I performed in at the Stratford Festival in 2016 popped up online that I didn’t even know was filmed. The song, the scene, the moment was a good reminder that there will still be dark days, but what I did for love and what I still hope to do was and is still worth it. I look forward to the day theatre comes back. Follow Genny on Instagram and Twitter @gennysermonia Previous Next

Back Soheil Parsa “We have to create good art. It’s not diversity for the sake of diversity.” Credit: Aluna Theatre Joe Szekeres For the last three years, I have been trying to get in touch with Soheil Parsa for an interview, but I never knew where to turn. I wanted to learn more about this Iranian Canadian theatre artist and his vision. Thank Goodness for theatre publicity rep Suzanne Cheriton who made it easier and asked if I would like to speak with him about his upcoming direction of Aluna Theatre’s ‘On the Other Side of the Sea.’ I jumped at the opportunity. From his Factory Theatre bio: “Soheil is the co-founder and former artistic director of Modern Times Stage Company and has directed over forty productions for the company since its inception in 1989.” I’ve seen several plays he has directed, the most recent being Daniel McIvor’s ‘Monster’ and David Paquet’s ‘Wildfire’ (for which he won the Dora Mavor Moore Award for direction). Parsa started his theatre school training and received three and a half years at Tehran University, Iran, in the Faculty of Fine Arts, Theatre Department, prior to the Iranian/Islamic Revolution in 1979. After the Revolution, Soheil was in his fourth year. He was honest with me and said he was kicked out of the university because he did not support the Revolution. The other vital aspect also in play was his religious background. He and his family come from the Bahá’í minority under severe persecution. His journey from Iran to Canada was not an easy one. He fled Iran in 1982 amidst severe persecution due to his Bahá'í faith. He arrived in Canada with his family in 1984; he was twenty-nine then. Not knowing English, he faced the daunting task of learning a new language in a foreign land. Despite the challenges, he enrolled in an undergrad program and completed a second Bachelor of Arts in Theatre Studies at York University. His determination to learn English and continue his education in theatre reveals his resilience and passion for the arts. On a personal note, Soheil has never had a mentor. Directing has been self-taught, so he proudly states he never stops learning about the theatre. He’s always searching, seeking, and investigating different forms and traditions of theatre. He laughed (and so did I) that as we age, we slow down a bit in our learning. But Soheil doesn’t stagnate at all in the arts. One doesn’t stop learning, no matter what age. He believes artists must keep updating themselves. Although taking workshops is challenging since he continues to be busy directing, Soheil reads a lot about the arts and the theatre. He goes to see a lot of productions and watches the younger generation of theatregoers (whether on stage or in the audience): “New generations and different generations of people bring something different, and I think for [we] senior artists, it’s always important to stay updated. There’s no way an artist can stop and say, “I’m done. Now I’m perfect.” As an artist going forward, how does he feel about the state of Canadian theatre amid its changes in the last three to four years? Soheil agrees it has been a challenge in Toronto and across Canada. The industry hasn’t recovered entirely, but live performance art remains necessary in connection with others. It may take another couple of years to recover, hopefully without any more pandemics. He still believes that audiences will return to the theatre. Will there be further changes in the industry moving forward? “Definitely. When I started my theatre company (Modern Times) in 1989 with Peter Farbridge, the situation then wasn’t like what we are currently experiencing now. There’s no comparison. Yes, there was a bit of a struggle in the first ten years of Modern Times to produce and create shows because whatever I did was labelled as either Persian or multi-cultural, and I hated those words…Change is promising…There weren’t a lot of opportunities for artists like me back in 1989.” Change is also happening in the leadership within the theatre community, and that’s promising as there weren’t a lot of opportunities for artists of colour back in 89. Even though Soheil does see the changes for artists of colour, he also gets a bit worried because it’s not just about diversity for the sake of diversity. Art is the bottom line. Whatever artists promote or showcase must be exciting. Whatever is happening is fine, but as an artist of colour, Soheil believes he can speak the truth in saying we’ve gone to the far extreme on the other side now; however, he hopes in a few years that balance will be found in that artists will be supported for their work and for what they do. When he started Modern Times, he wanted to be recognized and supported for his work as an artist, not because he’s an Iranian-born theatre director. It’s not diversity for the sake of diversity. Theatre must keep growing and flourishing. We have to create good art. Theatre previews are always exciting. I’m looking forward to seeing Soheil’s next production as director for Aluna Theatre’s ‘On the Other Side of the Sea’ starting February 7 at the Theatre Centre. Written by Salvadorian playwright Jorgelina Cerritos and winner of the 2010 Casa de las Américas Prize for drama based in Havana, Cuba, the play is described on the Theatre Centre website as a powerful, minimalist drama celebrating courage, conviction, and life itself.” Aluna is thrilled to produce a play from El Salvador, representing the first time the company will produce a work by a Latin American artist not residing in Canada. The plot is not realistic, but the characters are real. There is a fisherman with no name and a civil servant at her office desk, oscillating between loneliness, memory, and reality on a journey toward human connection and renewal. Beatriz Pizano and Carlos Gonzales-Vio will appear in this Canadian premiere. Rehearsals have gone well. Soheil says he’s lucky to have them for this premiere. He has worked with Beatriz and Carlos before. He calls them generous. Although the process of exploring during rehearsal wasn’t easy at times, the actors kept exploring the text and what lies underneath it. They know how much Soheil values subtext and its importance, so that has been rewarding overall for everyone involved. Any play has to be challenging for everyone involved, not only for the actors but for everyone involved. If it’s not challenging, what’s the point of doing it? Parsa calls ‘On the Other Side of the Sea’ a remarkable, poetic, magical, and fascinating piece. The influence of the Theatre of the Absurd on the play is undeniable. He was introduced to the play before the pandemic by a friend who told him: “Soheil, I know your work. This is your play. You have to direct it.” When he first read the play, Parsa was confused about what was happening. When he read it the second time, he fell in love with the “lyrical beauty of the words and the evocative style. The play is deceptively simple. It’s about hope, and that’s what fascinates me about it.” In Parsa’s words: “Simplicity is simple. You have to achieve it.” As we began to wind down our conversation, I asked what kept Soheil still excited about the theatre: “The live connection between the audience and the actors. I think that’s the most irreplaceable art form. We don’t have any art form like theatre to have this direct, live human connection between the creators and the audience. That’s what fascinates me the most. The theatre will always survive no matter how far we advance in the digital or YouTube world.” What’s next for Soheil once ‘On the Other Side of the Sea’ finishes its run? There have been requests from theatre schools to direct their shows. Last year, he directed two shows, one for Humber and one at the University of Ottawa. This year, he is teaching part-time at Brock University. Next fall, he will direct a show at Brock University for fourth-year students. Nothing has been finalized yet, but there is a possibility he might be directing for Tarragon Theatre. ‘On the Other Side of the Sea’, presented by Aluna Theatre, runs February 7 – 25 at The Theatre Centre, 1115 Queen Street West. For tickets, call (416) 538-0988 or visit theatrecentre.org. To learn more about Aluna Theatre, visit their Facebook page or website: alunatheatre.ca. Previous Next

Back Cyrus Lane Looking Ahead Colton Curtis Joe Szekeres Once again, Cyrus and I shared some good laughter during our 45-minute conversation. He was candid, frank and honest with me (and yes, we sometimes did dive into some ‘colourful’ language during our conversation.) OnStage Blog Newsletter! Play Video I did see his work last year in ‘Oil’ at ARC Theatre, thankfully before the pandemic shut down all productions worldwide. Some of Cyrus’s credits include: ‘Bunny’ at the Tarragon. Scrooge in Ross Petty’s A Christmas Carol: The Family Musical with a Scrooge Loose at the Elgin Theatre. Selected shows from his 6 seasons at the Stratford Festival include The Changeling, Macbeth, As You Like It, Bunny (original production), The Taming of the Shrew, Possible Worlds, Cymbeline, Peter Pan, Titus Andronicus, Richard III and Wanderlust. Happy moving between musicals and dramas, some favourite credits are Twelve Angry Men (Soulpepper – Dora Award, Ensemble), Kiss of the Spider Woman (Talk is Free), Passion Play (Convergence/Outside the March/Sheep No Wool – Dora Award, Ensemble), You’re a Good Man, Charlie Brown (YPT), The Tin Drum (UnSpun Theatre) and An Inconvenient Musical (Factory). After two seasons at the Shaw Festival, Cyrus acted in several shows for Canadian Stage including Rock N Roll, Habeas Corpus, and Take Me Out. TV credits include Reign, The Border, The Summit, Anne of Green Gables: A New Beginning, and on the Murdoch Mysteries playing Roger Newsome, and now that Roger is dead, his identical twin brother, Rupert. Cyrus trained at the London Academy of Music and Dramatic Art. He is married to comedian, podcast, and television writer, Joanne O’Sullivan. They have an 11-year-old daughter, Eliza. We conducted our conversation via Zoom. Thanks again for your time, Cyrus: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. (Cyrus laughs)…that’s like three massive questions you’ve asked… Man, oh man, way to cut out the small talk, Joe…(he laughs again) I don’t want to give a glib answer because this is a big question…I think, for me, it’s just a hugely increased sense of precariousness and uncertainty. It’s been a period of great reflection and time to think and time to reconsider everything from relationships to politics to professional practice. And now, in the spring of 2021, I wish I could say I had some calm, gathered insight but what I have is complete uncertainty about what the future will bring for my family and myself, specifically and especially for my kid. There’s a lot of fear, not just in me but in the majority of my colleagues I speak to. There’s a real sense of ‘What’s next?’ It’s not a hopeless feeling. There have been so many things in our profession, especially in the last year, that have been so meaningful and important. Most significantly, we’ve had time as a profession to question the racism and colonial roots of theatre in Canada, and the very nature and structure of power in our profession. All of that is vital and exciting and important, but I wonder about the world those changes will be enacted in. (Cyrus laughs again) That’s maybe a bit of a joyless answer but, to be honest, that’s kind of where I’m at now, where my wife is at and where many, many, many, many, many of my colleagues are at. It’s just a sense of ‘Geez, what are we gonna do?” This pandemic will affect the kids in ways that I think are difficult to measure. I think of my daughter, Eliza. She’s in Grade 5 now. It can’t possibly be healthy for them to be sitting in front of a screen for eight hours a day. And who knows, kids are incredibly resilient, and I’ll know she’ll be back in her groups of friends soon for socializing, but it’s a habit forming thing, this time with a screen. And kids today live with so much fear. Set aside they’re living through a pandemic, all the children my kid’s age are aware of the impending climate catastrophe which, at this point, is not if but when. God, Joe, it appears all I’m saying is gloomy shit…it’s not a very encouraging time to be a parent and there’s not a lot of faith in our elected officials the majority of time that they will effect positive change that will last and be meaningful for their generation. I’ve become much more politicized. I was protest oriented and political before all this stuff started. And this pandemic has only made me more so, on her behalf and people younger than me. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? Well, you know within the shutdown there’s been a great questioning for our profession. As someone who represents the dominant culture, I’ve done a lot of questioning about my own role in how things are. Professionally, I’ve questioned a lot about what my role is now, and what I ought to be thinking about and doing has all been questioned. There’s not a lot of intellectual or emotional stability to be found in terms of ‘This is what I like’ or ‘This is what I want to do’ or ‘Here’s what I’m going to aim for”. I don’t know any of that anymore. And I don’t necessarily think that’s an unhealthy thing. It’s just a precarious thing. My main feeling is ‘Can I actually call this a profession?’ When I think ‘profession’, I think of something that sustains you and while my love for it is unabated, I really question how many people the theatre is going to be able to sustain when it comes back because a theatre can’t run off a 20% Covid spaced house. I’m not without hope. I think a lot of the thinking and the re-considering and the attempt to change the way theatre is structured and administered will be hugely positive in the end. It will be. Right now, mostly it’s a profound sense of how we’re going to move forward. I’m working with Talk Is Three Theatre in Barrie, and (Artistic Director) Arkady Spivak has created this amazing thing called the “Artist BIG” Program. He is really trying to re-configure the relationship between artists and institutions in a way that I think is incredibly important and powerful, and smart. And so, a lot of theatre companies talk about having a company; that company model is really more corporate, meaning company or family is what’s invoked when someone is being disciplined, but most of the time there’s no real loyalty and no real sense of continuity or home or artistic ownership. Whereas Arkady is bringing artists on and saying [he] will guarantee a certain amount of work for three years in a row and giving the artists enormous agency around what work they’ll be doing, and that’s extraordinary. The feeling of having an artistic home is an incredible thing which I hope eventually more theatres will seek to emulate. Arkady didn’t invent this idea. Obviously there have been resident artists in most companies at some point, as there is at Soulpepper, for example. But the idea of having a basic guaranteed income is really innovative in Canada. As a professional artist, what are you missing the most about the live theatre industry? I miss nothing about the ‘industry’ part of that sentence. I miss everything about the community. I miss my colleagues. I miss the thrill of risk and closeness and exploration and vulnerability and humour and love and fun, and just adrenaline and audiences and that awesome roller coaster kind of fear. I miss all of it. No one in this business ever misses the business part. (Cyrus grinned and offered a good hearty laugh) Whatever complaints you might have about Canadian theatre, the community is just gorgeous. People are fantastic, and I feel tremendous love for my community here and for my friends and colleagues. (I could see then in Cyrus’s eyes and his voice began to quiver a bit that he truly meant what he said.) I miss the work, the work of acting. You don’t realize how much you’re wired for something until it’s gone. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? Any of it. The last show in Toronto I did was ‘Oil’. It was one of the last shows to close. I thought a lot back to how I felt doing that show. It was a great. I felt great love for the cast, the work, the production. Huge pride in it, but I was also hitting a wall of weariness with being precarious with the business side of things. A bit of a “meaning” wall – what does this mean, doing this? Who are we doing it for? And it had nothing to do with the production. It was just where I was at professionally. There were younger people in the cast who were new to the business and so excited, and that made me aware that I had become a little jaded. Not about the work, but about the life that comes with it. But now what I would not take for granted is ever doing it again. Because I don’t feel I’ll ever do it again in a regular way. Theatre will be something I do perhaps once or twice a year and that’ll be it. Describe one element you hope has changed concerning live theatre. Oh my God….This year has been a massive time for change and reflection. I mean, 2020 wasn’t the beginning of the conversation, but the BLM uprisings of 2020 and the time and space for reflection imposed by COVID on theatre forced us as a community to face the systemic racism built into our culture and our profession. I hope that the positive changes that happen in our theatre ecology as a result of that reflection extend into the power structures of our business and institutions and aren’t just gestural, performative, and superficial. That is my hope. I am trying to figure out my own role in all that and figure out how my own voice will be useful in that conversation, if at all. I’m not sure. Explain what specifically you believe you must still accomplish within the industry. ‘I don’t know’ is the answer to that question. If I did, I’d be a much less restless brain. I don’t know. I don’t know. Honestly, the baseline answer is, “Make a fucking living.” That’s been the baseline for so long. That’s been the baseline for most actors. The idea of choice is available to maybe 5% of our business. Unless you’ve been hugely lucky in film and TV or your parents are rich or both, most of the time you’re just trying to survive. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I think that is an unlikely prognostication. From the beginning of this thing, there have been jokes about all of the Covid plays that are going to happen. But I think the better theatre artists will take this and run with it from a metaphorical standpoint rather than a literal one. Hopefully. But because I need to survive, sign me up for your Covid plays, folks! But, I don’t even think that’s true. Everyone is so fucking bored with it. What playwright is going to say, ‘You know what I need more of in my life? You need what I need to dedicate two years of my life to? Writing about Covid.” You know how long it takes to write a fucking play? It takes forever. And then after you finish it, nobody knows if it will be produced. Obviously, some playwrights know, but It’s a massive commitment. If I were a real playwright, I wouldn’t suffer through two years of writing a Covid play because I want this out of my life. If you are sensible, you will avoid this theme and it’s pretty unlikely any theatre producer would pick or pay you or pay to mount that show unless it was MINDBLOWING!!!! Seems unlikely. As an artist, what specifically is it about your work that you want future audiences to remember about you? (Cyrus begins to laugh again) As a theatre artist, I have very little hope that my work will be remembered. I mean, it’s written on water, it’s written on air. I guess if I were to hope for anything if people have seen me work, it’s that I didn’t make safe choices. I like risk, but again everybody thinks they’re doing something risky, but who fucking knows? I don’t know, man. If anyone remembers me at all, even if it was a negative memory, that would feel like a win at this point. I’m being facetious. My kid doesn’t know any of the actors I adored when I was a kid. So, it doesn’t even matter if you’re massively famous, you will be forgotten. Eventually. (And Cyrus laughs again) I think that’s a really healthy way to think as an artist, especially in theatre when you know this is not made to last. Theatre is for right now. And it should be. Previous Next

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

Back 'Slava's Snowshow' created and performed by Slava Polunin Now onstage until December 31 at Toronto's Elgin Theatre, 189 Yonge Street Vladimir Mushikov Joe Szekeres “A whimsical journey performed with wide-eyed, childlike innocence and a knowing, worldly and wise experience of adulthood. Tremendous joy emanates from the artists. A holiday treat.” I saw ‘Slava’s Snowshow’ in November 2018 at the Bluma Appel. When I heard it was returning for the Christmas/holiday season, I wanted to see it again. This time, I took two friends with me to share the tremendous joy of this story. There were moments from this production of 'Slava's Snowshow' that made my eyes well with tears. I became a young, wide-eyed, innocent child again, watching this absurd and surrealistic dream world. The programme note describes them as ‘idiots on the loose.’ Alright, I’m not sure I’d call them ‘idiots’; nevertheless, they’re adorably dressed foppishly in clown garb with bright red noses and huge feet with what I call winged floppy ears. Alistair Kerslake’s terrific soundscape of a train can be heard upon entering the Elgin Theatre auditorium. (I wish I could have placed the annoying couple sitting in front of me on that train to take them out of the theatre. They were taking pictures when the announcement was made not to do so. My friend and I had to tell them twice to stop taking pictures. That’s another discussion). Alexander Pecherskiy and Rebecca Lore visually set the Elgin stage in shadows. It’s a nice touch when juxtaposing that with the loud, but not deafening, sound of a train transporting us somewhere. Since the title indicates a ‘snowshow’, I assume we are travelling someplace cold. There’s no mention of a set designer but a technical director, so I’ll credit Vanya Yarpolskiy. His setting suggests a bleak and cold environment, making me smile as I write this article. Yesterday's (and today’s) weather is more of an April or November setting. Once again, I’ll credit Kerslake’s impressive selection of music to accompany the artists in telling the story. The music never seemed overpowering to my ears because the Elgin is a large auditorium. The actors want to ensure the audience in the back row of the balcony can also hear the music and songs. Those musical interludes also became earworms for me as I hummed them the next day as I wrote this article. ‘Slava’s Snowshow’ has been poetically created and staged by Slava Polunin, dressed in an oversized yellow onesie. There’s a sad sack quality about his eyes that you can’t help but wish you could go and hug him. He has performed this show for over 30 years in countries worldwide and doesn’t seem to be slowing down. He’s still nimble and agile and moves with a bodily dexterity that is fun to watch. I’m still amazed that Polunin can walk on the backs of the seats in the house, and neither he nor any of the artists involved at that point slipped off the chairs with all of the water being splashed about. This return Toronto engagement is not disappointing (again, save for those audience members who felt they were obnoxiously above listening to advisories not to take photographs during the performance). Polunin and his eight ‘on-the-loose idiots’ continue to captivate with charm and charisma. I couldn’t help but smile and laugh out loud. The art of clowning is not an easy one to master. It’s not merely The Three Stooges or Lucille Ball (yes, I’m showing my age here). There’s a reason why clowning is considered an art form. It takes years of study and practice to master its focus of continually remaining in the moment and not being distracted if something goes wrong. At this performance, an audience member sneezed during silence. It didn’t break the concentration of the artists onstage. They went along with the noise and made it part of their shtick, making the audience laugh even harder. In this ‘Snowshow,’ the varied series of moments may look initially unscripted with no apparent connection at all to each other. However, a connecting feature does run through each moment of the show, and you must pay attention to discover what it is. Some amusing and poignant bits that are part of this feature are lovingly captured on stage. That’s part of the magic I don’t want to destroy here. The only hint I will give is that the spider web created on stage plays an integral part in connecting everything. Judging by the response from the audience around me, most notably, the children and young people appear to have understood the connection. They were indeed highly taken with the magic and antics of Polunin and his gang. One girl was pulled from the audience in the second act, and she became part of the storytelling for a few minutes as the audience began to settle in their seats following intermission. There are gigantic helium-filled balloons and large balls that fill the house thoroughly. Everyone has a turn being able to bounce these gigantic monstrosities throughout the auditorium. It is the moment involving a coat rack on a railway platform with the heartbreaking goodbyes where the audience witnesses the knowing the worldly view of adulthood and how goodbyes do become part of our lives. Final Comments: At times, the show is puzzling, while at other times, it is brilliant in its simplistic gestures. ‘Slava’s Snowshow’ is another holiday treat to give yourselves and see the production live. Running time: approximately one hour and 45 minutes with one intermission. ‘Slava’s Snowshow’ runs until December 31 at Toronto’s Elgin Theatre, 189 Yonge Street. For tickets, https://www.ticketmaster.ca/slavas-snowshow-tickets/artist/907448?venueId=131082&utm_source=SOP&utm_medium=Website&utm_campaign=SlavaTO23 SHOW ONE PRODUCTIONS presents ‘Slava’s Snowshow’ created and performed by Slava Polunin Technical Director: Vanya Yaropolskiy Sound: Alistair Kerslake Lights: Alexander Pecherskiy, Rebecca Lore Company Manager: Eerika Yaropolskiy Ambassador: Gwenael Allan Performers: Slava Polunin, Robert Saralp, Dima Merashchi, Bradford West, Oleg Lugovskoy, Georgiy Deliyev, Nikolai Terentiev, Christopher Lynam, Jaime Rebollo Previous Next

Back Shawn Wright Looking Ahead David Leyes Joe Szekeres Shawn and I conducted our conversation through email. When he sent me his headshot, I kept thinking I have seen his work onstage, but where? Forgive me, Shawn, but I had to do a bit of research to see where I’ve seen you before on stage. And then it came clear to me as I remembered his performance as Geppetto in Toronto’s Young People’s Theatre production of ‘The Adventures of Pinocchio’. You brought a tear to my eye as the father who never gave up on his son no matter the odds. And I did see the original Toronto cast of ‘Jersey Boys’. I wasn’t reviewing at that time but loved every minute of that production. Nice work. Shawn holds an Honors B.A. in English Literature from the University of New Brunswick. Mid-career, he trained at Shakespeare & Company in Massachusetts. Other credits include: London Road, The Arsonists (Canadian Stage); the title role in Pal Joey (Theatre Calgary), Les Miserables,; 7 seasons at Stratford Festival; 6 seasons at Shaw Festival; 2 seasons as Matthew in Anne of Green Gables (Charlottetown Festival), Lord of the Rings (Mirvish); Mamma Mia! (Original USA cast); Jersey Boys (Original Toronto cast); Ragtime (original Broadway workshop cast), Oleanna (TNB); Mikado (Pacific Opera); Next to Normal (MTC); Anne of Green Gables (Charlottetown Festival); Oliver! (NAC). Playwright: Ghost Light (published by Playwrights Canada Press); seven productions so far, including a nomination for the international LAMBDA award. Awards: Dora, Guthrie, Newton, MyEntertainment plus many Broadway World nominations. Thank you for taking the time, Shawn, and for adding to the discussion of where you see live theatre headed in a post pandemic world: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. Ok, that's a two-part question. The world I knew? What was the world I knew before March 13, 2020? On March 12, 2020, I was in the midst of a four-month Canadian tour of a play I'd written entitled ‘Ghost Light’. In May and June 2020, I was supposed to act in "On Golden Pond" with two of my childhood idols, Hal Linden and Michael Learned. In July 2020 I was supposed to start “Harry Potter and the Cursed Child" in Toronto. I was happy that after a few months on the road I could walk to work from my own condo in a show that was projected to run for a few years. I was single. I was happy with my lot in life. After March 13, 2020? Ghost Light closed on the road; my upcoming shows were postponed until God knows when. I flew back to Toronto, collected CERB while waiting for college zoom teaching jobs, joined a dating site and met someone great (still together one year later), followed all the important and necessary social and cultural movements with awe and hope, felt happy for the small strides that were starting to happen in that regard, started to reckon with how white privilege was a factor in keeping me working all these years, taught acting by zoom at a few colleges, did a few voice over jobs and commercials, wondered if there would be a place for me in the theatre again, and ...oh, yeah,...basically worried day and night about breathing the wrong air and dying. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? How has my understanding of the theatre changed? Well, large productions (which have been most of my income) will take longer to get going than smaller productions (where i make some but not most of my income). There will be (hopefully) more of an equal distribution of casting in terms of an actor's race and gender and size (which is good) but probably not of an actor's age (which might be bad....for me). As a professional artist, what are you missing the most about the live theatre industry? I miss the laughs in the dressing room from the half hour call to the places call. I miss the satisfaction of a full day's work in my chosen field. I miss the boisterous rush of adrenaline-fuelled chat walking from the stage to the dressing room after a curtain call. i miss the fitting rooms with designers. i miss the glorious relaxation of being in a character I wear well in front of an audience. Well, ok, the industry and the art are two different things so....hmmm, what do i miss about the industry per se? The opening night parties, seeing my name on a poster alongside artists I admire, being part of a community that rallies at the drop of a hat to help a failing theatre company or an ailing colleague. I miss the memorials because we can't gather right now. In February 2020, we had a lovely send off for Mary Haney at a neighborhood pub. It was sweet and touching and raucous and full of love for Mary. There's a queue of dear others for whom we are waiting to do that. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? Having a job in theatre. Having audiences come to our plays. I never really took those things for granted anyway. Describe one element you hope has changed concerning the live theatre industry. That everyone feels heard and represented. Explain what specifically you believe you must still accomplish within the industry. "Must" still accomplish? I don't think in terms of 'must' anymore. I've been proud of the career I've had pre-Covid because it's been exceptionally varied but I'm most proud of the fact that for over 30 years I've been able to make a full time living in the theatre. I WANT to keep accomplishing that. I guess I MUST accomplish that to pay my bills. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I'd be grateful to be cast in a Covid themed play. I'd be happy to watch a Covid themed play. As an artist, what specifically is it about your work that you want future audiences to remember about you? I'd like to be remembered as an artist whose work was heart-felt and detailed. To follow Shawn Wright at Instagram: mistershawnwright / Facebook: Shawn Wright Previous Next

Back 'Infinite Life' by Annie Baker Presented by Coal Mine Theatre and now on stage until September 20 at 2076 Danforth Avenue, Toronto Credit: Elana Emer. Pictured: Christine Horne and Ari Cohen Joe Szekeres “A throbbing and pulsing ache of a play. ‘Infinite Life’ is driven by exceptionally controlled emotional performances of humour one minute and pathos the next. Outstanding.” In Northern California, five women find themselves at a fasting and health resort, each battling their chronic ailments and illnesses. Each of them stays at the resort for a specific allotted time. As they recline on matching chaise lounges, the women engage in deep conversations about their ‘aches and pains’ and life stories. The arrival of an unexpected man with his own health issues disrupts their routine, leading to a shift in the future for everyone involved. Coal Mine takes many risks in showcasing the terrific talent of some of Toronto’s finest actors. From my experience attending and reviewing productions here, I see that these risks have paid off in tremendous artistic talent. In celebration of Coal Mine Theatre’s 10th anniversary, Jackie Maxwell directs the season’s opening night performance of Annie Baker’s ‘Infinite Life’ with astute understanding. The script is demanding, and Maxwell acknowledges that reality in her Director’s Programme Note. Maxwell also states ‘Infinite Life’ is absolutely rewarding. From a male perspective, it certainly is. She casts some of the ‘crème de la crème’ of Ontario’s theatre scene. They deliver outstanding work, sometimes with grace but more often with humour and pathos (and a little dirty talk, too). She knows these women; she gets them. Maxwell clearly understands how important it is to pay close attention to the dialogue and what is implied in the words, especially in playwright Annie Baker's work. In this fine opening-night production, pauses and stillness remain paramount as they add much to what is said and not said. The last few productions I’ve attended at Coal Mine had the audience sitting on opposite sides in the auditorium. This time, designer Joyce Padua blocks one part off where the space becomes a traditional theatre setting. She creates a serene setting of muted bright colours that amply fits the playing space nicely lit by Steve Lucas’s design. The resort's lanai resembles the Greek taverna straight out of ‘Mamma Mia.’ The six matching chaise lounges look comfortable. Padua has also selected individual costumes and prop pieces that reflect the individualities of each woman. Outstanding performance work from all six actors propels the plot’s action forward to its heart-rending final moment between Christine Horne and Nancy Palk, which left me momentarily bereft of words. Why? Physical pain appears to be something none of us will ever be able to avoid in our lives. It will come for us. If we have someone like Eileen to help us, even momentarily, then that makes all the difference. As Sofi, Horne becomes a quiet, trustworthy narrator who breaks the fourth wall to speak to the audience, letting us know how much time has passed, either day by day or hour by hour. Her Sofi finds it challenging to express how her pain feels. Her bits of cell conversation with an unnamed individual on the other end are tell-worthy and often graphic sexually in nature. Sofi’s connection with Ari Cohen’s spaced-out whacko Nelson is bizarre at first glance. Cohen is terrific in the part. He first appears shirtless wearing silk pants. His wide-glazed eyes and slow speech responses probably indicate his Nelson smokes weed to help with his pain. Slowly, Horne and Cohen develop an existential link to each other that Sofi’s rather odd request of him remains shocking even after the curtain comes down. Nancy Palk’s Eileen appears to be the matron of the group. There’s a regal, respectful nature about her, and Palk naturally assumes this persona with defined grace. Yet, Palk’s Eileen is also the one whose pain threshold is most visible among all those present. Her gait gradually slows down. Palk painstakingly shows how much effort it takes for her Eileen to cross the stage and sit on the chaise lounge. Her joints ache constantly, and Eileen is eternally grateful when Sofi helps momentarily to alleviate the pain. It’s a touching scene between the two, and the look of gratitude on Palk’s face, which shows that her pain has subsided, remains noteworthy. Jean Yoon and Kyra Harper respectfully provide a great deal of needed and necessary humour, as Ginnie and Yvette. They’re offbeat and unusual. They sometimes often share a bit too much about themselves. I’ll be honest and say that I am grateful Yoon and Harper allow us those crucial moments to laugh out loud. Brenda Bazinet’s Elaine is sometimes content to sit in the chaise lounge and either draw or colour as she listens and participates in the conversations and vignettes around her. Bazinet’s Elaine becomes that one person we all need– someone to listen. Not offer any advice or comments but merely to listen. A Final Thought: ‘Infinite Life’ struck a chord within my own life at this time. My late brother suffered tremendous pain from his cancer diagnosis in 2009. My late mother, who passed away in May of this year, had her own ailments that left her sometimes in pain. I’m just back up on my feet after having my left thyroid removed, and yes, there was pain in recovery from that. A comment from Virginia Woolf in the house programme resonates with me and my connection to ‘Infinite Life’: “Pain is a part of every human being’s experience. It enhances our perceptions and reduces self-consciousness. It is the great confessional.” I don’t wish for anyone to be in any pain at all. But when we are, we finally get it. We finally are part of the human experience. To be part of the human experience is what we all want. For that reason, go and see ‘Infinite Life.’ Running time: approximately one hour and forty minutes with no interval. ‘Infinite Life’ runs until October 6 at Coal Mine Theatre, 2076 Danforth Avenue, Toronto. For tickets: coalminetheatre.com. THE COAL MINE THEATRE presents ‘Infinite Life’ by Annie Baker Director: Jackie Maxwell Set and Costume Designer: Joyce Padua Lighting Designer: Steve Lucas Sound Designer: Olivia Wheeler Stage Manager: Katie Fitz-Gerald Performers: Brenda Bazinet, Ari Cohen, Kyra Harper, Christine Horne, Nancy Palk, Jean Yoon. Previous Next

Back 'Million Dollar Quartet' Book by Colin Escott and Floyd Mutrux Presented by Tweed and Company in co-production with Dreamco Theatre and now onstage at the Whitby Centennial Building Credit: Heather Cardle Photography. Pictured: Liam Lynch as Elvis Presley Joe Szekeres VOICE CHOICE “A celebration of iconic rock and roll numbers performed with joy, commitment and heart. Some intense and believable dramatic moments of the cutthroat music industry propel this ‘Million Dollar Quartet’ beyond the simple jukebox musical format.” Near the end of this standing ovation-worthy production of ‘Million Dollar Quartet,’ Carl Perkins tells the group gathered on stage: “Don’t forget what we have all done here tonight.” To this stellar company now on stage at the Whitby Centennial Building, I certainly won’t forget the joy, the grit and the heart of what you brought to me tonight. ‘Million Dollar Quartet’ recounts the evening of December 4, 1956, at the dingy Sun recording studio in Memphis. Colin Escott and Floyd Mutrux’s Book dramatizes the recording session of rock and roll/rockabilly stars Carl Perkins (Griffin Hewitt), Elvis Presley (Liam Lynch), Johnny Cash (Alex Smith) and Jerry Lee Lewis (Shaemus Swets). Sun Records producer Sam Phillips (Jacob James) becomes the story’s narrator as he is the one who brings these four rock music titans together for this one incredible night. There is also Elvis’s fictional girlfriend, Dyanne (Jessica Wilson). Backup musicians Carl Perkins’ older sister Jay (Summer Kodama) on bass and Fluke Daniel Verdecchia (drums) are keenly along for the ride. Along with a fine musical underscoring, Kodama and Verdecchia constantly listen and watch what’s happening while never upstaging the moment. Escott and Mutrux probably took some liberties with what occurred on that recording night for theatrical purposes, and that’s perfectly fine with me. Tweed and Company and Dreamco’s ‘Million Dollar Quartet’ is pure joy and heart, performed with commitment and believability. Mary Williams (Scenic Painter), Jocelyn Perry (Costume Designer) and Alaynah deKleine (Technical Director, Lighting and Sound Design) magically transport the audience back to 1956. Williams creates a sense of tightness in the space within the studio. The era has been carefully recreated with attention paid to detail in many of the visual items, from Perry’s tight-fitting skirts and blouses, gelled hair, baggy pants and rolled-sleeved short shirts right down to prop items such as the gold records meticulously placed on the back wall. deKleine’s lighting purposefully focuses attention on where it needs to be, especially in those downstage moments when the characters smoke a cigarette and converse outside the studio. Spoken dialogue can be heard in the auditorium. There were moments when I couldn’t hear all the lyrics. However, that didn’t bother me as I already knew them. It didn’t seem to bother some of the audience sitting around me either, as several nodded their heads in keeping time with the music. Dreamco Artistic Director Phil Nero directs the production with class, style, and a strong sense of dramatic purpose why this story needs to be told. He keeps the pacing briskly moving along, and it never feels rushed. In his Program Note, he writes that rock and roll’s inception is complicated and, in many ways, unjust. Still, it gave birth to a sound that has been the soundtrack to numerous generations and a foundation for everything that followed. Nero’s assessment is entirely apropos. The vocal numbers remain terrific under Music Director Peter Aylin’s assured hands. Jessica Wilson’s rendition of ‘Fever’ becomes sultry and sexy. Alex Smith’s ‘Folsom Prison Blues’ uncannily sounds like Johnny Cash. Liam Lynch’s swivelling and gyrating-hipped Elvis Presley accentuates his apt timing in ‘Hound Dog.’ Shaemus Swets’ rendition of ‘Great Balls of Fire’ as Jerry Lee Lewis smokes the Centennial Theatre stage. Griffin Hewitt’s ‘See You Later Alligator’ comes dangerously close to blowing the roof off the Centennial Building. And the four-part harmonies in some of the songs! They're perfection to my ears. I closed my eyes, listened, and enjoyed it for a few seconds. The performances are memorable and unique. Nero and his cast did not merely create carbon copies of these rock and roll giants. Yes, there are hints and shades of some of their trademark moves and looks, but Nero allows his actors to make choices that naturally fit the moment. Jacob James’ Sam Phillips powerfully conveys a sense of purpose and reason for his belief in the talent of these four artists. James’s Sam has a lot riding on this recording session, namely his reputation as a producer, as he tries to decide what to do regarding what another record company has offered him. Dressed in black pants, shirt, and shoes, Alex Smith finely captures a brooding Johnny Cash. That becomes intrinsically clear when we learn what’s happening between him and Phillips. Liam Lynch nicely finds that balance in his performance as Elvis Presley. We see the gentlemanly Elvis in the way he behaves with Dyanne. We also see the humble Elvis in the way he speaks about his relationship with his mother and manager, Colonel Tom Parker. The sometimes-simmering tension between Shaemus Swets’ Jerry Lee Lewis and Griffin Hewitt’s Carl Perkins remains taut and suspenseful and never once ventures over the top into histrionics. Swets and Hewitt inherently know when to build the tension. I thought there would have been fisticuffs a couple of times. Final Thoughts: This opening night performance is an absolute joy. The downside? It’s only running until September 22. Last night and this morning, I wondered if I should give the production a VOICE CHOICE because it is so good. Let’s say near the end of the production I knew the answer. Swets and Hewitt physically do something on stage that makes this ‘Million Dollar Quartet’ a VOICE CHOICE. Please go and see it. Running time: approximately one hour and fifty minutes with one interval/intermission. ‘Million Dollar Quartet’ runs until September 22 at the Whitby Centennial Building, 416 Centre Street South. For tickets, visit www.dreamcotheatre.com . TWEED AND COMPANY in co-production with DREAMCO THEATRE present ‘MILLION DOLLAR QUARTET’ Book by Colin Escott and Floyd Mutrux Directed by Phil Nero Musical Direction: Peter Aylin Technical Director, Lighting and Sound Design: Alaynah deKleine Costume Designer: Jocelyn Perry Scenic Painter and Production Assistant: Mary Williams Stage Manager: Emily Mewett Performers: Griffin Hewitt, Jacob James, Summer Kodama, Liam Lynch, Alex Smith, Shaemus Swets, Daniel Verdecchia, Jessica Wilson. Previous Next

Back RAPUNZEL: A Merry (Hairy) Holiday Panto. The Naughty Version Now on stage at The Capitol Theatre Port Hope, 20 Queen Street Credit: Sam Moffatt. Set Design by Joe Pagnan. Pictured: Caulin Moore and Lia Luz Joe Szekeres “Oh, Rapunzel… You’re naughty…you’re naughty, naughty…” I'll admit that I borrowed these two sentences from the late Frank Sinatra during his appearance on the '60s game show WHAT'S MY LINE? where his wife, Mia Farrow, was the mystery guest. Still, these sentences summarize quite well this skewered fairy tale ‘Rapunzel’ now on stage at Port Hope’s Capitol Theatre. It’s naughty. And so much fun. There were moments when I nearly fell out of my chair because I was laughing hard. A reminder to parents who might want to bring children or young people: there are several references and moments where the subject material raises eyebrows and is a tad blue. Do your homework. Ensure you get the family version if you wish for family entertainment. I opted for the naughty. And I’m glad I did. ‘Rapunzel’ is all good fun. Remember that, please. Playwright Carly Heffernan’s text deliciously lampoons modern references ranging from politics to religion to cultural phenomenon. Don’t get offended. It’s a panto- anything and everything is up to be lampooned. Even Heffernan (from the Northumberland area) says ‘Rapunzel’: “allows people to come together and just laugh with the interactive theatre of the panto. It creates the perfect space for joy and connection to take place.” Rapunzel (Lia Luz) is bored and lonely in Heffernan's twisted take on the tale. The heroine’s long braided hair is her only attempt to escape from the tower where her guardian, Gothel (Naomi Costain), keeps her hostage. A dim-witted Prince (Caulin Moore) accidentally discovers what’s going on with the young 21 and 2/4-year-old (you’ll get the latter portion of that reference when you see the show.). What follows in this riotous adult take through modern songs and choreography becomes a wildly funny reimagining all set to a score of popular songs and panto traditions. What should the audience take away from this ‘Rapunzel’? The young heroine discovers within herself the power to accomplish anything she wishes. There’s so much to admire about this terrific production, which I sincerely hope will sell out soon. It’s worth the drive to Port Hope for this one, folks. Joe Pagnan's three-dimensional storybook pop-out set design works exceptionally well on the Capitol stage, utilizing every available space. A gilded gold throne is positioned on stage right, complemented by a large storybook placed on a table. Michelle Ramsay's lighting design beautifully enhances the overall stage aesthetic. Additionally, some of Rebecca Chaikin's costumes are gorgeous recreations, particularly the one worn by Stewart Adam McKensy as the narrator. Thank you, thank you, thank you, Thomas Ryder Payne, for the exquisite sound balance between the musicians and performers. I could hear the words of all the songs clearly so that is a bonus! To the creative team of Director Cherissa Richards, Music Director/Pianist Chris Barillaro, Arranger Jeff Newberry and Choreographer Hollywood Jade, thank you for this year's Christmas gift of laughter, song, and dance. Richards' direction is well-defined: even in a panto, actors should move with purpose and intent. Although the pacing of a panto should feel brisk, nothing appears rushed. Newberry has created some fantastic arrangements of popular songs. Under Barillaro’s music direction, some of the renditions nearly blow the roof off the Capitol. Mentioning specific titles would spoil the surprise and enjoyment when the characters pause their dialogue to sing. Jade’s slick choreography has been well rehearsed. The performers are in solid unison when they sing and move simultaneously. This cast is having the time of their lives on that stage. That joy, that energy, that laughter electrically transfers immediately to the audience, who picks up on these vibes and responds in kind. Stewart Adam McKensy is a hoot as the Narrator and wonderfully satirizes the contentious issue of drag queen story time. Lia Luz is cute as a button, adorable Rapunzel. When she opens her mouth to sing, whoa!!!!!!!!!!!!!!!! Again, I don’t want to spoil surprises and where they occur, but holy shitballs (borrowed from Michael Bublé), Luz can sing. Caulin Moore is the handsome buff prince in workout gym shorts and a tight black t-shirt. Like Luz, Moore sings and moves with tremendous confidence. Naomi Costain is a knockout as the witchy Gothel in the tight black dress that reminds me of Morticia Addams. Her transformation near the end made me double-take from my seat in the house. I had to look twice to see if it was her, and it was. The fine ensemble of Jeremy Lapalme, Christopher Sherwood, Yunike Soedarmasto, and Jennifer Villaverde delivers impressive performances that support the on-stage antics. The opening storytime hour cleverly addresses another contentious issue in our society: gender and animal fluidity. Keep an eye out for Randy and Andy. That’s all I want to say. Revealing any more details would spoil the experience. “Run to get tickets for the naughty version at Port Hope’s Capitol Theatre! Go! Now! Give yourselves a Christmas gift. This eight-member top-notch cast sings and dances with tremendous confidence, wickedly stealing the adoring hearts of the audience.” Running time: approximately two hours with one intermission. ‘Rapunzel: A MERRY HAIRY HOLIDAY PANTO: The Naughty Version runs until December 22 at the Cameco Capitol Arts Centre in Port Hope. Please be aware there are family and naughty performances. Check the website to ensure you have purchased tickets for the one you deem fine. CAMECO CAPITOL ARTS CENTRE presents Rapunzel: A MERRY HAIRY HOLIDAY PANTO: The Naughty Version by Carly Heffernan Directed by Cherissa Richards Music Director (Conductor, Pianist): Chris Barillaro Arranger: Jeff Newberry (additional by Suzy Wilde) Choreographer: Hollywood Jade Set Designer: Joe Pagnan Sound Designer: Thomas Ryder Payne Costume Designer: Rebecca Chaikin Lighting Designer: Michelle Ramsay Drums, Guitar, Synth: Emry Tupper Stage Manager: Hannah MacMillan Performers: Naomi Costain, Jeremy Lapalme, Lia Luz, Stewart Adam McKensy, Caulin Moore, Christopher Sherwood, Yunike Soedarmasto, Jennifer Villaverde Previous Next

Back Mikaela Davies Theatre Conversation in a Covid World Mark Binks Joe Szekeres I am extremely thankful Mikaela Davies sent me a friend request several months ago as I admired her work in ‘The Last Wife’ at Montreal’s Centaur Theatre. Our Zoom call sometimes went off topic today as we found the questions below led to other questions and comments that I hadn’t even considered, and that was alright as Mikaela told me at one point during the interview to bring them on. Mikaela Davies (she/her) is an actor, director and writer. She is a graduate of the 2020 CBC Canadian Film Centre's Actors Conservatory. She spent two years performing at Soulpepper Theatre and four seasons at The Stratford Festival where she performed the leading role in The Changeling. She is a graduate of the Soulpepper Actor’s Academy, Stratford Festival’s Michael Langham Conservatory for Classical Direction and Canadian Stage’s RBC Director Development Residency. Davies is the inaugural recipient of the Jon Kaplan Canadian Stage Performer Award; she holds a Sterling nomination for Outstanding Comedic Performance as the lead in Miss Bennet at The Citadel and a META nomination for Outstanding Supporting Performance in The Last Wife at The Centaur. She has worked closely as a dramaturge with Robert Lepage and Jillian Keiley. She has directed and co-created a handful of award-winning plays with Polly Phokeev including How We Are, The Mess & Earth 2.0. Thank you for the conversation, Mikaela: 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? I’ve been okay. I’ve been really lucky that my family and friends have been healthy and safe so that’s brought a lot of peace of mind. I’m also pretty lucky that my partner and I don’t have kids yet so I cannot understand how difficult it must be for parents with young kids at home trying to do their work and help them through school. My hat goes off to them. So challenging. Given my health and everyone around me and not having this extra burden, it’s been okay. It’s hard, it’s a hard time for everybody. I do feel lucky. It’s pretty scary to hear of the numbers going up and down and up daily. How have you been spending your time since the theatre industry has been locked up tight as a drum? Well, when Covid first started I was quite lucky that myself, Hailey Gillis and Polly Phokeev, we were commissioned through Crow’s Theatre to work on a musical. We’re working on this adaptation of Mikhail Bulgakov’s ‘The Master and Margarita’, workshopped at The Stratford Festival. We were able to spend a good chunk of time just throwing ourselves into that so that was a really nice project to have. Polly Phokeev and I, we also work on our own writing projects together. We’ve had a history of making theatre together and now we’re exploring what it might be like to make a tv series so we’ve working on the draft of a pilot about a mission to colonize Mars. The other thing I have a lot of time for, which I’ve never really been able to do, is to take a breath and look around and breathe. I’ve always been a go, go, go artist and so in many ways this has afforded me a great pause. I’ve spent some time camping with my partner. We were van camping. We were sleeping in the back of his van. When the cases were low, we went out to British Columbia to see his family and we drove back across the country staying in national parks. I’ve never done that. I’ve never seen those parts and parks of Canada. That was the highlight of my year for sure. It was magical. 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? This is a good question. Speaking personally, Covid has allowed me to take a bit of a breath and a pause and to spend some time living and thinking about things, and as an artist I think that’s a useful thing to do. Sometimes we’re so caught up in making art, making art, making art, making art that we forget to live. I’m speaking for myself here. I’ve felt very grateful for that aspect of it. The kind of escapism that I imagine Hal Prince is referring to in theatre to me is a very different thing than the really dark, complicated time that Covid has brought on so many of us. To me, going to the theatre is an escape. I’m reading this incredible book right now by Tana French. She’s an Irish mystery writer and that feels like an escape. I’m thinking about these characters when I’m not in the book, my mind is going to them, I’m trying to figure out the mystery, that’s escapism. Covid is the opposite of this. Instead, it has shined a fluorescent light on the inequities of society, the drastic differences of the qualities of life of someone who makes $200K+ a year versus someone who makes $20K a year. Covid hasn’t been an escape. It might have been nice if it was, but no. 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? (Mikaela chuckles) Okay with the caveat that I’m not a doctor so I really have no business making any predictions on this … I cannot imagine the theatre on an institutional level will be back to anything close to its capacity until 2022 or later. There’re two things to consider: a) when the theatre can legally come back in a safe way and b) everybody’s personal safety level. When will audiences feel safe to return because everyone will be at different starting points. I think we’ve got a long haul yet, but I’d love to be wrong. The question every artistic director asks is how to get young people to attend the theatre and become subscribers. Yes, our seniors make up a good deal of our audiences, but this may not be the case when theatres are legally allowed to re-open again. Well, one of the first things is to mount work that young people can relate to. Ya know, sometimes we think of theatre as medicine that can become inaccessible to younger people. I remember my parents taking me to museums when I was a kid, and I was thinking, “Oh, God, I don’t know if I like this. I don’t know if I’m engaging with this.” It doesn’t mean the work wasn’t incredible, it just means I didn’t understand it at the time. It didn’t speak to me and what I was going through at that time. The question is how to get young people excited about theatre and the answer is to program productions that speak to them and exploring and navigating so we can push those boundaries in their minds. I had a discussion recently with an Equity actor who said that 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 was speaking with a director and how we might be able to put on this play through a Covid lens. We tasked ourselves with re-reading this play and imagining it in a Covid world. One of the things that struck me as possibly so exciting is seeing two characters come together and embrace and kiss each other and how electric that might be in a world where that’s not allowed if you’re not in the bubble. Like anything that happens in our world and the societies around us, it can’t help but inform the way we see things. I imagine there will be a renewed sense of chemistry and intimacy in our work to come once we are safely allowed to put these things on. I think seeing two people from different families come together and give each other a hug or any sort of physical touch will hit us in a different way than it ever would have before since we took it for granted. 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? This touches on tricky territory as we’ve seen through the #metoo Movement and the Black Lives Matter movement. Somebody’s idea of danger might be another person’s experience of abuse. I think it’s really important to say that you have to have everyone’s permission and consent to create that kind of environment. If you do, then I think it’s a fantastic thing to thrill yourself as an actor and for the audience and to seek that kind of danger as that’s the aliveness of theatre we all want to experience. I had that feeling of danger in reading Arthur Miller plays and when I performed in ‘The Changeling’ at the Stratford Festival. An artist can feel when an audience is in the palm of their hands and that’s exciting. 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 certainly feel more attuned to everything around me. Not being able to see family or friends starts to wear on you and you have a greater understanding of mental health and anxiety. I’m a highly sensitive person so noise, feelings, it’s all mixed up for me and this time of Covid has turned it up. God, I hope I do bring this sensitivity when I return to the theatre. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any interest in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? I love that. I love the fact he said theatre should spark curiosity. I think curiosity is the thing we need to build bridges in this time. When you can start to cultivate that in yourself with people who have radically different sets of beliefs than you do, you can be curious about them. You can begin to open doors and make those connections. I think that’s fantastic Hal Prince talked about the fact curiosity is one of the facets of what theatre should do. I spent a lot of time being curious about the police to be honest and how those systems worked for some people and not for others. What does that mean about a society if we are to continue a system that is discriminating against any BIPOC person? That’s been a huge learning curve for me. I watched this fantastic Zoom play reading by Ali Joy Richardson called ‘Dad’ through Studio 180. It was directed by Ann-Marie Kerr. It was so well done. One of the things I thought was so effective was it happened over Zoom but they utilized the platform of Zoom as part of the piece. In the actual play, Ali adapted it. This was a phone conversation just like you and I are right now, and we all got to be a fly on the wall during this conversation. I love ‘fly on the wall’ moments so I’m curious to see how people have been able to adapt that even while theatre can’t happen in the live space they’ve been able to take this form and make it exciting, and present, and right now. You can connect with Mikaela at Instagram: @mikaelalilydavies and Twitter: @MikaelaLily Previous Next

Back Salt Water Moon by David French Guild Theatre Festival Raph Nogal Photography Joe Szekeres A beautiful August summer evening sets the stage for a most splendid production of David French’s iconic Canadian classic script of the Mercer family which introduces the early lives of parents Jacob and Mary. I’ve seen this play several times before, but this is the first I’ve experienced ‘Salt-Water Moon’ in an outdoor setting. And what a wise choice Director Helen Juvonen made as the Guild’s production is utterly charming to watch as two charismatic and engaging artists create very real, flesh and blood people before my eyes while handling the intricate Newfoundland dialect and speech patterns crisply and with tremendous grace and dignity. A shout out of recognition to Dialect Coach Leah Holder for ensuring authenticity to my ear. The setting is 1926 in Coley’s Point, rural Newfoundland. It is a moonlit night (just like the performance I attended) in September in front of a late 19th century home. Seventeen-year-old Mary Snow (Sarah Gibbons) is waiting for her fiancé, Jerome, to come visit her after Bob Foote's wake, and she is looking through a telescope at the moon and stars to pass the time. A voice is heard in the distance and Jacob Mercer (Alex Furber), six months older than Mary, and her former beau, appears. Mary is taken aback to see Jacob who left Newfoundland abruptly for Toronto a year before to seek his fortune. Mary and Jacob spend the evening making small talk, stargazing, arguing, and discussing the past, including Jacob's sudden departure. There is a simple set design which works very well in this case as the primary focus remains on the tip-top performances of Sarah Gibbons and Alex Furber. There are three entrances to the playing space. Centre stage and stage left are several lanterns with tea lights that glowed as the sun set and the evening approached. Just off-centre stage right and angled slightly is a wooden rocking chair. At stage right is a trellis of leaves with small white lights attached. Sarah is dressed attractively in a yellow dress and Alex looks dashing in a light grey pin striped suit with a deep blue tie nicely contrasted with a white dress shirt. In her Programme Note, Ms. Juvonen writes how envisioning ‘Moon’ has become an homage to the place she calls home and to celebrate her maternal family. Her profound respect for the play and maintaining consistent verisimilitude certainly came clear to me in some of the minute details she emphasizes in the 90-minute production. One example of this occurs in the convincing performances of Gibbons and Furber. ‘Salt-Water Moon’ is heavily dialogue driven, and these two actors continuously listen carefully to each other’s words and their meaning and respond so believably and realistically on an emotional level that I periodically put down my pen from making notes in my book and just wanted to watch them move with clear intent and purpose all the time. I especially relished the moment as Mary calls Jacob over to point out something in the sky with the stars and constellations. I got caught up in the moment to the point where I had to restrain myself from physically turning around in my chair and look to the sky to see where the actors were pointing. Every inch of the playing space on that stage is used to its fullest and I especially enjoyed watching how the ‘who has the power in the moment’ volley back and forth between the two. Alex Furber’s Jacob is confidant, cocky and, at times, self-assured who remains intent on trying to win back the heart of the girl whom he left the year before. I loved watching how he skillfully utilized a playful and genuine smirk on his face at times to acknowledge that he is doing his best to win back Mary’s trust and love. Sarah Gibbons is a feisty and ‘fire in the spirit’ Mary (as she is described in the text at one point) who obviously is not a push over emotionally as Jacob comes to recognize as the plot progresses. I saw just how Mary can poke at Jacob’s soft side to remind him that what he did was wrong. Gibbons knows and senses inherently just how and when to utilize playwright French’s words to fire back emotionally at the beloved beau who left her suddenly the year before. Final Comments: There was something magical about watching a live performance outdoors. The term ‘Theatre under the Stars’ took on a new meaning for me in this delightful production of a captivating ‘Salt-Water Moon’. Get tickets for this one. A wonderful evening spent at the theatre. ‘Salt-Water Moon’ continues to August 15 at the Greek Theatre in the Guild Park and Gardens, 201 Guildwood Parkway, Toronto. For tickets and information, please visit www.guildfestivaltheatre.ca . ‘SALT-WATER MOON’ by David French Production Staged by Guild Festival Theatre, Tenth Anniversary Season Directed by Helen Juvonen Production Designer Simon Flint Design Mentor Nancy Anne Perrin Dialect Coach Leah Holder. Previous Next

Back 'Intimate Apparel' by Lynn Nottage Now onstage at the Firehall Theatre until August 27 as part of the Thousand Islands Playhouse Series Credit: Randy deKleine-Stimpson. Jonathan Silver as Mr. Marks and Gloria Mampuya as Esther Joe Szekeres A Voice Choice. ‘Intimate Apparel’ remains a gripping production with an empathetic vision in direction and highly credible performances. Playwright Lynn Nottage had been helping her grandmother move from her family home when she came across an old passport photo of Nottage’s great-grandmother. For Lynn, that photo invited questions about her great-grandmother that no living person could answer. ‘Intimate Apparel’ resulted from questions Nottage gathered about her great-grandmother, Ethel, who lived as a seamstress in New York City at the dawn of the twentieth century. The production is set in 1905, in New York City (and in a segregated America). ‘Intimate Apparel’ focuses on central protagonist Esther Mills (Gloria Mampuya), a 35-year-old unmarried black seamstress living in a boarding house for women. Her landlord is Mrs. Dickson (Kirsten Alter). Esther makes intimate apparel for women ranging from high society white individuals like Mrs. Van Buren (Olivia Neary-Hatton) to prostitutes like Mayme (KhaRå Martin). Esther is in high demand for her work as a seamstress. She has set aside money over the years and has stuffed it into the quilt on her bed. She hopes one day to open a beauty parlour for black women where they will receive the same treatment as wealthy socialite white women. Esther is also lonely. She has watched other women from the boarding house marry and leave. She longs for a husband and her own life as well. Her heart appears to lie with the Hasidic fabric shopkeeper Mr. Marks, (Jonathan Silver), from whom she buys the fabric to make the garments. Mr. Marks is also smitten with Esther; however, his strict faith does not permit him to pursue this relationship. Additionally, he is part of an arranged marriage set by his parents years ago. An unseen mutual acquaintance introduces Esther to George Armstrong (Fode Bangoura), who works in Panama building the canal. They correspond by letters. Throughout Act One, we never see George but only hear his voice as he reads his letters. Esther is illiterate, so she has someone write for her. Soon, these letters move from formal introductions to intimate connections where George suggests he and Esther marry without seeing each other. Great care has been taken to accurately depict the early 1900s down to minor details in the three-quarter theatre setting of the Firehall. Sarah Uwadiae’s has created four distinct playing areas. At centre stage on a raised circular dais is Esther’s room. There is a bed and a quilt stuffed with her money. A turn of the twentieth-century century foot-pumped Singer sewing machine figures prominently centre stage. Stage right is the boudoir of Mrs. Van Buren. Stage left is Mayme’s apartment where she entertains her ‘guests,’ and Mr. Marks’ fabric shop. Frederick Kennedy’s sound design is solid in hearing the sound of the door knocks and bells as Esther moved around the stage. Jareth Li’s lighting design adroitly sets the appropriate mood. Joyce Padua’s costume designs finely replicate the early 1900s. This ‘Intimate Apparel’ remains a gripping production. The creative team has taken great care to ensure the poetry of Nottage’s language is never overshadowed by the, at times, underlying violent tones. Director Lisa Karen Cox clearly shows empathy for Esther and the role of women in the early 1900s. Gloria Mampuya delivers a graceful and human performance of the central character. Although not school-educated, Esther has worked diligently to reach her current position in life. Despite Esther’s illiteracy, Mampuya duly reveals the protagonist’s determination to succeed in establishing her future beauty parlour and in wanting to find a husband who will love her for who she is. While she falls prey to George Armstrong's hands, Mampuya duly maintains Esther’s dignity and worth. Women at the turn of the twentieth century were not highly valued. Playwright Lynn Nottage shows these opposing societal standards in the socialite Mrs. Van Buren and prostitute Mayme. Olivia Neary-Hatton’s Mrs. Van Buren is vain and egotistical at first. There are moments when she, too, shows her white privilege over Esther. However, once Van Buren's backstory of a loveless marriage is revealed, Neary-Hatton's emotional outburst and desire for connection with anyone, including Esther, become heartfelt. Esther's friend, Mayme (KhaRå Martin), has personal interactions with men, of which Esther disapproves. Mayme may initially be viewed as "the tart with a heart," but Martin wisely reveals more on stage. Like Mampuya, Martin’s solid performance duly asserts dignity and worth in Mayme, elevating her to a significant influence in Esther's life. Kirsten Alter is likeable and commanding in the role of boarding house landlady Mrs. Dickson who becomes the voice of reason in Esther’s life. It becomes interesting that Dickson is the only person who speaks the truth to Esther while the other characters all have hidden secrets lying underneath. Lynn Nottage effectively reveals how patriarchal societal norms affect the life paths of her male characters. As shy fabric retailer Mr. Marks, Jonathan Silver's initial bashfulness in concealing his feelings for Esther remains quite touching. Director Cox skillfully utilizes this initial meekness to heighten the sexual synchronicity between Esther and Mr. Marks. Whenever the retailer brings forth new fabric, Silver lovingly and intimately strokes the material with his fingers as he presents it to Esther. Mampuya responds by touching the material with the same long finger strokes. These scenes are intensely passionate moments between the two without touching each other. Throughout Act One, we only hear Fode Bangoura’s voice read the letters as George Armstrong. Bangoura’s voice is mellifluous and sultry. As the letters become more intimately personal throughout Act One, Mampuya dreamily listens to them read like a bride on her wedding night and finely responds as one. She is a woman who hopes George is the one who will sweep her away and allow her to open the beauty parlour. However, all is not right as Mrs. Dickson suspects. When the audience finally sees George at the end of Act One, he is not what his letters sound like. For instance, when the audience first sees George, his ill-fitting suit with the slightly ripped fedora indicates he is not the man he says he is. Bangoura delivers more than just the proverbial ‘snake oil’ salesman in his performance. His George Armstrong is deceptively cunning and dangerous, filled with a desire for destruction. His relationship with Esther is not one of sexual attraction but rather a violent and twisted connection lacking in passion. Final Comment: In her Director’s Note in the Program, Lisa Karen Cox writes that she is deeply vested in celebrating and sharing Esther’s perspective (and the perspective of others that look like her) with the theatre-going public. While Esther may not be ‘school educated,’ this production clearly shows a woman who is deeply intelligent because she has lived life and will continue to do so despite repressive societal standards for women. The audience is richer for this experience as this terrific cast has successfully captured Cox’s wish and heartfully honours it. Please see ‘Intimate Apparel.’ Running time: approximately two hours with one intermission. ‘Intimate Apparel’ runs until August 27 at the Firehall Theatre, 185 South Street. For tickets, call the Box Office at (613) 382-7020 or visit 1000islandsplayhouse.com. THOUSAND ISLANDS PLAYHOUSE presents ‘Intimate Apparel’ by Lynn Nottage Directed by Lisa Karen Cox Set Designer: Sarah Uwadiae Costume Designer: Joyce Padua Lighting Designer: Jareth Li Sound Designer: Frederick Kennedy Stage Manager: Rebecca Eamon Campbell Intimacy Choreographer: Corey Tazmania Performers: Gloria Mampuya, Kirsten Alter, Olivia Neary-Hatton, Jonathan Silver, KhaRå Martin, Fode Bangoura Previous Next

Back Bâtardes by Chloé and Jade Barshee (English translation: Bastards) Theatre Passe Muraille Jules Bédard Joe Szekeres I really wanted to make a connection to this production of belonging, but alas. Sigh! I was really hoping Chloé and Jade Barshee’s ‘Bâtardes’ would make a comment on how important it is for all of us to feel we belong somewhere in a community not divided by race, creed, colour but by who we are as individuals. There were so many positive things going for the play initially that I thought, okay, three times going to be the charm to conclude Passe Muraille’s #BeyondTO series. For one, because I knew the production would be in French with English surtitles, this would have been my opportunity to put my undergraduate knowledge of French to work without looking at the surtitles but knowing I could if I didn’t catch everything. Additionally, I liked reading the e-zine presented for each of the three productions as important information was given as a focus along with the online house programme. When I read in the e-zine that Jade was asked the question where she was from as a child in her grade school, she realized the ignorance of the person who asked the question. When I taught Core French to grade/elementary school years ago, that context (d’où viens-tu?) was part of what we had to teach to the kids. Obviously, this syntax formatted question must now be handled sympathetically as context is so important, even though our woke world today tells us context does not matter in any case. Upon entering the auditorium Sarah-Jeanne Doré’s visually simple set design would allow me to focus on the action of the play. William Couture’s video design of the adorable young Barshee girls and their parents in everyday momentary life situations at least showed me there was a sense of belonging within this family of a Tibetan father and Québecoise mother. I really liked the preshow spot lighting of what appeared to be a transistor radio on the stage. Jonathan Léo Saucier’s costume designs nicely delineated the characters of the Barshee girls at different points in their lives. The school outfits were perfectly fitted for the girls. Mathieu Beauséjour’s monster costume worked extremely well for me as I felt this was the kind of entity that a young child could conjure up in her mind if something (or someone) was bothering her. I especially liked Chloé and Jade Barshee’s introduction to the audience as the top of the show. I bought them entirely as they became truly believable young girls at school just through the various idiosyncrasies of young people both artists adopted. But how did my interest and focus on the story wane? It was the presentation of the English caption at the top of the set. Yes, I have some working knowledge of the French language, but it has been years since I’ve actually sat in a classroom either to teach the language or to focus my attention either in hearing or listening to the language. It became so frustrating for me as the play progressed and I began to lose interest in the plot and any kind of connection I was to make to the characters. From my seat near the back of the house, the font size remains abysmally tiny to read. I kept squinting my eyes (and I wear bifocals) and looking at the top of the set to catch what was being said especially in some of the charged dramatic moments. When it didn’t improve as the show continued, I gave up in trying to keep up. At one point, the girls are speaking one right after the other that sometimes the captioning didn’t keep up with the pacing of the dialogue. That became clear to me with my limited French knowledge and again I continued to lose focus in what was being said. Please, Nina Okens, Sean Baker, and Elizabeth Morris, make the font size larger so audiences can follow the action. Here, in Toronto, neither everyone has a working knowledge of French nor is fluently and/or functionally bilingual. I get that an English translation may not be able actually to express the emotional impact of a line or thought spoken in French. At one point, the term ‘pure laine’ is used, and I remember discussing that terminology in French as a Second Language Faculty of Education classes many years ago and debating that it could not be translated and mean the same thing in English. But it’s a shame that an important play like ‘Bâtardes’ does not have the emotional impact as it should. Running Time: approximately 80 minutes with no intermission. Covid Protocols in effect. ‘Bâtardes’ runs to June 4 at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto. For tickets, call 1-416-504-7529 or visit www.passemuraille.ca . BÂTARDES written and directed by Chloé et Jade Barshee Artistic Consultant: Patrick R. Lacharité et Phillippe Cyr Dramaturgical Consultant: Pascal Brullemans Video and lighting design/Stage Manager: William Couture Costume Designer: Jonathan Léo Saucier Set Designer: Sarah-Jeanne Doré Sound Designer: Ariane Lamarre English Captioning: Nina Okens Captioning Operator: Sean Baker Captioning Consultant: Elizabeth Morris Cast: Chloé Barshee, Jade Barshee, Mathieu Beauséjour Previous Next

Back Raoul Bhaneja “Hard to know what lies ahead…but the best plan is what Hamlet himself says in Act 5: “the readiness is all.” Joe Szekeres Here’s the link to my first conversation with Raoul Bhaneja: https://www.onstageblog.com/profiles/2020/10/22/moving-forward-a-conversation-with-raoul-bhaneja Raoul Bhaneja is one incredibly busy man at the moment. He’s currently in Los Angeles, where he has spent much of his time over the last twenty years, almost none of it doing theatre. He’s played in more Los Angeles bars, nightclubs, and recording studios than in theatres. Even though Bhaneja has had to step away from the theatre periodically, he states it will always be a vibrant, vital place to spend time both as an artist and an audience member. He has been lucky to have a few spiritual homes with the theatre in Toronto. He recognized Tarragon Theatre for new plays, particularly between 2003 and 2010, when he had the chance to work on several productions there. Bhaneja also credits Theatre Passe Muraille, where he used to live almost next door to the building. He also credits one of his mentors, Paul Thompson, who shaped part of what theatre would become. It was at Passe Muraille, Bhaneja’s upcoming Soulpepper ‘Hamlet (solo)’ production was workshopped and first premiered. What important lessons has he learned from the last four years as an artist and as a person, husband, father, sibling, and friend? Raoul has become ever more appreciative of an audience that takes the time to spend their money and leave the comforts (and, in some cases, safety) of home to share in a live experience. Raoul has always felt the relationship between performer and audience is a (semi) sacred one, and he has felt that even more these last four years. ‘Hamlet (solo)’ will run for only three performances this month at Soulpepper. Artistic Director Weyni Mengesha is striving to write a new chapter and reshape the company but is holding on to core elements that Raoul thinks will be put in good stead for a long time in Toronto. He believes Soulpepper deserves support from those who once stood by it and new donors and advocates who can appreciate the challenging mission Weyni has undertaken to bring Soulpepper into this decade renewed and reclaimed. After this informative conversation with Weyni, Raoul realized he wanted to help be a part of her vision at Soulpepper. The opportunity to present ‘Hamlet (solo)’ back in Toronto after over a decade felt like the right fit. The late Daniel Brooks asked Raoul to step into Soulpepper’s recent ‘The Seagull’. When he returned to perform, Bhaneja returned to the company for the first time in 23 years, and he was reminded of just how special of a place Soulpepper truly is. Given that feeling, he felt it was also the right time to bring ‘Hamlet (solo)’ to the Distillery District’s Young Centre. Solo shows have been part of the theatre culture for a while: Diane Flacks and Rick Miller come to mind. The Soulpepper website states that this Hamlet (with the collaboration of longtime show director Robert Ross Parker and original designer Deeter Schurig) is a two-hour bare-bones performance in which Bhaneja plays 17 parts using Shakespeare’s text. The decisions around the sparseness of this solo production were not arbitrary or due to budget constraints but rather very much on purpose. Raoul stated: “I have been very encouraged by a lot of the theatre I have seen in Toronto as of late, particularly in the acting which I think has become more visceral than it had been for most of my time watching theatre in the city. There was often solid, thoughtful acting onstage, but I find it has an emotional urgency now that both the actor and audience demand from the experience.” I recall Rick Miller’s MACHOMER: THE SIMPSONS DO MACBETH, in which he voiced the characters in telling the story. Raoul is a huge admirer of Miller’s talent and calls him a prolific producer and person of the theatre. According to Raoul: “Both productions share a certain audacity, one I think Eric Woolfe also engaged in earlier this season when he presented his solo ‘Macbeth’ at Red Sandcastle. You have to be a bit crazy to do this.” When Bhaneja was in New York a few months ago watching Eddie (Suzy) Izzard perform her solo Hamlet, Raoul said, “It’s wild to see how different that ‘Hamlet’ is from our production even though the essential impulse is the very nature of it, similar.” Raoul says Shakespeare is getting a bit of a bad rap at the moment for being so heavily used in education and so prolifically presented in the theatre when other voices have been ignored and underappreciated. Perhaps it might be our fault, not Shakespeare’s, how little writing from different cultures and parts of the world we have seen our stages, particularly in the ‘classical’ period. That speaks to our hyper-focus on Western drama and thought. Bhaneja offers a critical thought to consider: “Let’s expand our field of reference, not obsess about Shakespeare by turning him into some kind of Confederate statue that must be pulled down. Use him to inspire or transform or adapt stories and ideas NOW. That’s the whole point. What about ‘Hamlet’ still speaks to the audience today for Bhaneja? It is the concept of ‘isolation’. Isolation is something everyone collectively understands at the moment in a way that we perhaps have not for a long time. It’s an unfortunate experience in the last few years everyone has had to deal with and come to terms. When Raoul started working on this project, his friend and gifted filmmaker, Jeff Stephenson, followed him around with a camera and made a documentary, ‘Hamlet (solo),’ which he hopes to find a way to screen or include in the upcoming Soulpepper run. In that documentary, Raoul interviews many actors who had played Hamlet up to 2007. When he was in his twenties, Raoul remembered something the late John Neville (who was in his seventies) told him about ‘Hamlet.’ It’s a play about the disillusionment of youth. Back then, Bhaneja found Neville’s comments interesting but didn’t really get it. Now that Raoul approaches his fifties (you’re still a young man, ya know), he looks at the world today, his children and the world they will inherit from us, and now understands Neville’s point of view: “To me, that is the essence of any ‘classic’ work from any period – its longevity comes from the ability to continue to reflect and refract life back to the audience, like the mirror Hamlet speaks of in the play.” Bhaneja leaves it to the audience to come away with any specific messages. He can only present what he and the creative team have envisioned with their interpretation and leave the rest to the audience. What he hopes to achieve with this ‘Hamlet (solo)’ is a unique and provocative experience combined with the viewers’ imaginations within an intimate setting. The life of an actor and performance artist is always in constant flux and motion. What’s next for Raoul once the three-date performance run of ‘Hamlet (solo)’ concludes: With two of his cast members from Soulpepper’s production of ‘The Seagull’ Frank Cox-O’Connell and Hailey Gillis, they are developing a project that they hope one day to present to Soulpepper. They are also working on producing a solo show for Raoul’s wife, Birgitte Solem (Hope and Hell co-founder) who will act in the piece. Outside of that, Raoul continues the roulette wheel of film and television. He hopes to make another season of ‘The Trades’ for Crave TV. Bhaneja called it a crazy TV show that was so much fun, but the cast and crew have to receive formal word. It has been a difficult year in the on-camera world with multiple labour disruptions, tech company contractions and the introduction of A.I. ‘Hamlet (solo)’ runs May 23-25 in the Young Centre for the Performing Arts in Toronto’s Distillery District, 50 Tank House Lane. For tickets: https://www.soulpepper.ca/performances/hamletsolo Previous Next

Back George F. Walker's ORPHANS FOR THE CZAR previews March 29-31, opens April 1 and runs to April 17 at Crow's Theatre Looking Ahead Courtesy of Crow's Theatre Joe Szekeres The first play of George’s I had read during my undergraduate at Western over forty years ago was Zastrozzi. I had the opportunity to see a rather solid production of it performed well several years ago at a local community theatre group here in Durham Region. I remember my Canadian Literature professor stating during the lecture the play was rather controversial for its time, but it was an extremely important one as part of the Canadian theatre mosaic. As an eager undergraduate of English Language and Literature eons ago, I waited patiently for Walker’s response to this rather brief analysis during our recent telephone conversation. What he said made me wonder if other playwrights did or now do the same thing. George has thought a lot about Zastrozzi over the years since its 1977 premiere at Toronto Free Theatre directed by Bill Lane. Walker felt accomplished with the work that was done with the original cast because it was so different at the time from all the other plays on the Toronto stages then. Zastrozzi had all the elements necessary to make it a good production: swashbuckling scenes, melodrama, selfishness, greed, playfulness, sexual references, psychological wordplay. Yet Walker and Lane wondered where the play fit in because it wasn’t like others in Toronto at that time. Hmmm…and thus the reason why he has returned to think about Zastrozzi. Walker’s pleased that it is still an actor’s piece and that it still speaks to the community theatre and professional level because actors love to perform it, but that question of fitting in remains. I wonder if audiences now, and in the future, will look at Walker’s newest play Orphans for the Czar and consider how it fits into the current Canadian theatre mosaic? Will it be considered an actor’s piece? Will the actors allow the story to speak for itself? Possible discussion I guess when the production opens on March 29. From Crow’s website: “George F. Walker’s newest high-stakes comedy [Orphans] ruefully explores the duplicity, revenge, and self-interest at the core of a culture about to go up in flames. Suggested by [Maxim Gorky’s] ‘The Life of a Useless Man’ and set before Bloody Sunday in St. Petersburg, a hapless double agent tries to stay on the right side of both the revolutionaries and the czarists…a comedy of pathos about the fragility of people in unstable times, Orphans for the Czar is a plea for the possibility of decency.” Some very heady stuff here in Orphans’ brief plot description so I asked George why he felt the play was an important one for 2022 audiences. It was during the Trump era that Walker became fascinated with those Americans who voted for the Donald. Were they vulnerable people easily convinced to join any group, or in this case Trump’s group? One wouldn’t know it from seeing the recent news reports of the terror emanating from Russia on Ukraine right now, but George spoke about the Russian people as a vulnerable people in his play. I’m curious to see how this possible vulnerability might play out in Orphans. The play will be directed by Tanja Jacobs with some cast members whom I’ve seen on other stages and in other previous works. She spoke in a recent online conversation with George about the love she has for Orphans and how he has been inspired by her enthusiasm. George told me he hasn’t sat in on any rehearsals at this time and is hoping to sometime this coming week as he has been at his home with his seven-month-old granddaughter. In our conversation, George told me he trusts Tanja, and this cast completely and is not worried at all. When he sent some re-writes to the cast, everyone fell in love with the new pages. George further commented how he has fallen in love with writing for the theatre once again. There was a near ten-year absence as he was working on television shows: This is Wonderland, The Line, and Living in Your Car. Yes, he had control over the writing he was completing for television, but he felt that at least in Canada you can’t go that far in writing regarding elements that might be either too emotional or too personal. Walker writes freely. He likes digging deeper into the psyche of individuals and he’s now having a hell of a good time writing again for the stage. From listening to his voice at the other end of the line, I could hear a jokester tone as he acknowledged whether the plays get produced is another question. Whether his children and grandchildren will make sure his plays are produced in the future is another discussion as well. I promised George that I would not turn this phone call into a Covid related pre-show/profile for Orphans, and again he laughed, and I could tell from his voice he was pleased that wouldn’t occur; however, there was one Covid related element regarding the theatre and how it will look post-Covid for George and I wanted to hear his perspective. And again, his response was something that I hope all theatres will take to heart as we all move forward after two years. In his conversation with Tanja, George spoke about “the higher the stakes in the world, the higher the stakes there must be in anything he writes about the world.” I asked if this statement could also be applied to Canadian actors as they move forward. George once again confirmed how actors nearly had almost everything taken away from them during these last two years. Everyone involved in the theatre is thankful to be able to return and has recognized how lucky they are to be back, but for George, it appears that audiences have been left out of the conversation. It’s important to have that connection to the audiences and let them feel things once again. There is going to be a hesitancy for some audience members, but there will be a voracious eagerness for those who want to return. There’s nothing in the world like a live connection to a theatrical piece where the audience can see the sweat on the actor’s brow or the tear in the eye. Walker wants to get back to theatre touching us on so many levels. Perhaps more blood will be spilled, but if that provides a live connection to an audience to feel emotions, so much the better. Thank you so much for the phone conversation, George and for re-connecting me once again to experience those emotions that make all of us human. The cast for Orphans for the Czar includes Christopher Allen, Shayla Brown, Eric Peterson, Kyle Gatehouse, Patrick McManus, Michelle Mohammed, Paolo Santalucia and Shauna Thompson. The production previews March 29, 30, 31. It opens April 1 and runs to April 17, 2022, at Crow’s Theatre, 345 Carlaw Avenue, Toronto. Call the Box office to purchase tickets at (647) 341-7390 ex. 1010 or visit www.crowstheatre.com for more information. To learn more about George F. Walker, visit his website: www.georgefwalker.ca . Previous Next

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

Back Matthew MacKenzie 'This was a Covid romance where my wife Mariya were able to get married and welcome our son into this world, against all odds.' Credit: Nastya Gooz. Matthew appears with his bride Mariya Joe Szekeres What an interesting name for a theatre – ‘Punctuate! Theatre’. This name caught my eye immediately and I wanted to find out more. And there is more. Recently I received a notice about Punctuate Theatre’s touring production of the world premiere of ‘First Métis Man of Odesa’ that will run in the Franco Boni Theatre at Toronto’s Theatre Centre. Punctuate bills the production as a ‘romantic comedy for an unpredictable world.” ‘First Métis Man of Odesa’ is now playing in Kamloops BC until March 25. The production then travels to Toronto at The Theatre Centre from March 30 – April 8. It will then travel to Edmonton’s Citadel Theatre from April 22 – May 13 with its final stop in Vancouver from May 25 – June 4, 2023. Written by Matthew MacKenzie and Mariya Khomutova and directed by Lianna Makuch, this world premiere according to Punctuate’s website is “based on actual events. This captivating real-life love story is set against the backdrop of the COVID pandemic and the Russian invasion of Ukraine. Award-winning playwright Matthew MacKenzie joins forces with his wife, award-winning Ukrainian actress Mariya Khomutova, to tell the story of their COVID courtship and share an intimate perspective on the personal impacts of the war in Ukraine.” I had the opportunity to conduct an interview via email with Matthew MacKenzie. He trained at Montréal’s National Theatre School in their Playwriting Program led by Brian Drader: The name ‘Punctuate! Theatre’ immediately captured my attention. Could you tell me about its genesis? "I was not with the company when it was founded, but my Managing Director Sheiny Satanove says “The name Punctuate! Theatre was a collaborative effort between the five founding members. In their initial meetings, they determined what type of theatre they were interested in making - subversive, relevant, and thought-provoking. It was important to them (and still is to the company today) to use our productions to give audiences something to think about, to ‘punctuate’ their thoughts. From there the name was born!” In your professional opinion, how have the changes from the worldwide pandemic affected where you see Punctuate! Theatre headed in future. "The changes forced us to stop touring our work for a couple of years, but we are happy to be touring the country again in ‘23 with ‘First Métis Man of Odesa’. One of the exciting things to come out of the pandemic is a virtual Indigenous playwriting unit we have formed with our partners: the Pemmican Collective. It went so well during the height of the pandemic that we decided we wanted to continue with it into the future. We are currently supporting the development of fifteen Indigenous projects through the unit." Tell me about the plot of ‘First Métis Man of Odesa’ to whet future audience appetite. "The play follows my partner Mariya Khomutova and my love story from a meeting during a theatre workshop in Ukraine, to Mariya visiting me in Toronto, to me returning to Ukraine, where I met Mariya’s parents in the magical city of Odesa. Two days after I flew back to Canada after that trip, Covid really hit, and countries closed their borders–so we suddenly didn’t know when we would be able to see one another again. A month after that trip, we learned that Mariya was pregnant. So I had to figure out how to fly across the world in the midst of the pandemic and sort of sneak into Ukraine. I was able to do this after we had been apart for four months and we married on a perfect summer morning in Odesa. Back in Canada, we had to jump through many bureaucratic hoops, with Mariya finally accessing healthcare shortly before the birth of our son, Ivan. We were just about to return to Odesa for our son to meet his grandparents there when the Russians launched their full-scale invasion. Since that time, when pretty much everyone my wife has ever known has had their lives turned upside down, we have welcomed my mother-in-law Olga and contended from afar with the horror Putin is unleashing on Ukraine." From the release I received, the play was presented as a radio play at Factory Theatre during the height of the lockdown in 2021. It was written by you and directed by Nina Lee Aquino. This March, 'First Métis Man of Odesa' makes its on-stage debut and offers a continuation of the initial story told in the radio play. Have you made any major changes from the radio play script to the one that will be presented this month? "The big difference is that Russia had not invaded Ukraine when we did the radio play, so the effects the invasion had on Mariya and I provided the inspiration, both dark and hopeful, for the second half of the play." It has been wonderful to return to the theatre even though we are still in Covid’s embrace. Again, in your professional opinion, why is it important for audiences to see ‘First Métis Man of Odesa’? "This was a Covid romance, where Mariya and I were able to get married and welcome our son into this world, against all odds. I think people will respond really positively to a good news story coming out of this terrible time. And much like Covid, the invasion has had a profound impact on our lives but has been something out of our control. I think seeing the human side of how the invasion has affected people will really resonate with folks." Once the run of the play has concluded at the Theatre Centre, what’s next for Matthew MacKenzie? "I’ll be travelling to South Africa to participate in a residency in Johannesburg at The Centre For The Less Good Idea, where I will be developing a new play titled Genital Posturing Of The Vervet Monkeys Of South Africa." To learn more about Punctuate Theatre, visit www.punctuatetheatre.com . To purchase tickets for the Toronto production at The Theatre Centre, call 416-538-0988 or visit www.theatrecentre.org . Previous Next

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