A talk with a professional artist about their career. Back Irene Sankoff and David Hein Self-Isolated Artist --- Joe Szekeres When it is safe to return to the theatre, and we will (sorry to disagree, Dame Judi Dench), if you have not gone to see the extraordinary ‘Come from Away’, make it one of the shows you definitely must attend. I know I would like to see it again. Irene Sankoff and David Hein’s apres 9/11 story of hope, of kindness, and of generosity is one that resonates with me in an emerging post COVID world now more than ever. Amid the statistics and the confusion of this coronavirus time, I know there are stories out there of front-line workers who have instilled hope, shown kindness, and born generosity of spirit. I had the good fortune to see the show three times: twice in Toronto (and once with the Canadian cast) and the New York/ Broadway company. Many thanks to Irene and David who were extremely kind and generous to participate in this interview when they have so much going on in their lives right now. How have you and your family been keeping at this over three-month isolation, and now with a slow re-emergence? IRENE: We’ve remained healthy. Not sure how with so many people we know having been hit by this wretched virus, but so far, we’re okay. We’re grateful for what we have and try to stay aware of our privilege. And wear our masks when we’re out near others but mostly stay home. I really miss my life from The Before Time. It was all gone so quickly, y’know? DAVID: We had been living in New York but have driven back with our daughter and two cats and renting a place – and we’re only now sorting out where we’ll be going forward. We’ve been trying to keep an eye on our five CFA companies who are all out of work – not just the onstage team, but the box office, front of house, crew, etc. And we’ve been trying to do some good, donating, buying a 3D printer for makers to make face shields and delivering them. What has been the most challenging and difficult for you and your family during this time? What have you all been doing to keep yourselves busy? IRENE: In the early days it was fear over the outbreak at my Mom’s Long-Term Care Home. We spent a lot of time sourcing and delivering PPE as well as coming up with ways to keep the staff and residents’ spirits up, whether it was having food delivered or doing impromptu performance art outside the building. Now that the outbreak has resolved (knock on wood) I’m missing the community I had in NYC, as they drift away from that city and all over the map. I spend a lot of time texting or video chatting with them. So - keeping busy has not been a problem. Work has not slowed down (I know, I’m surprised too – and grateful). And then there’s the education and entertaining of our six-year-old. She is used to a lot of programming and stimulation, having lived the last three years in Manhattan. But she is LOVING being here – and running in and out of the house and hopping on and off her bike and making friends with kids across the street or over a fence while yelling “6 feet back!” DAVID: We’re surprisingly really busy. Between homeschooling our daughter and figuring out where we’ll live next, we’re doing interviews and as many benefits as we can, trying to raise some money or cheer on front line workers – many of whom are our friends. But we’re also doing work in film and television – and everyone in those fields seems to see us as writers at home with nothing to do – so there’s suddenly a lot to do! We’ve been working on the ‘Come From Away’ movie, a TV project, and a couple of other irons in the fire. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian and North American performing arts scene? DAVID: I don’t think there’s a way that it won’t – it’s been so challenging for every theatre company, performers, all our crew members – not being able to work. And at the same time, I hope that some writers out there – the ones without six-years-old to homeschool – are writing the next great Canadian musical. Or just recharging and being good to themselves, so that when it makes sense, they can write the next great Canadian musical! Zero pressure to be productive during this. But long term, I know that theatre will come back – our producers are determined that “Come From Away” will return – and its message of resiliency and coming together in response to a tragedy feels even more relevant now. IRENE: Yes. I definitely think COVID will have a lasting impact. You can’t come out of a moment like this unchanged, both metaphorically and practically speaking. I’m mercifully (for all involved) not on the business side of things - but when I speak to those who are, they are cautiously optimistic about the long term. They are constantly running through options and worst-case scenarios and running task forces, and I try not to bother them too much because I don’t know how they do it. Do you have any words of wisdom to build hope and faith in those performing artists who have been hit hard as a result of COVID 19? Any sage and wise words of parental advice to the new graduates from the theatre schools regarding this fraught time of confusion? IRENE: I’ve always been a big fan of having a Plan B. I always had more than one and lived them for a long time. It gave me income, insight into humanity, and knowledge that I then used in my artistic pursuits, as well as confidence that there were many things I could do to earn a living. So, I was never desperate and always had the ability to walk away if I wasn’t happy in a situation. It also gave me friends who weren’t in the arts who could advise on life matters and who could frankly afford to come and support our shows. So, this seems like a great time to go to your Plan B. What else can you do? I’m not saying to give up, not one bit, but you’re going to have to be creative about HOW you are going to keep going while there’s nothing to go to. What else can you do right now to keep yourself fed, and to keep yourself learning so you’re not burnt out by the time this is all over? (Also, I don’t think it will ever really be ‘over’. But I’d love to be wrong about that). Before COVID, it was predicted that people would have 7 different careers in their lifetimes. Not jobs, careers. As people in the arts, we shouldn’t think we’re exempt from that. David and I are each on our third, maybe fourth careers? And that’s before COVID. DAVID: I obviously, often think about Newfoundland and what a hard place it can be to live – the winters are awful – it’s literally a rock in the ocean, the fisheries failing – all of that. But the people there have responded by becoming some of the best people in the world – kind, generous to both neighbors and strangers, and brilliant musicians and storytellers. Each winter, they get stuck inside, and they’ve learned to overcome them by coming over to each other’s kitchen parties and telling stories and singing songs – and making sure their community survives together. So, I think there’s hope that we can learn from this moment and become better. And to the graduates – many of whom were born during 9/11 and are now graduating during this – you have an incredible, unique story to tell – and that story and this time will bond you together as a group. Find the people you love who you’ve studied with and make art that you love. That’s what we did. Worst case scenario: you’ll have enjoyed the process. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian and North American performing arts scene? DAVID: I think the pressure it’s putting on the system is exposing so many inequalities, which is painful, but acknowledging those issues and working together to find solutions is positive. We’re already seeing new theatre companies being founded to share unheard voices and we’re excited about the art that this moment in the Black Lives Matter movement will create – which as allies, we are trying to educate ourselves on and work to support. IRENE: COVID has shown so many cracks in the way things were all along it’s dizzying. But the positive side of that is we can look to ways to change during this pause. Inequalities in healthcare and education and access to technology are painfully more pronounced. That’s why performing arts schools all have students who look the way they do – not a ton of racial and/or socioeconomic diversity. And women are being squeezed out of professions again not just in theatre, but elsewhere as well, as men usually make more money so their jobs take priority, and child-rearing and domestic management still tend to fall to women somehow. I’ve had so many friends, in arts, science, business and even healthcare say something along the lines of “how did I become a 1950s housewife?!” Wait…I was supposed to stay positive. Oops. I’ve spoken with some individuals who believe that online streaming and YouTube presentations destroy the theatrical impact of those who have gathered with anticipation to watch a performance. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for theatre as we move forward from COVID 19? IRENE: I have no idea. If it is all going to be about streaming, I better learn how to use the TV. Although, I do have a kid. Isn’t that why people have kids? So, they can change the TV channel? They don’t even have to get off the couch anymore. Back in my day, you had to walk all the way over to the TV. DAVID: I don’t think anything will replace live theatre – that feeling of your heartbeat synchronizing with the audience members around you. But if theatergoers want to watch theatre right now on their computers, how can you blame them? And why would you discourage it? If you don’t want to watch it, don’t –there’s already theatres working out how to do live theatre with socially distanced seating, or in front of your house, or by phone or zoom – but I don’t have an issue with streamed theatre – the more theatre the merrier! What is it about the performing arts you still adore that will never be destroyed by COVID? DAVID: We stand at the back of the house at Come From Away and we watch the show, but we also watch the audience. I love hearing a thousand people laughing at once or hearing them all sigh together – or cry together and then pass Kleenexes down the row. There was that article about how everyone’s hearts start to sync in rhythm within a theatre. It’s such a gift to get to witness people coming together in a shared experience – which is really what our show is about – and I can’t wait till we can return. IRENE: I’m not sure I adore this, but somehow, from the very beginning and no matter where in the world we’ve been, David and I have always ended up writing cramped in the middle of the night on a closed toilet seat in a bathroom, one of us seated on the edge of the tub if there was one. There was no tub at the Broadway theatre, but everyone knew the bathroom in the stage manager’s office was where we worked. And lo and behold, we’re working in a cramped bathroom again right this minute. Apparently COVID can’t destroy that. But seriously, a line from ‘Carousel’ comes to mind that gives me hope. This isn’t quite it, but the sentiment is right: “As long as there is one person on Earth who remembers, it isn’t over yet.” With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: What is your favourite word? DAVID: When I was a kid it was “Hawaii” – I’d say it over and over again even though I’d grown up in Saskatchewan and had never been there. With ‘Come From Away’, when we had to travel to meet our Australian company, we stopped there and it became our daughter’s favorite place – primarily because of the stray cats, so it’s as good a word as any. I also love the word “kindness” both for its practice and that it implies a “kinship” or “similar kind” with another person – recognizing our similarities rather than our differences. IRENE: Roller Coaster. What is your least favourite word? DAVID: This is such an only child word to pick – and I hate saying it to our only child too, but “No.” IRENE: Sprain. What turns you on? DAVID: A good Canadian self-deprecating sense of humour. IRENE: Surprising people. What turns you off? DAVID: People not listening, or not learning. I’m guilty of it too, plenty of times, but it drives me crazy. Also, when computers don’t work. It makes me crazy. IRENE: Ableism. ‘Isms’ in general. What sound or noise do you love? DAVID: Irene and my daughter’s laughter when they literally can’t keep it inside and it just burbles out. It’s my favourite sound ever. I spend a lot of time being goofy mostly so I can hear them laugh. IRENE: Rain. What sound or noise bothers you? DAVID: Chalkboard fingernails and my daughter crying. Or our cat, Gambo, “wowing” for breakfast at 5am. IRENE: Ignorant people talking. What is your favourite curse word? DAVID: Fuck. I also love the Newfoundlander’s “lard tunderin’ jaysus” though I never feel like it’s mine to use. IRENE: Fuck. Other than your current profession now, what other professions would you have liked to do? DAVID: I always wanted to be an animator or draw comics. Through Come From Away, I got to draw a backup Spider-Man story and I can’t wait to do another one. IRENE: Teacher. Being surrounded by small children. Is. The. Best. What profession could you not see yourself doing? DAVID: Oh man, there’s so many. Prime Minister since I’m terrible at decision making. Deep sea diver because I’m claustrophobic. Is scorpion zookeeper a thing? I might rather die. I have a lot of respect for all of those, but I couldn’t do them. IRENE: Teacher. There is no profession more underrated, underpaid and under-respected. Post-COVID I’d add ‘essential worker’. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? DAVID: “Excellent, you and Irene came together. Glad you took your time.” IRENE: “You can dance the way you used to, and it won’t hurt a bit.” To learn more about any of the worldwide extraordinary companies of ‘Come from Away’, please visit www.comefromaway.com . Previous Next

Where we deconstruct a piece step by step. Back 'Tessel' Toronto's Fall for Dance North and Harbourfront Centre - short film Toronto's Fall for Dance North and Harbourfront Centre Photo of Yvon Soglo by Esie Mensah Creations. Joe Szekeres Disclaimer: Before I begin, I must once again state that I hold no background or specific training in the study of dance and movement. For this review of ‘Tessel’, I will comment on the production elements and storyline. Recently, I held a fascinating conversation with artist Esie Mensah: 'Looking Ahead' Theatre Talk with Esie Mensah — OnStage Blog on her journey as a Black artist where I learned she was in the final stages of preparing her short film, ‘Tessel’ which premieres June 1. Esie articulated strongly how she has had to change her story narrative as a Black Artist to continue moving forward in her career as in the Canadian canon and mosaic. I will honestly state that I had to watch ‘Tessel’ twice because there is so much hidden underneath the messages that we see presented. More on this in a moment. I had forgotten to ask Esie the meaning of ‘Tessel’ during our previous conversation, so I had to ask. ‘Tessel’ is a shortened version of the word ‘tessellation’ which means an arrangement of shapes closely fitted together, especially of polygons in a repeated pattern without gaps or overlapping. In this case, ‘Tessel’ refers to the editing of the film, how the artists’ work, while filmed independently, come together in the film to represent the interconnectedness and power of the collective as Black artists. Okay, this gave me a starting point and this definition is now clear to me in understanding the film. Esie calls her short film ‘a crucial conversation on what it means to be an artist in his historical unprecedented time.” There are fourteen black dancemakers from across Canada involved in the making of this important short film. Additionally, ‘Tessel’ is the one-year anniversary of ‘Blackout Tuesday’ where organizations around the globe publicly committed to institutional change to help the Black community. ‘Tessel’ begins with the sound of the calming effects of water as a dancer in silhouette moves in quiet solitude. We then see a variety of dancers, male and female, move and dance whether there is music playing in the background, whether there is silence or whether the artist hears the music cerebrally and then moves the body to coincide with the music that is possibly heard inside the head of the individual. There are at least two male artists in the film, so I thought that was an important distinction to notice. Along with the movement and dance of the artists involved, I heard many individual voices underscoring the dancers’ movements. I’m assuming these voices were from some of the dancers who we were watching. This overlaying dialogue of important conversations and deep questions focused on messages that have probably been demanded of and from these black artists as they have progressed through their careers at various stages. At my first viewing of ‘Tessel’ I didn’t want to write anything down except just sit back and see where the story would take me. And I was gripped intensely from the first moment of seeing the dancer/artist moving with the sunrise/sunset in the background. The time of day wasn’t made clear so I’m guessing that since it is the beginning of the film, and the dancer is moving at sunrise. Vibrant and lush colours are beautifully filmed and sharply captured from the landscape right down to the texture of some of the clothing the dancers wear. The song ‘Mami Watah’ resonated within me as I listened carefully to the vocals while admirably and silently applauding the individual stories the artists told me through their movements, sometimes restricted, sometimes freely, sometimes direct and deliberate while others were sinewy and gentle. Even though I hold no formal background in any kind of dance or movement training, I was captivated by the movements of the artists and watching their facial expressions at times focused with contentment and stillness with eyes that appeared to be mystical and spiritual. Some of the questions and statements I heard underscoring the dancers also caught my attention, two in particular: “When you hire me as a dancer, you hire all of me. You don’t just hire what you see visually.” AND “The beauty of dance, as one of the first forms of art and storytelling, is that we are able to connect in most ways people can’t.” How utterly true these statements of every performing artist whether as a dancer, an actor, a singer, or any combination of these. Final comments: Make sure you pay attention to the credits at the conclusion of the film as they also give some important information that highlights the significance of the one-year anniversary of Blackout Tuesday, and of the Black community in their quest to achieve equity, diversity, and inclusion in all elements of the arts. Four words appear at the end of the film: spirituality, humanity, care, and the principles of love. For me, this short film bravely captures these four elements in a symbiotic relationship to each other while wonderfully highlighting the solo work of the brief moment of each artist. Give ‘Tessel’ a look. Film streams free on June 1. ‘Tessel’ is a co-production with Fall for Dance North and Toronto’s Harbourfront Centre. For further information to access ‘Tessel’ for viewing, visit www.harbourfrontcentre.com . Artists: LIliona Quarmyne, Lisa La Touche, Kevin Fraser, Eugene “GeNie” Baffoe, Livona Ellis, Natasha Powell, Alexandra “Spicey” Lande, Ravyn Wngz, Lua Shayenne, Raoul Pillay, Yvon “Crazy Smooth” Soglo, Gabrielle Martin, Ronald A. Taylor, Esie Mensah. Producer: Wayne Burns Previous Next

Where theatre is not only presented on the stage. Back Winter Solstice Now on stage at the Berkeley Street Theatre, 26 Berkeley Street, Toronto. Credit: Dahlia Katz. Pictured: Kira Guloien and Cyrus Lane Joe Szekeres "Roland Schimmelpfennig’s ‘Winter Solstice’ is strangely hypnotic yet entrancing. From ‘welcoming’ the stranger at the door on Christmas Eve to a chilling conclusion when the truth is revealed, this top-notch cast has solidified one thing for me. I know I’ll never look upon a future winter solstice in the same way again." It's Christmas Eve, but the specific setting remains unclear. Let’s not forget the meaning of the winter solstice – it is the shortest day and the longest night of the year. The characters in ‘Winter Solstice’ endure much on what is supposed to be the holiest and most joyous nights of the year in the Christian tradition. This connection of the solstice to what unravels in the story makes this opening night production a revelation in many ways. The publicity for the production tells us the stranger at the door is a fascist. Buckle up, then, folks. Knowing the guest is a fascist, especially given what is going on in the United States currently, leads me to an unsettling feeling amidst some of the laughter in the play. That, nevertheless, is the sign of good theatre – when an audience is knocked right out of its complacency, and we have to do some work in getting to understand, to listen and to hear what’s going on. I know I relish that opportunity when I have the chance. A narrator (Frank Cox-O’Connell) begins telling the story of Bettina (Kira Guloien) and Albert (Cyrus Lane), a middle-upper-class family. They are the parents of an offstage nine-year-old daughter whom we never see. Bettina and Albert have secrets they keep from each other, which are later revealed. Cox-O’Connell later becomes Konrad, a friend of Bettina and Albert. Konrad is a painter, and one of his works is hanging at Bettina and Albert’s home. Bettina’s mother, Corinna (Nancy Palk), has just arrived to stay with her daughter, son-in-law, and granddaughter for the holiday. However, it quickly becomes apparent that Corinna gets on Bettina and Albert’s nerves. A stranger, Rudolph (Diego Matamoros), arrives in the early evening hours of Christmas Eve. He’s from Paraguay. Corinna invited Rudolph to the house. Director Alan Dilworth has made thoughtful choices in David Tushingham’s translation of Roland Schimmelpfennig’s often satirically dark script. At times, the words are lyrical, while a few minutes later, a harshness in tone and intent veers the story in another direction, knowing who Rudolph is. Dilworth knows a thing or two about building suspense in a story. This time around, he cleverly maintains simplicity by not being concerned with many physical details and accoutrements, allowing the audience to focus more on what is being said and implied in the dialogue and thoughts of the characters. What’s also strangely entrancing about this opening night production? There are moments when I feel I’m being told in third-person narration what will happen rather than seeing the events unfold. The brief moments of laughter are particularly welcome as the mysterious layers of the stranger Rudolph and his identity are gradually revealed. Dilworth’s talented creative team embodies a visionary approach that embraces the principle of "less is more." Lorenzo Savoini’s set design features a rectangular space with cushions along the upstage wall, ensuring clear sightlines for the audience. Savoini’s lighting effectively directs the audience's attention to key moments in the performance. Additionally, Debashis Sinha’s composition and sound designs heighten the dramatic tension surrounding the ironic unravelling of this family during what is meant to be the holiest night of the year in the Christian tradition: Christmas Eve. Ming Wong has selected costumes that reflect the characters' various states of mind. Although he is neatly dressed, Matamoros’ entrance oddly reminds me of Father Merrin’s appearance at the McNeill house in ‘The Exorcist.’ The cast is top-notch and prepared to take the audience on its emotional journey. At the top of the show, Frank Cox-O’Connell’s narration remains aloof until he joins the story as Konrad, a mutual friend of Bettina and Albert. As the narrator, O’Connell is here to tell the audience something crucial about what will come and how this family will deal with it. The press release states what O’Connell hints at in this narration: Extremism doesn’t kick the door down on arrival. It waits for an invite and then makes itself at home. Kira Guloien and Cyrus Lane are strangely connected in their disconnection from each other as husband and wife. Bettina is in a secret and mutually consensual relationship with Konrad, and Albert is high on drugs and wine. Yet, Bettina and Albert do not resolve anything in their relationship because neither appears to want it—or so it seems. The connection between Nancy Palk’s Corinna and Diego Matamoros’s Rudolph is needed in Bettina and Albert's relationship. Rudolph and Corinna have a respect that appears missing from the younger couple. For some reason, Rudolph calls Corinna Gudrun. Playful? Possibly. A little unsettling? On a personal note, yes. But Corinna doesn’t seem to be bothered by it at all. ‘Winter Solstice’ certainly sparked many conversations between my guest and me on the way home. Discovering that Rudolph has fascist beliefs leads to further questions—after all, he’s from Paraguay. Who else fled to Paraguay? Nazi supporters. Rudolph's values provoke some unsettling and heated discussions with Albert late on Christmas Eve. The others don’t seem to share Albert’s intense feelings about Rudolph. Why is that? Have the others succumbed to the charms of Rudolph, the stranger? A program insert states Schimmelpfennig asks the audience: “to consider something new—the idea of fascist seduction, which is nothing new since it works every time. “ Again, given that this possible seduction has braced citizens to the south of us, what could this mean for Canadians? That same insert also states the following line from the play: “The past does not exist..it haunts us, and that makes it part of the present.” How much of this is the actual truth? ‘Winter Solstice’ promotes discussion after the curtain calls. That’s the sign of good theatre. Go and see it. Running time: approximately one hour and 40 minutes with no intermission. ‘Winter Solstice’ runs until February 2 at the Berkeley Street Theatre, 26 Berkeley Street, Toronto. For tickets, www.canadianstage.com or call the Box Office at (416) 368-3110. NECESSARY ANGEL THEATRE COMPANY, CANADIAN STAGE and BIRDLAND THEATRE present WINTER SOLSTICE by Roland Schimmelpfennig Translated by David Tushingham Directed by Alan Dilworth Set and Lighting Designer: Lorenzo Savoini Composer and Sound Designer: Debashis Sinha Costume Designer: Ming Wong Associate Costume Designer: Ellie Koffman Stage Manager: Sarah Miller Production Manager and Technical Director: Rick Bonville Performers: Frank Cox-O’Connell, Kira Guloien, Cyrus Lane, Diego Matamoros, Nancy Palk. Previous Next

A talk with a professional artist about their career. Back Frances Končan "Theatre can talk about ideas in a safe and fun way. I hope audiences will leave thinking new things and not be afraid to think of new things." Joe Szekeres Playwright Frances Končan’s ‘Women of the Fur Trade, which played at the Stratford Festival in the summer of 2023, will run at Toronto’s Aki Studio in the Daniels Spectrum from April 9 – 21, 2024. Geoffrey Coulter, a site contributor to OUR THEATRE VOICE, attended that summer 2023 production in Stratford and called it: “a wildly entertaining, giddy and thought-provoking history lesson.” Directed by Kevin Loring (Artistic Director of NAC Indigenous Theatre), this current play revival, a co-production with National Arts Centre Indigenous Theatre and Great Canadian Theatre Company, will feature an all-Indigenous cast including Kelsey Wavey, Cheri Maracle, Lisa Nasson, Jesse Gervais, and Jonathan Fisher as Louis Riel. Joelle Peters, Artistic Director of Native Earth Performing Arts is the Assistant Director. There was a run of the show in January 2024 at Ottawa’s National Arts Centre A press release briefly explains the plot: “In eighteen hundred and something, somewhere upon the banks of a Reddish River in Treaty One Territory, three very different women trapped in a fort with a preference for twenty-first century slang sit in a fort sharing their views on life, love, and the hot nerd Louis Riel. ‘Women’ is a true story seen through the lens of these three women. It’s a lively historical satire of survival and cultural inheritance shifting perspectives from the male gaze onto women’s power in the past and present, and through the lens of the rapidly changing world of the Canadian fur trade.” Končan saw the show in previews and opening, calling the current revival cast terrific. Frances looks forward to seeing this cast in Toronto and seeing how strong and confident they have become in telling the story. The revival cast has new staging, direction, and vision compared to last summer’s Stratford presentation. Končan calls this upcoming cast at the Aki clever and unique, as they put their own spin on telling the story. I received a press release about playwright Končan, an Anishinaabe and Slovene playwright and theatre artist from Couchiching First Nation who holds an MFA in Playwriting from the City University of New York Brooklyn College. In our Zoom conversation, Frances told me it was a two-year program of five students each year with a LOT of opportunity for playwrighting. They spent a lot of time with their professors during these studies. During the interview, Frances smiled and said they now miss their time hanging out with like-minded others just like them. Productions of Končan’s work include ‘Women of the Fur Trade’ (2023) at the Stratford Festival, directed by Yvette Nolan, ‘Women of the Fur Trade’ (2024) at the National Arts Centre Indigenous Theatre/Great Canadian Theatre Company, directed by Renae Morriseau, ‘Space Girl’ (2023) at Prairie Theatre Exchange directed by Krista Jackson, ‘The Crows’ (2023) at Gwaandak Theatre directed by Miki Wolf, and ‘Women of the Fur Trade’ (2020) at the Royal Manitoba Theatre Centre directed by Audrey Dwyer. Other plays include ‘Don’t Go Into the Woods,’ ‘Riot Resist Revolt Repeat,’ ‘How to Talk to Human Beings, and ‘zahgidiwin/love.’ When Frances first started writing, they were used to writing for themselves, and no one really saw what they wrote; however, when they started working on the MFA, Frances again stated how much they could learn from talking to others about the process and that it was sometimes hard to go back to writing alone. As an artist, how does Frances feel about the theatre industry's changes and growth? They laughed at first because there was so much to answer in how the question was worded. Frances reiterated that it’s a huge conversation, but it must still be ongoing. They wanted to focus on the positive side first, even though many things must be improved. Just recently, Končan spoke about the value of new plays in the Canadian theatre landscape. Frances is highly interested in this conversation as they concurred that Canadian artists always support new work. For some reason, though, Canadian audiences often really respond to events that we take from the US with these big-budget shows and big musical numbers. Končan also thinks a lot about the economic balance of the support needed to produce new works within the country; nevertheless, they also say: “It’s essential to have that reflection of every corner of the country represented in the theatre…There’s been a lot happening in the past 10, 20, 30 years to show that Canada is on its way to ensure representation and reflection, and it’s important to celebrate because we have come very far. But there’s still so far to go on that journey.” Our conversation then turned towards last summer’s production at Stratford of ‘Women of the Fur Trade’ and director Yvette Nolan’s vision. Končan glowingly complimented Nolan, saying she is a legend to any Indigenous theatre artist and considers Yvette at the top of any list to stage any story. At first, Frances said it felt unreal and unfathomable that Yvette would take the helm. But Frances was eternally grateful for Yvette’s vision as the production got further into the process with editing and rehearsals: “I was grateful and honoured to have someone like Yvette so curious about theatre and what you could do with a show and a script directing it. Yvette saw so much in the script that I didn’t see even when I wrote it. She made the work so much better than I think it is.” (Frances laughed with such grace, which made me laugh.) Frances was pleased with the Stratford production and said it was surprising that something inventive and clever was done with the script every five minutes. As a writer and playwright, Končan sees themself as a gatherer and collaborator in the organization of the ideas of a story. They love it when actors bring something to the script, as Frances will then go back and make changes to perhaps add to what the actors had done in their discovery of the script. Does Frances have any say in casting actors, or was that process out of their hands? They find it interesting because, technically, they always have a say in that process, but it’s never been expressed until the issue comes up. this until the issue comes up. Usually, when a production is cast, sometimes the names are also run by the playwright just for a thumbs up. Frances has never been in a position where they’ve never trusted the director. What are some messages Končan hopes audiences will take away from the revival? “Theatre can facilitate conversations that might feel difficult or uncomfortable compared to a meeting or face-to-face. Theatre can talk about ideas in a safe and fun way. I hope audiences will leave thinking new things and not be afraid to think of new things.” Končan would like audiences to come to see her story because it is an Indigenous work and story performed by Indigenous artists. However, that opportunity does not avail itself—perhaps only once or twice a year. ‘Women’ takes a lot of the great stuff that we have regarding the standard of Canadian and American theatre and spins it in new ways that will make audiences excited to see what happens. After the Aki run, ‘Women’ will travel across the country, but Frances is not allowed to say when or where at this time. What’s next for Frances Končan? They’re living in some chaos, but it’s part of the journey. Frances started a new job in the fall. They moved to Vancouver and are still in the process of getting settled. Frances is looking at some commissions of plays. They will be at the opening night of ‘Women of the Fur Trade’. They believe there will be a talkback or panel for audiences who wish to remain and learn more. Tickets for ‘Women of the Fur Trade’ may be purchased at this link: https://www.nativeearth.ca/shows/women-of-the-fur-trade/ or call the Box Office: (416) 531-1402. Previous Next

What makes a comedy work - plot, characters, setting and theme. Back Monks Now on stage in the BMO Incubator at Toronto's The Theatre Centre, 1115 Queen Street West Now on stage in the BMO Incubator at Toronto's The Theatre Centre, 1115 Queen Street West Joe Szekeres “Silly, irreverent, hilarious, raucous, rollicking…love these Monks.” Warning: it’s possible to get caught up in the moment of this interactive 75-minute show that encourages audience participation. I did. Apologies to Veronica Hortigüela: I was the one who kept spraying her face as she stood on the steps. The look she gave me said it all. The intimate BMO Incubator Space at Toronto’s The Theatre Centre works entirely in favour of this raucous and rollicking opening night production. It often reminded me of an SNL parody that got completely out of control, but the audience just went along for the ride. And it’s a hell of a ride. One that I’ll always remember. ‘Monks’ is sold out until the final performance on March 2, but keep checking if tickets become available. Two medieval monks live in a cloistered hilltop Spanish monastery. They take the audience to the quiet abode of prayer and contemplation when the Abbott goes into town. Quiet abode? Prayer, contemplation? Hah! Instead, Veronica Hortigüela and Annie Luján are involved in anything but quiet, prayer and contemplation. I’m a practicing Roman Catholic, and I laughed out loud many, many times at the insane shenanigans going on. Was I insulted by any of the religious and faith insinuations? Absolutely not. Let’s face it. We’re all under a great deal of stressful and intense scrutiny from all sides right now. Will we be the 51st state? For whom do we vote? Will I have my job tomorrow? Are there cutbacks at work going on? I hope I left my wallet at home and it’s not gone (that actually happened last night to me.) ‘Monks’ combats all of that. It’s a chance to let out a good belly laugh. And be thankful we don’t have to clean up the auditorium afterwards. It’s a 75-minute nonstop improvisational showcase of every comedic, clowning, dramatic, and theatrical technique I could imagine. Hortigüela and Luján are stellar at this brand of comedy. These gals make it look easy but it’s not. Every comic nuance, every staged moment, and every audience reaction must be timed perfectly for maximum effect. To spoil, set up or tell any of the surprises would be wrong. Yes, it’s okay to see high-brow comedy like Oscar Wilde or Shakespeare’s ‘A Midsummer Night’s Dream.’ These productions do have their place. And so does ‘Monks.’ Thank you, Veronica and Annie, for making me laugh. I needed it. This coming week marks the 15th anniversary of my younger brother’s passing away. I miss him dearly. He wasn’t a theatre-goer, but he would have loved this show. I’m also in the year of firsts without my mother who passed away May 16, 2024. She came to the theatre with me. She would have loved ‘Monks.’ I went to see the show last night with a friend. My brother and mother were also there in spirit. Bless you, Veronica and Annie, for entertaining the four of us and last night’s full house. Fa la la and make sure the ‘stash’ fits tonight (or did I accidentally give something away?) Running time: 75 minutes with no intermission. ‘Monks’ runs until March 2 in the BMO Incubator Space at the Theatre Centre 1115 Queen Street West. The show is sold out, but keep checking for tickets: boxoffice@theatrecentre.org . (Photo Credit: Audrianna Martin Del Campo. Pictured L-R: Annie Luján and Veronica Hortigüela) Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Earworm' by Mohammad Yaghoubi A Nowadays Theatre Production in association with Crows Theatre. Now onstage at Crow's Theatre Dahlia Katz Dave Rabjohn “An outstanding world premiere that is pensive and shocking” Years of Iranian civil strife as a result of violent revolutions in 1979 and 2022 are depicted in Mohammad Yaghoubi’s new play ‘Earworm.’ This outstanding world premiere is both pensive and shocking as it deals with how Iranian discord can echo across the world and specifically in Canada. From Yaghoubi’s notes, facing horrors one thought you had escaped and learning that heroes can be otherwise are prevalent themes in the story. Homa (Aida Keykhaii) is an immigrant from Iran who clearly has a dark past as a victim from her days in Iran. Living with her soft spoken son, Pendar (Amir Maghami), she clearly plays the role of social consciousness as she rails against the clerical regime of Iran. As a blogger in Toronto, she is open about her past and bitterly condemns events in Tehran. Conflicts arise as her son’s fiancé, Fatemeh, fiercely played by Parya Heravi, is perceived as a conservative Muslim with an extremely conservative father. A dinner invitation is fraught with possible conditions – must Homa wear a hijab, tone down her rhetoric, even avoid smoking? The conditions are not met, but the invitation stands. Fatemeh is less conservative as perceived with bare arms and amorous advances on Pendar – until her father appears played by Amir Zavosh. Homa’s Iranian nightmares are ignited as she comes face to face with horror and the story spirals into blackness. Keykhaii’s performance is strongly understated – her passions are keen but controlled. Anger at the regime is quietly forceful. Her frustrations with Pendar are open but loving. This subtlety gives strength to her second act where she finally blazes and careens through anger and horror. As the quietly frustrated son, Maghami also is subtly controlled. At times, though, he is too much arms and fingers as he points at his mother wildly. Heravi brilliantly plays the naïve girl friend. As the crisis mounts, her shock is alarming, but her reaction is more inward than explosive. We can’t imagine her horror as she grabs at the hems of her dress reeling and barely standing. Zavosh as the father is also staggeringly subtle. His arms are often folded with a wry grin. He does indeed become the “smiling damned villain.” Several moments gave way to very quiet dialogue. Perhaps this was part of the understated conflicts that are seething below the surface, but it was frustrating at times for the audience. Sina Shoaie’s sound design was forceful with music underscoring the abhorrent animus. The constant barking of the dog signified the intrusion of one family on another. Projections were artful and, at times, staggering. The double ending (not double switch) was inventive, frightening and added thoughtful dimension. Yaghoubi’s writing achieves his pronounced goals as the horrors of unrepresentative governing are displayed in the broken lives of family and lovers. A number of listed dates are performed in Persian (Farsi) with English subtitles. These diverse talents add to the exceptionality of this cast made up mostly of Iranian background. ‘Earworm’ by Mohammad Yaghoubi A Nowadays Theatre Production in association with Crows Theatre Performers: Aida Keykhaii, Amir Maghami, Parya Heravi, Amir Zavosh Director: Mohammad Yaghoubi Set design: Amin Shirazi Sound design: Sina Shoaie Stage manager: Sabrina Weinstein Production runs through March 3, 2024. Tickets: crowstheatre.com Previous Next

What makes a comedy work - plot, characters, setting and theme. Back 'Cottagers and Indians' by Drew Hayden Taylor Presented by the Atlantic Repertory Company and Saint John Theatre Company Presented by the Atlantic Repertory Company and Saint John Theatre Company Aaron Kropf “Saint John audiences shouldn’t miss their chance to see Drew Hayden Taylors’ Cottagers and Indians presented by the Atlantic Repertory Company at the BMO Studio Theatre.” Billed on the Saint John Theatre Company website, 'Cottagers and Indians's is the story of: "the cultivation of wild rice that incites a fierce dispute between a native farmer and a white cottager, which escalates into a symbol of reconciliation. Through an endearing and amusing narrative, this story tackles important themes of community, respect, and ownership. 'Cottagers & Indians' is a timely tale that culminates in a legendary food fight." Arthur Cooper (James Dallas Smith) is that very native farmer determined to bring manoomin back to the lake in the heart of cottage county. It is an area that has become overrun by seasonal interlopers from the big city believing they must protect the waters for their recreational needs. Maureen Poole (Martha Irving), leader of the cottagers, is determined to keep the lake a haven of peace and relaxation, free from wild rice. Often throughout Cottagers and Indians humour is used to punctuate either side of the debate. The production is solidly directed by Samantha Wilson. She understands the importance of Taylor’s use of humour to punctate either side of the debate. James Dallas Smith and Martha Irving are strong actors who amply incorporate humour to punctuate their side of the debate while pushing the other to come and accept what each is trying achieve. They bring to life two extremely determined, charming, well developed yet flawed characters trying to recover from the anguish of loss while feeling like they have to do more for their departed loved ones. Drew Murdock creates a tranquil setting for Cottagers and Indians. He transforms the BMO Studio Theatre into Ontario’s cottage country with a deck to one side of the stage festooned with an BBQ and Muskoka chair. A dock stretches across the waters of the lake, the central character of the story. To the other side is a canoe surrounded by a few stalks of manoomin (wild rice). Behind the lake are a series of abstract trees completing the serene setting. In a crisp, snappy and entertaining 90 minute piece of theatre, the Atlantic Repertory Company and Saint John Theatre Company present a thought provoking story ripped from the headlines. It is one not to be missed. The show continues to February 25 at the BMO Studio Theatre, 112 Princess Street, Saint John, New Brunswick. For tickets call (506) 652-7582 or visit saintjohntheatrecompany.com to purchase online. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Jim Watts: Girl Reporter' by Beverley Cooper Now on stage at the Winslow Farm, 779 Zion Line, Millbrook Ontario Wayne Eardley Dave Rabjohn “History ringing in the ears. Brilliance in the production’ At the pastoral setting of the Winslow farm near Millbrook, Ontario, 4thLine Theatre opens its second production of the 2024 season. “Jim Watts: Girl Reporter,” written by Beverley Cooper, is a big-scale production covering the chaotic and devastating Spanish Civil War – a time of historical complexity worthy of Tolstoy. Cooper and director Kim Blackwell manage to sift this complexity into two hours of riveting theatre. The plot line also dovetails the story of Canadian volunteers, especially the real-life Jim Watts, who travels to Spain to fight fascism. The brilliance of this production comes from two fronts: Blackwell’s adaptive use of the many facets of the rich outdoor theatre space and the commanding performance of Katie Ryerson as the linchpin of the cast. Jim Watts (she goes through a series of names) comes from a wealthy Toronto family—a family not pleased with her almost maniacal idealism and her political bent toward socialism. She seizes on the conflict in Spain—as did thousands of other Canadians—and manages, through sheer will of personality, to travel to the war-torn country as an employee of a Toronto newspaper. The other local connection comes from the story of Jim Higgins, who rides the rails across Canada looking for work. Eventually, he ends up fighting in Spain, where he meets Watts. He will settle in Peterborough. The fascist forces led by Franco are attacking a legitimately elected Popular Front. The complexity (and thus the overwhelming horrors) comes from the many-layered participants – German and Italian fascists supporting Franco while Russian communists and an international brigade support the Republicans. Every political stripe seemed to be involved, along with infighting among each group – everyone seemed to be fighting everyone else. Even Canada’s prime minister did not support Canadian volunteers. The war ends badly with Franco’s expected victory. Blackwell’s vision absorbs the unique theatre space offered by the farm. Five or six acting spaces serve the necessary needs of such a wide-ranging story. A period-style truck functions in various ways around the area. The large open fields serve as battlegrounds as the faraway voices echo the horrors. A clever revolving stage gave poignancy to several scenes—the various speeds of turning reflected the mood of the scene. The fact that it was mechanically turned by minor characters (as opposed to machinery) offered richer involvement from those characters. Katie Ryerson, as Jim Watts, carried the production. At the centre of almost every scene, her skill diversity is evident. Her enthusiasm as a teenager grew into a young woman of ideological strength. Her strong will is then tested as she sees the horrors for herself. Most moving was the grief in her eyes –compelling grief that shook the audience even more than the bombs and shock of the dead. Other fine performances emerged from Matt Gilbert as Dr. Norman Bethune and Thomas Fournier as Jim Higgins. Gilbert brought a roughness to Bethune that fit the chaos of the moment. His speech opening the second act was brilliant. Fournier expressed a calmness in contrast to that chaos. His reflection at the end of the play was riveting. 4th Line also integrated (as usual) many young people to act as villagers and soldiers, which gave a full measure of authenticity. Some of the minor characters had very flat voices, a problem that became more enhanced by the outdoor venue. Some ‘cameos’ depicting a young Ernest Hemingway and a bombastic Errol Flynn made the case for the number of colourful figures during that time, but it did not move the play forward. Another highlight is the splendid costume design by Korin Cormier, Samantha Adams and Avelyn Walman. Just the sheer volume of their work with almost thirty actors, many playing multiple roles, would be overwhelming. Despite that challenge, the period costumes of villagers, soldiers, politicians, dancers and children were strikingly authentic. The scale of this historical tragedy is immense, highlighted by a little girl announcing the horrors of Guernica. But the story is also often internal and personal as Jim Watts encounters both outward and inward grief. This audience left with history ringing in their ears. ‘Jim Watts: Girl Reporter’ by Beverley Cooper Director: Kim Blackwell Performers: Katie Ryerson, Thomas Fournier, Matt Gilbert, Mark Hiscox, Ian McGarret, Mikayla Stoodley, and many other local performers. Music director: Justin Hiscox Costume designer: Korin Cormier Choreography: Anita La Selva Stage management: Emily Brown Production runs through: August 24, 2024. Tickets: 4thlinetheatre.on.ca Previous Next

An artistic appreciation for those who have no background in opera. Back Idomeneo Opera Atelier at the Ed Mirvish Theatre Mirvish Site Joe Szekeres As this opening night production was my first visit ever to an opera, I will be honest in stating that I had no idea what to expect. Yes, a bit of trepidation and some hesitation as well - Would I get it? Would I enjoy it? Would I return to see another opera? Much reflection last night on the GO home and today has led me to understand that Sir Lloyd Webber’s ‘The Phantom of the Opera’ pales horribly in comparison to this remarkable genre. I hold no background whatsoever in opera so I will not make any comments on the singing except to say that it was exceptionally superior to anything that I have heard before. I will make comments on the theatricality and the staging of the production. A quick review of the synopsis of ‘Idomeneo’. This Greek hero (an exquisitely vocal Colin Ainsworth) is forced to choose between the life of his son, Idamante (electrifying work by mezzo soprano Wallis Giunta) and a promise made to Neptune, the god of the sea (an impeccably buffed Douglas Williams combined with his flawlessly vocal bass baritone). Throughout this tale, the audience is also introduced to other characters involved in love triangles, broken hearts and chance meetings all sung in glorious arias with every inch of the stage used for a striking and emotional impact for the eyes, the ears and the heart thanks to Marshall Pynkoski’s careful direction. In an opera, I discovered that even a slight movement of a singer or dancer can convey nuanced character development within seconds. Visually, this production of ‘Idomeneo’ excels. Jeannette Lajeunesse Zing’s choreography of the dancers is marvellously impressive and fluid. Michael Gianfrancesco’s stunningly gorgeous costume designs made me pay careful attention to each principal singer and dancer. Jennifer Lennon’s lighting design was tautly sharp to superb effect. For me, tremendous emotional impact was felt from the clearly defined spot light for an aria in one moment while in the next I was swept away in a lush palette of colours for special effects in entire company movements. Gerard Cauci’s set design immediately captured my attention when I sat down before the performance began. I was immediately transported to another world from long ago and I wanted to enjoy every moment I was there. An opulent and lavish scrim painting of stormy waters made me note every single colour I wanted to take in before the performance began. Further paintings of a three-dimensional setting of a palace room with burgundy red walls created a world of ornate taste. In Act Three, Mr. Cauci’s scrim colour design of the outside of the palace with fountains suggested the hopes that all will be well with all as the story and plot progressed. I have always wanted to hear soprano Measha Brueggergosman sing and one item on my bucket list was ticked opening night. Her performance of Elettra is divine. Meghan Lindsay’s Ilia is sweetly demure in her growing affection and eventual burning love for Idamante. In the third act, Ms. Lindsay’s vocal work was wonderfully demonstrated in a moment where she will do anything for Idamante and his love. One of the highlights of the evening for me was hearing the breathtaking work of the Chorus under Daniel Taylor’s Chorus Master. At one point, I was so engrossed with the action on stage at the top of the production, I couldn’t figure out where the chorus was singing. My guest gave me a slight nudge and told me to look up in the boxes Stage Left. Wow! How did they enter so quietly before their moment to sing? Nice work indeed to not draw attention to themselves. Final Comments: Would I attend another opera in the future? Yes, I probably would, but I would most certainly try to read as much as I can about the plot before I attend. When I return, I know that I won’t feel hesitation in wondering what I am about to see. If I did have one very minor quibble as a first-time attendee at an opera, it would be the fact that I was trying to pay close attention to too much all at once. At times, I felt as if my brain, thoughts and ideas were in overload as I was trying to cram in so much to remember from this experience. I’m certain I won’t feel this same way the next time I attend. If you’ve never attended an opera, I invite you to at least try a different experience. It was an enjoyable evening. I might not have got everything from the story, but at least I appreciated very much what I saw presented before me. ‘Idomeneo’ runs to April 13 at The Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets, please call 1-416-872-1212 or visit www.mirvish.com . Running time is 2 hours and 55 minutes with one intermission. ‘Idomeneo’ is performed in Italian with English surtitles. The Cast: Colin Ainsworth, Measha Brueggergosman, Bradley Christensen, Wallis Giunta, Olivier Laquerre, Meghan Lindsay, Douglas Willliams. Conductor: David Fallis, Director: Marshall Pynkoski, Choreographer: Jeannette Lajeunesse Zingg, Set Designer: Gerard Gauci, Costume Designer: Michael Gianfrancesco, Lighting Designer: Jennifer Lennon. Previous Next

Where theatre is not only presented on the stage. Back 'Uncle Vanya' by Anton Chekhov in a new version by Liisa Repo-Martell Now onstage in the Guloien Theatre at Crow's Theatre Bahia Watson and Tom Rooney. Photo by Dahlia Katz Joe Szekeres An astounding adaptation by Liisa Repo-Martell of Chekhov’s ‘Uncle Vanya’ that remains firmly riveted in my mind. Not merely just to see but to experience an opening night of Liisa Repo-Martell’s new version of Chekhov’s ‘Uncle Vanya’ is one of the reasons why we must continue attending the theatre. Again, I confess that I’ve not seen a live production of ‘Uncle Vanya’, but I briefly knew the story. But when a play hits me on many emotional levels, I want to share and encourage everyone to attend this ‘must-see production’. Chris Abraham and Liisa Repo-Martell’s Programme Notes spoke about how sometimes the “opening up of dormant dreams, passions and ambitions is risky because sometimes we must risk everything to get something new.” Abraham has majestically captured a truly stunning vision of this statement in his risk-taking about the “telling of the truth of the lives of these characters – just as they were” when we meet them. There appears to be something uniquely different about this world of ‘Uncle Vanya’ upon entering the Guloien. When we do, we’re instructed to go either left or right depending on the colour code of our ticket. And as I saw the world created inside the auditorium, I felt my jaw drop as if I’d experienced something sacrosanct. Those in front of me appeared to feel the same as we tried not to cross the sacredness of the stage. It’s not a traditional proscenium arch setting for this ‘Uncle Vanya’, and that was a wise choice by Abraham and co-set designers Julie Fox and Josh Quinlan. We are in a theatre in the round which magnificently captures how grand this estate must have been in the waning days of Czarist Russia. The actors always make tremendous use of the entire stage, and never, ever does it look as if they are crowding in one spot. Instead, I always felt as if I was that proverbial fly on the wall watching with anticipation what was playing out before me. Kimberly Purtell and Thomas Ryder Payne’s lighting and sound designs gorgeously reflect the era and the historical moment in which we find ourselves. Purtell’s soft lighting designs nicely reflect the glow of the oil lamps used throughout. Ryder Payne’s richness in sound design magnificently underscores the tension within the scene. The growing sound of the impending storm caught my ear so many times and I kept wondering when the heavens would open it. And when it finally does, breathtaking to hear. Ming Wong’s costume designs splendidly reflected the muted earth-tone colours of the era. I’m reminded of the line “Attention must be paid” from ‘Death of a Salesman’ and, once again, Fox and Quinlan have done just that in the selection of many noteworthy period piece props from a Victrola to the fine bone china right to the gorgeous chandelier suspended over the stage. Before the performance began, my eyes scanned every inch of that stage noticing so many of the intricate details of the set dressing that I encourage future audiences to do the same. Ivan “Vanya” Voinitsky (sublime work by Tom Rooney) and his niece, Sonya (a passionately emotional performance by Bahia Watson) toil ceaselessly to run the family estate. The arrival of Sonya’s father celebrated and retired professor, Alexandre (a fervently ardent Eric Peterson) returns to live on the estate with his young and glamourous second wife, Yelena (believably vulnerable and grounded work by Shannon Taylor) which adds turmoil and conflict to this group of those gathered because we so learn she does not love the older man. We learn about the lives of other individuals on this estate. Carolyn Fe is a matriarchal Marina who offers solace and comfort, especially to Sonya in intense moments. We also meet the handsome country doctor Astrov (a gallant performance by Ali Kazmi) whom Sonya has secretly adored for quite some time but never feels validated because she considers herself homely. It is in Astrov’s opening comments in the play that he recalls his first visit to the region when Vera Petrovna (Alexandre’s first wife and Sonya’s mother) was still alive. As Astrov, Kazmi heartfully reveals his selfishness regarding life in this part of the country as boring and dull and he doesn’t have time for anything including love and affection. Astrov has appeared on the estate to treat Alexandre’s painful gout. Upon Alexandre and Yelena’s arrival at the estate, we also meet Maria (dtaborah johnson), Vanya’s mother who clearly has issues of her own to deal with but manages to provide brief moments and bits of humour. And there is Telegin nicknamed Waffles on account of his pockmarked face. I found there to be a great sadness enveloping him, and Anand Rajaram steadfastly infuses the character with great gusto. The one believable yet sad moment of humour he does provide with Astrov occurs in their drunken stupor where they begin singing a ditty which brought applause from the opening night audience. I’ve always wondered why this play is named after Vanya. Tom Rooney’s sensationally staggering portrayal amply explains why. Vanya is more than just a sad sack of a man. Here is someone who truly envelopes that strong sense of lethargic unhappiness because he cannot have the one thing he wishes he could have in his life – namely, Alexandre’s wife, Yelena. It is this same sense of unrequited unhappiness that envelopes each of the characters. For example (and it isn’t Vanya) one of the characters asks another if they are truly happy, and the response from that character is a definitive no. That was then I knew why the title is an apt one. There are many moments in the production where the chemistry between the actors is electrically charged and a sight to behold in watching, listening and in hearing. As mentioned earlier, the drunken scene between Astrov and Waffles is a tour de force comic moment. Another occurs in a dream sequence dance movement between Tom Rooney and Shannon Taylor upon Vanya revealing his true feelings for Yelena and she rebukes them. This moment made me hold my breath as I watched two individuals inherently trust each other in their graceful swanlike rhythm intertwining of body and soul. I will only share two examples (although there are more) of what I will call a master class in acting pivotal moments. One occurs in the extraordinarily painful look of rejection of Bahia Watson’s Sonya as she learns Ali Kazmi’s Astrov does not feel the same about her as she does. The silence between the two and the heartbreakingly realistic look within Watson’s eyes in realizing the truth becomes achingly real. The other moment occurs at the end of the play when a quietly sobbing Vanya turns to Sonya in the realization that this life of unhappiness is all that they will ever know or attain. I felt my jaw drop as I was witnessing such remarkable delivery of regretful poignancy which tore my heart in two. Final Comments: A story of intense impassioned magnitude told with gut-wrenching honesty, this ‘Uncle Vanya’ deserves to be at the top of your list to see and to experience. It is an evening at the theatre I will never forget. I’m reading more and more about Critics’ Picks in the theatre industry. This is one of my picks. Running time: approximately 2 hours and 45 minutes with one intermission. The production runs to October 2 in the Guloien Theatre at Crow’s Nest, 345 Carlaw Avenue, Toronto. For tickets, call (647) 341-7390 or visit www.crowstheatre.com UNCLE VANYA by Anton Chekhov in a new version and adaptation by Lisa Repo-Martell World Premiere Directed Chris Abraham and Assistant Director: Lisa Repo-Martell Set and Props Co-Designers: Julie Fox and Josh Quinlan Costume Designer: Ming Wong Lighting Designer: Kimberly Purtell Sound Designer: Thomas Ryder Payne Stage Manager: Jennifer Parr Cast: Carolyn Fe, dtaborah johnson, Ali Kazmi, Eric Peterson, Anand Rajaram, Tom Rooney, Shannon Taylor, Bahia Watson. Previous Next

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

A talk with a professional artist about their career. Back Petrina Bromley Moving Forward ... Joe Szekeres To know when Canadians have made it to Broadway to showcase their talent is something to celebrate all the time. When one can go to Manhattan to see Canadians in a Broadway production and see them perform is another excitement in itself. That’s why it was exciting for me to see ‘Come from Away’ in New York when East Coast artist Petrina Bromley was in the show (along with Toronto artist Astrid van Wieren whom I interviewed earlier). Petrina is an actor, director, musical director, and composer from St. John's, Newfoundland who has worked with Artistic Fraud of Newfoundland since its inception, having participated in ten of the company's original works. A bit of online research discovery that Petrina also made an appearance in one all time favourite CBC shows I watched religiously each week: ‘Republic of Doyle’. We shared our conversation via Zoom: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are things in Newfoundland? How are you feeling about this? Will we ever emerge to some kind of new normal? We’ve been very, very fortunate. The provincial government has been diligent. The benefit we have over everyone else is the physical location (of Newfoundland) and the fact it’s an island. You have to make an effort to come to Newfoundland. No one is flying and the ferries were reduced. There were less people travelling anyway and they actually closed the borders for awhile provincially as well. Now we’re in an expanded bubble but it’s just with the Atlantic provinces. You still can’t even come here from Ontario and Quebec. They’re being very, very strict about all this stuff so I think it’s good. When I first came home in March, we (Broadway production of COME FROM AWAY) shut down March 12 and I hopped on a plane the next day and came home. That first week I was home which was around St. Patrick’s Day, over the weekend there had been at a funeral home two wakes happening and someone came home to bereave a loved one and brought Covid with them and didn’t realize it, and out of that one person, 150 people got sick. At least one person died. Because that happened immediately, everybody really took it seriously. You became so aware suddenly of how contagious it was and how quickly it spread and how sick you could get. It’s put the fear of God into everybody, and people have been taking it pretty seriously since then. We’ve been slowly, slowly coming back to some things. We had a pedestrian mall downtown this summer on the main drag where restaurants had outdoor service. They closed it to traffic and that was a huge success. The kids have gone back to school last week and so far, that seems to be going okay. We’re very lucky that we don’t have any community transmission. Anytime anyone has been sick, it’s been quickly traced, and it’s usually connected to someone flying. A lot of it has been people who have been away and trying to return home. Because of the rules and the isolating, it’s been under control. Cross my fingers and knock wood, we’re in a really good place with it so far. We’ve been fortunate enough that I actually went to a live performance the other day, a socially distanced piece of theatre. The main theatres here in the Arts and Cultural Centre which are a series of large theatres across the province all operated provincially have officially re-opened and have their social distancing, masks, sanitizing rules in place that are now opened to houses of about 100 which is a start. I think there will be some sort of new normal. We have been warned for so many years that superbugs are on their way, and it’s a question of when. I think masks are just going to be a part of our future in general, particularly during the cold and flu season. And hopefully we’re all going to wash our hands a lot more often. And just be aware of how much contact we do have with people. I hope it makes us more aware and more grateful for the physical contacts that we have, being able to be in the same place with others, being communally together and developing a greater appreciation for that. I know it’s made me aware of how much I miss being in a room with other people. And for performing arts in general, I’m now teaching a university course online. It’s a singing course and it’s almost impossible to connect because technology doesn’t really exist to facilitate it. It’s made me very aware that I can’t wait to sing in an ensemble again, a true ensemble, not “I take my part, and you take your part and we stitch them together with an editor, but I’m looking forward to when we make sound together.” It’s made me realize how important this is in my life. How have you been faring personally and professionally? As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Again, I’ve been very, very lucky and fortunate that I own a home in Newfoundland. All of my family have been good. Knocking on wood again, I haven’t add anyone adversely affected by it all. It has been something that has been happening elsewhere. It’s more something that you see on tv since I haven’t had anyone in my life who has been sick. Professionally, the biggest is teaching this course online as I’m stretching all of my skills and learning new ones every moment of every day. I also think the other challenge that performers, particularly theatre performers and musicians are a little bit better equipped to deal with something like a shutdown because we go through long periods of time of “I don’t have a gig”. There are periods of non creative output in terms of jobs. It’s gone on so long that doesn’t stand anymore. Theatre performers are deeply affected because our industry is in question itself in terms of what will come back, how it will come back, and how we manage to make it work. I have no doubt we’ll be back no doubt as we all need that storytelling. There’s something in our lizard brain, from cave people that we need to sit in a group and be told a story together. We will find a way to make it happen again. It’ll just look a little different and feel a little different, but I think we’ll be back to it. But this is what I found hard, the uncertainty of it has been challenging. For the first six months, they kept pushing with faint hope that the Broadway League kept pushing the dates and that Broadway would come back. It was always a guestimate and still is, really, but every time it got moved, there was a feeling of “Ugh, it’s being moved again.” That has been hard, wondering. The research that was also coming out saying that singing was a no no was also disheartening. It really did make me feel that our industry doesn’t exist anymore and won’t. Times are changing and this is such a fluid situation. There’s flux in this Covid situation, but we will find ways as we’re hard wired to find them. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I wasn’t personally in any kind of planning. I was very content to be where I was. It’s been the best gig ever and I couldn’t imagine leaving it. Besides the university teaching, what have you been doing to keep yourself busy during this time? You know, I’m actually surprisingly busy which is a great complaint. It’s because I’m back home in Newfoundland and it has given me the opportunity to work with people I’ve worked with before and to re-kindle old work relationships. That’s been great. I’m involved in a workshop that’s coming up in a little while. Now there are two television productions shooting here and I got a couple of days on one of those. I’m supposed to be writing my own show as well. I’m busier than I should be in normal times let alone in Covid times. Any words of wisdom or sage advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? Oh, I don’t know. ‘Hang in there’ is about all I can say. You have to be kind to yourself. You have to be able to give yourself the room to feel whatever you’re feeling at the time. There’s general anxiety, upset and depression given the times that we’re in right now because the whole world has changed. It’s a huge tectonic shift for anyone to go through, and we’re all going through it together. I think we all need to be a little more generous to the people around us in terms of understanding that we’re all going through it. Everyone is having a bad day just about every day, maybe not every moment but there will be those times where it’s going to feel bad. To the new theatre grads, yes, be kind to each other, be gentle with each other but hang in there is the best thing I can say to them. I would always tell people before all this that the road to where you want to get might be longer than it needs to be. It took me my entire professional life to get to Broadway. It happened eventually and happened when I did not expect that it would happen, very, very unlooked for and unexpected for me. But as I look back on it, everything happened as it should have happened, and I can’t imagine having gone sooner in my life because it would have been a terrible experience and ruined it for myself. Knowing me and knowing how I would have treated it when I was younger, I would have just blown it. Sometimes the path you go down takes a lot of twists and turns before it fits in where you want it to go, but every one of those twists and turns will have value, maybe not until later but it will. Do you see anything positive stemming from Covid 19? Oh, definitely. There’s tons of positive stuff happening because we’re so focused or we’re forced to be especially during the lockdown, a little less now that we’re getting back to some sense of normal life. People were so focused on everything that was happening on screens in front of them because there was nothing else. That really facilitated the focus on the ‘Black Lives Matter’ social movement and all those things that sprouted from that. Theatre companies and institutions were being called to task for their response to the Black Lives Matter movement. Also again, I hope, that it’s going to make us appreciate communities so much more, physical community being with other people, and experiencing things with other people because there has been such a movement to have everything be on line. Even before everything went on line with Covid, we were doing a lot more virtually, through video, and through conversations on tablets and phones, and I hope having this moment will remind us just how important it is to hang out and just see people be together. A lot of that can be seen when they reopened the bars and the reports came out there were too many people and they were too close together. I think we are really, really just hungry for it to be around each other again. Do you think Covid 19 will have some lasting impact on the Broadway/Canadian/North American performing arts scene? Again, there’s a lot coming out of the Black Lives Matter movement. This focus is changing the world of theatre all over the world. It’s shining a light on that and allowing and opportunity for us to take stock of that, well more than take stock, to really give the attention that it deserves. I think we’re really going to see the affects of that. Hopefully there will be a focus on the technical side of things, a focus on some of the older theatres around being properly ventilated. Some rehearsal practices that might encourage some proper physical things as well, just handwashing. It’s very easy for a bad cold and flu to go through an entire cast, let alone something like Covid. We’re all going to be mindful of these things. If it does come to a place where masks are more common, then that might help that as well. There’s ton of more things that we’ll eventually look back and say, “You know what, that started after Covid.” The first couple of times seeing audiences wearing masks might be little jarring, but the thing about New York is New York is full of individuals. Everyone there is an absolute individual so you would run into different people all the time like subways or in the stores who are already wearing masks a year ago. That wasn’t uncommon to see in New York back then. During the show close to the shut down, we would see one or two people wearing masks in the audience and that was when it was startling. I think it’ll feel natural now because it’s all over the place now, but who knows? Going back to New York, it might seem startling not to see masks. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? It’s great. It is definitely a double-edged sword because it depends on whether or not an individual artist is able to support himself or herself by putting their stuff up online. The arts is not a hobby, it’s a job. I always call it a calling. I always tell people don’t get into this industry if there is anything else you can see yourself doing. If this is a compulsive behaviour for you to be in the arts, then you might make it because it’s so challenging, so difficult and demands so much of you. As long as people are managing to turn streaming into something that gives them a viable living, I think it’s fantastic. There was a lot at first as people kept thinking, “Oh, we have to keep doing something” and so much was poured out. We’ve come to a place now where there should be limited access and pay thresholds as a product because it is as people do need to support themselves. Again, the irony of it all – when something goes wrong in the world and someone wants to have a benefit for something, the first people who are called upon and step up are performing artists, visual artists and artists in general who say, “I can help”. I think this happened when Covid hit as people just wanted to help out in some way and so they just started posting things to make people feel better, things to look at and to focus on. Where it has come to now is good with the talk of pay thresholds, paid performances and having limited access to something so that it’s not out there on the internet forever. Despite all this fraught tension, confusion, and uncertainty, what is it about the performing arts that Covid will never destroy for you? Our need, absolutely, that goes back to what I was saying earlier about our compulsion with people. If you’re a performer and this is how you identify yourself that you have to do it. Being unable to do it is challenging enough but just being not allowed to do it is a different thing altogether. Everyone has had a moment as stage performers where you’ve had an injury or illness and that has prevented you from performing. I had some voice trouble once and it was a long period of time where I couldn’t sing and during that time it kept running in my mind, “Who am I if I can’t sing?” What do I have to offer and who am I as a person. That’s one thing. But now with Covid and it’s the feeling of “No, you’re not allowed to sing” is so much harder because it’s hard to make those reasons realistic to yourself. They seem like someone is imposing something on you. Again, everybody started putting up these videos right away speaks to the compulsion that the performing artist needs to create. It’s who we are as a human being and how we get through this world. So I don’t think that can be taken away from us at all and people’s need to experience that can’t be taken away either. At least I really hope. Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage 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

Where theatre is not only presented on the stage. Back Wights, a Crow's Theatre Commission, Canadian Premiere Now on stage at Crow's Theatre, 345 Carlaw Avenue, Toronto Dahlia Katz Geoffrey Coulter, actor, director, adjudicator, arts educator "A clever script and novel staging see four loquacious actors diving headfirst into family drama of a Connecticut couple and their friends coming to terms with language and its capacity to hurt people. Set during the 2024 U.S. election run-up, this provocative tale is sometimes confusing, ambiguous and sharply divisive. It’s a racially charged allegory challenging our notions of relationships, society, even our own reality, as it unravels to an ending you’ll never see coming. Really!" Hat’s off to Toronto’s Crows Theatre for their increasingly eclectic offerings of plays and musicals and for giving up-and-coming artists a chance to showcase their work. This company is, arguably, at the forefront of Toronto’s theatre scene, premiering some of the most compelling (and immensely successful) post-pandemic works. From the stunning 19th-century retelling of Britain’s first Black actor in “Red Velvet” to “Bad Roads,” a shocking tale of the horrors in war-torn Ukraine, to last season’s smash hit, “Natasha, Pierre and the Great Comet of 1812,”, something is happening at Crow’s. It's no surprise, then, that the company celebrates playwright Liz Appel’s professional debut by showcasing her dense four-hander ‘Wights,’ a societal skewering of themes of racism, sexism, relationships and American social and political division – even the play’s title winks at a possible preternatural outcome. Some may feel it strange, shocking, disturbing even. But it is undeniably engaging. In a suburb of Newhaven, two couples become consumed with semantics, politics and a fear of losing control. It’s the night before English Professor Anita Knight’s job interview to head Yale’s newly formed Centre for Reparative Thought and Justice. Her friends Bing and Celine have come to help her prepare for her presentation. They all seem to lead a happy, ordered life. Husband Danny, a lawyer in the big city, comes home, dishes on his day in court, and questions Anita’s speech as being too racially charged, devaluing her notions of equity, diversity and inclusion. As Danny sits down to dinner, Anita continues to rehearse her presentation, with Bing playing devil’s advocate to her pithy style. Celine is more encouraging. What ensues is a battle of ideological supremacy, as an unknown future lurks just outside. No one listens to each other, differences are irreconcilable. Everyone’s world begins to crack, and their masks of polite social conversation dissolve closer and closer to the underlying truth and revealing darker core beliefs, making a polite dinner impossible. Bing and Celine rush off leaving an air of unease in their wake. Appel takes a deep dive into the power of language and how it builds and bursts our connections. Her script never lets up, words and bodies moving at warp speed. Two and a half hours gone in a flash. A lot is going on in this play as Director Abraham leads us on a surreal and unexpected journey with shocking and ambiguous results! He expertly directs his actors with nuance and intensity in equal measure. Conversations spiral into chaos as fantasies of control begin to slip. He keeps his actors continuously moving around the stage, navigating all sides of a large central kitchen island. The rapid-fire pace of the dialogue seems intentional, this quartet of performers barely coming up for air. This didn’t always work for me; heated arguments between Danny and Anita became loud and often unintelligible. The fact that we sit around the main playing area means the actor’s backs will always be facing some part of the audience. A beat in the conversation, a brief pause to think and change the rhythm would have been a welcome dynamic. The acting company is all excellent, led by Rachel Leslie as Anita, a no-nonsense academic, mother, and wife, embittered by her father’s betrayal while still wanting to uphold his success as an academic of colour. She is to lead the university’s new enlightened centre for racial reparation. Leslie is thoroughly believable and engaging, indefatigable, smart, and forthright. Her energy never lets up. She is a great actress! Danny is a soft-hearted lawyer, played with wit, charm and natural stage presence by Ari Cohen. Like Leslie, you can’t take your eyes off Cohen. His performance is effortless, running the gamut from boyish charmer to domineering, frightened husband. He has some of the longest speeches in the show and doesn’t miss a beat or a word. I’d never heard of Mr. Cohen before, but he’s made me his newest fan! Bing is portrayed by Richard Lee, the alternative thinker who’s bound for a new job in China but hasn’t yet told his pregnant partner, Celine. Lee is bubbly and enthusiastic but shouts too much, another example of how a modulated voice might have added more dimension to his thinking and motivations. Celine, played by Sochi Fried, has the least amount to say in the show, and that’s okay. She has lovely bits of subtlety in her brief time on stage. Her glances, nods, and reactions are superb. She’s charming and thoroughly invested in her relationships with Bing and Anita. There is no screaming from her, but she has a quieter presence to offset the growing tumult around her. Set and props designer Joshua Quinlan has created an immersive, wonderfully detailed household in the Crow’s black box space. The audience sits on four sides of an elevated rectangular kitchen island (with a sink of running water), light fixtures, stools, a table and chairs. The kitchen floor and island counter cleverly double as flat video screens and are used throughout for haunting projections and texts. Smaller set pieces at floor level on three sides of the main area, complete the house: the rest of the kitchen, front door and foyer, and living room. An innovative approach that makes us truly feel like invisible observers mired in the action. My only quip is that from my vantage point, due to the rectangular design of the main space, areas like the kitchen table and front door were too distant, and the kitchen island was creating sight line issues. Everyday items, from plates to salt and pepper shakers, microwaves, dish towels, even well-worn chairs and blankets, all made the house look lived-in and inviting. Ming Wong’s costume design is contemporary and appropriate. Danny’s suit, Anita’s overalls, Bings pullover and Celine’s jeans made these actors seem more like people you’d pass in the street. They’re real. No doubt about the intent. Imogen Wilson’s lighting design is clever. I wasn’t sure about the suspended fluorescent bulbs above the island combined with traditional incandescent instruments. There was noticeable flickering as the play progressed, which I learned later was intentional. Main coverage over each playing area was excellent; however, there were shadowy faces around the kitchen table. Thomas Ryder Payne’s nuanced sound design provided an almost imperceptible but consistent drone that increased as conversations devolved. Incidental beeping and clicking electronic sound effects seemed out of place but, again, later revealed how necessary they were to the piece. Video designer Nathan Bruce cleverly projects images of social media and celebrities, even the occasional blood splatter on the kitchen floor and countertops. The text also tells us where we are and when. It’s a great concept, but the main island's size often obstructed what many images were on the floor beneath. “Wights” is not what you expect. It’s a stark, satirical, edgy social commentary. It’s transformative, disturbing, mindful and clever. If you love live theatre and like to be challenged, provoked and surprised, you shouldn’t miss this show. Whether you understand its bleak message or not, you’re sure to leave the theatre talking about it…and isn’t that what good theatre should do? Running time: Running time, two hours and thirty-five minutes with one intermission. The production runs until February 9 at Crow’s Theatre, 345 Carlaw Ave, Toronto. For tickets call the Box Office at 647.341.7390 ext. 1010 or email crowstheatre.com. “Wights” by Liz Appel Directed by Chris Abraham Produced by Crow’s Set by Joshua Quinlan Costumes by Ming Wong Lighting designed by Imogen Wilson Sound design by Thomas Ryder Payne Video Designs by Nathan Bruce Props by Samantha Little Performers: Rachel Leslie, Ari Cohen, Richard Lee and Sochi Fried Previous Next

Where theatre is not only presented on the stage. Back A CHRISTMAS CAROL by Charles Dickens with adaptation by Justin Haigh Now on stage at Toronto's Campbell House, 160 Queen Street West. Photo of Thomas Gough as Scrooge from the 2023 production courtesy of Soup Can Theatre Joe Szekeres "Dear Santa: I hope "A Christmas Carol" becomes an annual tradition for Toronto theatregoers at Campbell House Museum." Three Ships Collective and Soup Can Theatre continue the immersive walking experience of ‘A Christmas Carol’ set within the rooms of the storied Campbell House Museum. The story begins in the Scrooge and Marley shop on Christmas Eve. The miserly Ebeneezer (Thomas Gough) and his underpaid clerk Bob Cratchit (Justin Hay) are working right up until the closing time at 5:30 PM. Scrooge has a few visitors who wish him well for the holiday, but he dismisses them all. He warns Bob that if he wants Christmas Day off, he must arrive at work early the following morning to make up for it. When Scrooge arrives home, he fires his housekeeper, Mrs. Dilber (Brianne Tucker), for insubordination. That night, Ebenezer is visited by the ghost of his former business partner, Jacob Marley (Spencer Jones), who died seven years ago this very night. Jacob warns Scrooge to change his ways and informs him that three spirits (Eliza Martin and Jonnie Lombard in dual roles) will visit this night to help him change his perspective on the world and those who have been a part of his life. Visiting the beautiful and historic museum is a delightful experience that sets the tale in motion. In the guise of Marley, Jones guides the audience around the house to the rooms. Claudia Matas has curated a collection of Dickensian attire featuring faithful replicas from the era. This collection includes Scrooge's top hat, vest, pants, shirt, and shoes, and Mrs. Dilber's working-class dark dress, shawl, and hat. The Fezziwig Christmas party showcases Matas’ terrific work in her costuming. Credit to playwright Justin Haigh for his clever text adaptation. One subtle change enhances this production and makes it hit right at the heart: instead of having Scrooge and the Ghost of Christmas Yet to Come stand in front of a headstone, Haigh positions the scene in Ebenezer's bedroom, where a corpse lies beneath a bed sheet. This choice has a rather profound emotional impact. Scrooge's housekeeper, Mrs. Dilber, steals the fine bed linen while a corpse lies on the bed. The emotional weight of the moment is further intensified when Scrooge pulls back the cover and realizes who is underneath the sheet. However, one line is missing from the text that I wish would be reinstated. Bob Crachit’s son, Tiny Tim (Ava Marquis), concludes the prayer before Christmas dinner with “God bless us, everyone.” Please restore that line, Justin (and director Sare Thorpe.) It’s an essential Christian reference, especially from the literary context of the time. Director Sare Thorpe is skillful. Several actors play dual roles and Thorpe elicits authentic, memorable performances. The Fezziwig Christmas Eve party is a delightful experience from listening to the carolling and watching the dancing, beautifully enhanced by Alecia Pagnotta's music direction and Pratik Gandhi's composition. Luke Marty delivers an impressive performance as Fred, Scrooge’s nephew, and Mr. Fezziwig, Scrooge’s first boss. As Fred, Marty exudes compassion, particularly when his uncle unexpectedly arrives at the party near the end of the play. In his portrayal of Fezziwig, Marty showcases a delightful sense of mischief, primarily through his matchmaking efforts to pair Ebenezer with his first love, Belle, sweetly played by Justine Christensen. Thankfully, Christensen rightfully chooses not to present the breakup scene with Scrooge in a too-sentimental, schmaltzy manner. Justin Hay captures the definite essence of Bob Cratchit, a man who wants the best for everyone. Cratchit strives to be a good father and a loyal employee, always hoping for the well-being of his loved ones. However, Bob is also a human being with emotions and Hay wonderfully reflects this reality in his performance. He experiences exhaustion, sometimes feels defeated, and carries the heavy burden of worry for his ailing son, Tiny Tim. It was heart-wrenching to witness Tiny Tim's absence at the Christmas dinner—a moment that brought a tear to my eye, underscoring (and personally understanding) that this void can never be filled. A youthful Spencer Jones portrays Jacob Marley. Jones appears ghostly, wearing shackles and appropriately dressed for the character. Initially, I found his casting puzzling and questioned whether he was too young for the role. No, he’s not. The youthful-looking Marley is the figure Scrooge likely remembers in his mind. To contrast Jones’ youthful appearance, the ghoulish eye makeup gives an older, sinister look that is not of the world of mere mortals. At one point, Jones momentarily towers over Scrooge by raising his voice to show who’s in control. This is a significant moment in this ghostly tale. Scrooge is at a crossroads regarding his mortality and how he has treated others in the past. Thomas Gough’s Ebenezer is one mean S.O.B. His discussion about what to do regarding one of his clients and the foreclosure of his house on Christmas Eve is despicable. Even his conversations with the first two spirits do not significantly change his behaviour about his interaction with others. The final encounter with the Ghost of Christmas Yet to Come marks Scrooge's breaking point in his bedroom. Overwhelmed with anxiety about what he sees on the bed, Scrooge lashes out and declares his intention to become a better man. Gough’s performance at the bedside is neither melodramatic nor exaggerated; instead, he remains grounded in the scene, allowing the audience to fully understand and appreciate both the meaning of his words and their implications. The audience listens intently and is touched by what we hear. At least I was. This ‘Christmas Carol’ staging made me think more than usual this year about what I just witnessed. Seven months ago, my mother died, and it has been a year of personal loss. But it takes a life-altering event for us to take stock of our lives and what lies ahead. Scrooge certainly does that by the end. It’s a fact that we all will continue taking stock at various points in our lives. This year, my Christmas wish is for Soup Can Theatre and Three Ships Collective to continue producing the show annually at Campbell House. I understand tickets are sold out for the rest of this year’s run. However, I strongly encourage you to get your name on the waiting list. Oh, and God bless us, everyone. Merry Christmas and Happy Holidays. Running time: approximately one hour and 40 minutes with no intermission. The production takes place at the Campbell House Museum, 160 Queen Street West, Toronto. For further information and to get your name on a waiting list (which I hope you will do), visit christmacarolto.com. THE THREE SHIPS COLLECTIVE with the support of SOUP CAN THEATRE presents: ‘A Christmas Carol’ by Charles Dickens with adaptation by Justin Haigh Director/Co-Producer: Sare Thorpe Playwright/Assistant Director/Co-Producer: Justin Haigh Composer/Music Director Emeritus: Pratik Gandhi Music Director/Production Manager/Co-Producer: Alecia Pagnotta Costumes and Props Designer: Claudia Matas Stage Manager: Bella Szpala Performers: Thomas Gough, Chloe Bradt, Justine Christensen, Nicholas Eddie, Justin Hay, Michael Hogan, Spencer Jones, Jonnie Lombard, Ava Marquis, Eliza Martin, Luke Marty, Kiori Mirza Waldman, Annie Lockerbie Newton, Brianne Tucker, Kendelle Parks Previous Next

What makes a comedy work - plot, characters, setting and theme. Back 'Two Minutes to Midnight' by Michael Ross Albert The Assembly Theatre The Assembly Theatre Joe Szekeres A satisfyingly good script that pays attention to some minute details. Sometimes, but not always, it’s the little things that can either make or break a trip to an all-inclusive resort in the Caribbean for a winter getaway. I know of many people who, before going away on holiday, make a list and check each item off when it goes in the suitcase. A little OCD, perhaps, but it’s that person’s holiday and he/she/they want to enjoy it his/her/their way, and it’s no concern of mine. The Assembly Theatre’s intimate black box setting paid careful attention to some important checklist items in its opening night performance of Michael Ross Albert’s ‘Two Minutes’. Was it worth my first trip to Parkdale for a Covid getaway? I’ll let you know shortly. As soon as I entered the lobby, I was heartily welcomed and asked if I wanted to wear a lei around my neck. I haven’t travelled to Hawaii yet, so I thought I’ll get the next best thing and wear a plastic one. The lobby was decked out in all things Caribbean, and the bar was open and serving island flavoured drinks. Even though we’re still in Covid, I could see the theatre was doing its due diligence in ensuring protocols were in place to keep everyone safe so kudos there. Anyone who has travelled to an all inclusive knows the music around the bar usually starts blaring loudly at 9 am. The same thing occurred here in the auditorium, but I smiled because I knew immediately that is exactly what it’s like at many of the all-inclusive resorts I’ve visited, so a big check mark here on the list. Pascal Labillois’s patio set design paid charming and attractive details to capture the Caribbean setting in this intimate environment. A gorgeous and soothing aqua blue painting of Caribbean waters adorns the back wall. Michael Wielgomas is listed in the online programme as Graphic Designer so I’m not sure if he painted it. If he did, then wonderful work. Centre stage are two blue and white striped chairs (the kind your skin doesn’t stick to in the heat) angled in front of a tiny circular table. Two plastic wine glasses are found there. Meticulous detail was also paid to the flooring and to the walls up over stage right and left entrances. Painted stones resembling those one might find in the Caribbean go all the way up the right side of the house. Stage right is the entrance to the restaurant with a lantern on each side of the doorway equidistant from each other. Stage left is the entrance to the use of the washroom (which was clever as the actual building’s restrooms were there for patron use before the performance began). Chin Palipane’s lighting design warmly incorporated a very hot, humid looking ambience surrounding the two characters. The costumes worn by Jack and Tracy fittingly embrace the re-created heat of the sun on stage. He wears a Hawaiian/Caribbean flowered shirt with dark blue shorts and sandaled looking deck shoes. She wears a low-cut one-piece green bathing suit with a flowered kimono ontop and what appeared to be white, comfortable looking deck shoes. Albert’s at times sharp, witty, comical and tumultuous story introduces how couple Jack (Luis Fernandes) and Tracy (Cass Van Wyck) are of extreme opposites in personality and I wondered how they have stayed together for so long. His fervently solid interest in becoming a social media influencer through his daily online postings grates on her nerves. But so much is hidden underneath and becomes unearthed about their living together as the story progresses. An event of seismically epic proportions in their relationship forces Jack and Tracy finally to begin looking at it and give it the attention it deservedly needs. Two things I really liked about Albert’s script – one was the solid use of one-line zingers which both Fernandes and Van Wyck succinctly captured in their high-octane performances. The other was the dramatic pauses and moments which are needed to balance the high velocity paced humour. Fernandes and Van Wyck are likable, convincing, and hearty performers who favourably won me over in their credibility of two people who are on the brink of a possible breakup and who wanted to use this island vacation as a last chance to reconnect as a couple. I’ll give credit here to Janelle Cooper who, in her visionary list as director, strongly kept Fernandes and Van Wyck grounded in the truth of the moment and never allowed them to venture hysterically over the top. So, was my checked list completed after seeing ‘Two Minutes to Midnight’? Indeed, it was, and I am so pleased the Assembly Theatre took me on a 70-minute vacation with them. However, all inclusive vacations also look for possible suggestions and feedback. There was one quibble that I did have. About 5-7 minutes into the show, a great deal of shouting and screaming occurs. I get why it was done; however, given the confined playing space of the intimate auditorium seating, the shouting and screaming were a tad uncomfortable to my ear drums and I missed a great deal of information both actors gave at this point. I get it that the veracity of the moment is high paced and wonted, but I completely lost what was said between the two actors as it appeared momentarily out of control. I had to glean (actually, read pray here) that I would have gathered later what all the screaming was about. Just a slight quibble, that’s all. Final Comments: Go on this trip with Jack, Tracy, and the Assembly Theatre in Parkdale. ‘Two Minutes to Midnight’ is a trip we all need right now especially as we are entering the sixth wave of Covid. Covid protocols in effect. Running time: approximately 70 minutes. The production runs to April 24, Tuesday through Sunday at 8 pm at The Assembly Theatre, 1479 Queen Street West, Toronto. To purchase tickets online and for other information: www.theassemblytheatre.com . TWO MINUTES TO MIDNIGHT by Michael Ross Albert Presented by The Assembly Theatre Director: Janelle Cooper Stage Manager: Marvin Araneta Set Designer: Pascal Labillois Lighting Designer: Chin Palipane Graphic Designer: Michael Wielgomas Associate Producer: Sebastian Biassuci Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back A Closer Walk with Patsy Cline Capitol Theatre, Port Hope Sam Moffatt Joe Szekeres Crazy for Patsy Cline A lovely evening at the theatre with an ending that I knew was coming but it still hit all the feels. What an incredibly smart decision Port Hope Capitol Theatre Artistic Producer Rob Kempson made in selecting ‘A Closer Walk with Patsy Cline’ to open the summer 2022 season. And what a delightful treat to bring audiences back to the theatre. Although I’ve never seen the show before, there were moments when I could feel a big ol’ smile slide right across my face. There was a couple who sat in front of me, and the lady was swaying back and forth with her hands in listening to the music. I looked across the aisle and saw another lady doing the same thing. You go, girls. I hope more audience members do that as the show continues. Once again, the power of theatre reached inside and touched these two ladies. I wish we weren’t wearing masks because it would have been wonderful to see the smiles on their face. I was glad Rob Kempson (director of ‘Closer Walk’) spoke to us before the performance began because he gave some noteworthy information that I believe theatregoers should be aware. For the Capitol’s production, Anna Treusch’s Set and Costume Designs were particularly constructed for this performance run only to June 26. Sometimes, touring productions or productions may state that sets and costumes have to be consistent as per the wishes possibly of writers. Not here. Kempson unmistakably cares about this show because he has paid loving attention to so many particulars to ensure realistic believability. There is a definite purpose and a reason behind why the plot progresses in the way it does. He has surrounded himself with some very fine artists who have done their job, quite admirably I might add. Treusch’s set and costumes are exquisitely breathtakingly bathed in colour. I’ve never been to the Grand Ole Opry and would love to get there sometime. For some reason, I felt as if I was looking at the Opry stage. I couldn’t take my eyes off the set when I sat down as I just studied where my eyes went all over drinking it in slowly. The production is set on risers. At Centre stage, there are circular risers with the top slightly raked to allow for visual purposes when Cline sings. Stage left is the four-piece band. Stage right is the radio station where DJ Little Big Man sits. Nick Andison’s Lighting Design meticulously captures a grandiose feeling of the playing space which is effectively lit for each of the numbers where Cline moves on the stage to sing. Kudos to Ben Whiteman’s Sound Design as I could clearly hear each word of each song. This is one area for which I will nitpick because songs tell stories and if an audience cannot clearly hear a song lyric, they are missing part of the story. Treusch’s costume designs for Patsy Cline are striking to behold as attention has been paid to minute details in fabric, hues, tones and style. The band is dressed in solid bright colours with fringe either along the bottom of their shirts or under their elbows to their arms. Dean Regan’s story is billed as “A stunning tribute to one of country music’s greatest stars.” That it is, but it’s also a sweet, poignant story that didn’t veer towards the melodramatic near the end if you know what happened to Cline. It’s 1963 when we meet WINC D J Little Big Man (primo, top-notch work by Tyler Murree) who introduces many of the musical numbers before Cline sings. Murree also sings many of the commercial radio jingles and tells sometimes corny or hilarious jokes to the audience which allows for Michelle Bouey, as Patsy Cline, to change into her costume backstage for the next song. Murree also gives important contextual historical information to frame the song for the audience as well. As Patsy Cline, Michelle Bouey divinely captures the soulful and spiritual sound and persona of the 60s country music songstress with confidence . There are some lovely tunes in the first act, but it is in the second act where Bouey sings the numbers for which Cline will always be remembered. I closed my eyes during ‘Just a Closer Walk with Thee’ as I wanted to hear both the music and the words of the song. ‘Always’ brought a tear to my eye as it was a timely anthem sung for Cline’s mother and for all mothers as far as I’m concerned. ‘Crazy’ gave me goosebumps just listening to Bouey’s soaring vocal work. What also makes this production work are the shared moments between Bouey and Murree. While she lovingly croons and harmonizes at the microphone or anywhere on the stage, he never upstages her at all. If it’s a fast-paced song, Murree moves in time to the music. If it’s a slow-moving ballad, his focus is on Bouey all the time. These are artists who get how to listen and respond truthfully to each other. Jeff Newbery’s splendid music direction combined with the stellar four-piece band complements the story told. Final Comments A delightful evening at the theatre. This ‘Closer Walk with Patsy Cline’ is not to be missed. Running time: Approximately one hour and 40 minutes with one intermission. As of this article, Covid protocols are in place. Please call the theatre if you need further information regarding protocols and mask wearing. ‘A Closer Walk with Patsy Cline’ runs to June 26 at the Capitol Theatre, Mainstage, 20 Queen Street, Port Hope. For tickets, call 905-885-1071 or visit capitoltheatre.com. A CLOSER WALK WITH PATSY CLINE by Dean Regan Sanctioned by the Patsy Cline Estate Director: Rob Kempson Music Director: Jeff Newberry Set and Costume Designer: Anna Treusch Lighting Designer: Nick Andison Sound Designer: Ben Whiteman Stage Manager: Sarah Miller Band: Tom Leighton (Keyboard/Organ), Jason O’Brien (Bass), Matt Ray (Guitars), Matthew Machanda (Drums) Artists: Michelle Bouey and Tyler Murree Previous Next

A talk with a professional artist about their career. Back Slava Polunin "[Slava's Snowshow], just like all the others, is my favourite child. It’s been bringing me joy over these 30 years and I just love going on tour with it each and every time.” Credit: Anna Bogodist (Carol Fox and Associates Public Relations) Pictured: Slava Polunin in performance Joe Szekeres ‘Slava’s Snowshow’ returns to Toronto for the Christmas/holiday season from December 22-31, 2023. I was elated when I heard the show was returning. It has already been to China, France, Italy, and the Arab Emirates this season and, from what I have read and heard, it will continue to have a busy touring schedule in different parts of the world in 2024. According to a recent press release I received, the show is the recipient of more than 20 international awards including an Olivier Award for Best Entertainment, a Drama Desk Award, and a Tony nomination. In addition to widespread public acclaim, the production is a darling with critics who have declared it “a thing of rare theatrical beauty not to be missed” (London Daily Telegraph), “a meditation on lost souls and a red-nose spectacle with heart” (Toronto Globe and Mail), “one of the most innocent and simply beautiful pieces of theatre” (Herald Sun) and "Dazzling! Guaranteed to make even the glum thaw with happiness" (The Observer) with the New York Times confessing, “my heart leapt... [‘Snowshow’] induces waves of giggles and sighs of pleasure” and the Daily Telegraph advising, “if there’s only one show you get to this year, make it ‘Slava’s Snowshow’ and take the whole family. I concur with everything in the previous paragraph. I saw the show at Toronto’s Bluma Appel Theatre in December 2018, a couple of years before our world changed on account of COVID-19. I remember calling it at first a puzzling theatrical art form, but strangely alluring to watch as I couldn’t take my eyes off the performers. Their movements are precisely choreographed and timed to the music or the sounds echoing throughout the auditorium. Most importantly, from what I remember, the Toronto audience loved it at the performance I saw. And that's the most important thing. I researched online later about the art of clowning incorporated into the production. Clowning is an art form that requires stamina, endurance, and concentration in its execution of theatrical magic. I’m sure I’m missing other requirements. Artist Slava Polunin was available for an email interview about the show's return to Toronto. I am most grateful he could answer my questions about the show. A bit of background information about the artist himself intrigued me even further. According to that same press release, Polunin discovered the art of pantomime in high school. As he grew to adulthood, he developed an eccentric version of pantomime and dubbed it lovingly ‘Expressive Idiotism’. I can’t help but smile and laugh at that term. Polunin has also been involved with Canada’s Cirque du Soleil as a featured performer from 1993-1995. He has been involved with ‘Slava’s Snowshow’ since 1993. What about the production keeps drawing him back to tour with it? I smiled when I read Slava’s response: “This show, just like all the others, is my favourite child. It’s been bringing me joy over these 30 years and I just love going on tour with it each and every time.” He added the show is strong, in very good health and resistant to viruses. It never had COVID-19 and will arrive in Toronto in perfect shape. What is it about the art of clowning that still appeals to a twenty-first-century audience? According to Polunin, the art of clowning is an ancient form. The forebearers of modern clowns, such as various satyrs, jesters, jugglers, and histrionics, skomorokhi and Pagliacci, have performed in front of the public since time immemorial. The art of clowning is democratic for Slava. It’s not very difficult to understand and most often provokes laughter and brings a good mood. People have always loved clowning and continue to love it. I remember the absolute joy of watching the production in 2018. There’s a windstorm and a snowstorm during the performance that filters towards the audience. It will take you by surprise when it occurs. And when it does…just sit back and let it take you wherever it wants to take you. Yes, the art form of clowning is a unique theatrical form, but it’s fascinating to experience. It truly made me smile and laugh and just be a young child again. Slava reassures the main line of the show remains unchanged. There are surprises born out of improvisations at each show. However, in Slava’s words once again: “I don’t know what patterns the actors will begin to embroider around the show because that differs with every performance. Improvisation is key in the show and will depend on the particular actors involved at that matinée or evening. ‘Slava’s Snowshow” has never had two identical performances.” I am really looking forward to seeing it. I’m thinking I might even go twice. Show One Productions presents ‘Slava’s Snowshow’ at Toronto’s Elgin Theatre, 189 Yonge Street. Performance dates and times: · Friday, Dec. 22 | 7 p.m. · Saturday, Dec. 23 I 2 pm. · Saturday, Dec. 23 I 7 pm. · Sunday, Dec. 24 I 1 pm. · Tuesday, Dec. 26 I 7 pm · Thursday, Dec. 28 I 7 pm. · Friday, Dec. 29 I 7 pm. · Saturday, Dec. 30 I 2 pm. · Saturday, Dec. 30 I 7 pm. · Sunday, Dec. 31 I 1 pm. To learn more about Show One Productions, visit www.showoneproductions.ca . To learn more about ‘Slava’s Snowshow’, visit www.slavasnowshow.com . To purchase tickets, please call 1-416-366-7723 or go to TOLive. Previous Next

A talk with a professional artist about their career. Back Chris Tsujiuchi ‘Thank you for telling me ‘No’, or telling me that I couldn’t, or that I shouldn’t, or that I won’t, because I did.” Sean Story Joe Szekeres Artist Chris Tsujiuchi will appear this month (along with a slew of other Canadian artists) in the quirky musical ‘Little Shop of Horrors’ at Port Hope’s Capitol Theatre. The production will be directed by Artistic Director Rob Kempson, with Music Direction by Jeff Newberry and Choreography by Genny Sermonia. The plot is well-known among theatregoers and those who remember the two feature films in black and white and in colour. The hapless and orphan florist Seymour has been hired to work in Mr. Mushnik’s floral shop on Skid Row. Seymour has fallen in love with the store’s other assistant, Audrey. While this is happening, Seymour has managed to grow a strange new plant which he lovingly names Audrey II, which finally captures her attention and that of the community surrounding the shop on Skid Row. Audrey II, however, holds some bizarre eating habits that set Seymour on the course of changing his life and all those involved in the story. Chris Tsujiuchi (who goes by ‘Tsuj' with a soft g sound) provides the voice of Audrey II. He will also play a few other roles in the show. Tsujiuchi is a 2010 Sheridan College Musical Theatre program graduate who is excited about returning to live theatre, especially with ‘Little Shop.’ He added how grateful and relieved he is, and I’m sure other theatre artists have felt the same emotions. There wasn’t much for artists to do when everything was closed, and he’s excited to be doing work he loves to do again. He was involved in some online and digital performances when the theatres were shut down for Covid. Tsuj is a self-produced cabaret performer and does a big Christmas cabaret in Toronto every December. He had to move to a digital Christmas cabaret during the shutdown. This meant he shot and edited a two-hour film which people watched from home. He further added: “As great as it turned out, it was not live theatre. It lacked that live connection the performer has with the audience. The film was shot over six days and then I edited it on I Movie for 3 weeks straight. I’m not an editor, but if I were one with the proper skill and software, it would not have taken that long. It would have taken way less time.” Chris was elated to share how rehearsals for ‘Little Shop’ have been going extremely well. He emphasized that point by slapping his knee twice on ‘so well’. When I spoke with him last week, the company was only on its third day of rehearsals. He said they watched the opening number, which has already been choreographed and it looks, in his words: “Ammaaazzziiinnggg! and that everyone needs to come to see the show.” Tsuj glowingly spoke about working with Rob Kempson. He has always loved working with him and has done so many times and in many different capacities. When Rob was Associate Artistic Producer at Toronto’s Theatre Passe Muraille, he created and programmed the Songbook Series. Tsuj has performed in the Songbook Series alone and as part of his vocal group ‘Asian Riffing Trio’. He was also Music Director when Rob directed ‘9 to 5’ at Randolph College. I then put him on the spot and asked Tsuj how he would describe Rob in one sentence: “Intelligent and sassy.” Chris then sent me the link when I asked him to explain the latter term. The humour doesn’t come out in print as it did when I heard Rob say it. So, when you’re at the Capitol, ask Rob directly why he is sassy, according to Tsuj. To be true to the ‘Little Shop of Horrors’ script, it’s impossible not to be a little sassy because the story is out there, so Rob’s sassiness is on the mark. Tsuj expresses great enthusiasm for finding and developing the voice of Audrey II. He’s having so much fun in the process. He then relayed some information I found interesting. For this production of ‘Little Shop,’ the actors honour the versions of the characters that have come before. If something that might have been used in the later film version (with Rick Moranis) is helpful for your character development, use it. If something is not working, then deviate away from it. After speaking with Rob and Music Director Jeff Newberry, Tsuj wants to honour the voices of Audrey II that have come before while also finding the ‘Tsuj’ version of the plant’s uniquely distinct voice. Chris saw the Broadway revival of ‘Little Shop,’ which featured Broadway artist Hunter Foster. That production focused on Crystal, Chiffon, and Ronnette, who acted as a Greek chorus, narrating the story and occasionally serving as extensions of the plant. Tsuj praises the cast of this upcoming production. He calls them all so talented and wishes he could tour this show with this cast. They were all surprised that everyone was available at this time to perform the show at the same time. The cast includes Amir Haidir as Seymour, Tahirih Vejdani as Audrey, Tyler Muree as Mr. Mushnik, Michael Derose as Orin (and others), Michelle Yu, Sierra Holder, and Taylor Lovelace as Crystal, Ronnette and Chiffon respectively, and Joel Cumber as the Audrey II puppeteer and the entire ensemble. As we concluded our conversation, I asked Tsuj why audiences must make their way to the Capitol to see this production of ‘Little Shop’: “The music will be on point. The choreography will be on point. The story is ridiculously hilarious. You will laugh, you will cry because you will laugh so hard. The production value is out of control. We’re giving you a man-eating plant from outer space realness on stage at the Capitol. That’s why audiences must come to the Capitol.” Once ‘Little Shop’ has completed its run at the Capitol, what’s next for Chris? He is Artistic Director of The Sing Toronto Vocal Arts Festival focused on the unaccompanied human voice. It is a week-long festival that happens every May in Toronto. To learn more about this festival, visit https://singtoronto.com/ to learn how to enter. He’ll work on getting contracts out for this festival for a couple of months before he heads to Nova Scotia to be the music director for a panto and then back to Toronto to do his Christmas Cabaret. In December of this year, he will be the Music Director for “A Whole New World: The Story of Alan Menken” in which four actors and a three-piece band take the audience through Menken’s life and music. Tsuj will also reprise his role of Audrey II in this show. ‘Little Shop of Horrors’ opens August 11 and runs to September 3 at Port Hope’s Capitol Theatre, 20 Queen Street, Port Hope. For tickets, call the Box Office (905) 885-1071 or visit https://capitoltheatre.com/events/little-shop-of-horrors. Previous Next

A talk with a professional artist about their career. Back Michael Cerveris Moving Forward Zack Smith Joe Szekeres The Zoom conversation I held with two-time Tony Award-winning actor/musician for ‘Assassins’ and ‘Fun Home’, Michael Cerveris, was compellingly informative, and I was taking in as much as I could. Michael put me at ease so quickly that I felt as if I was having a virtual cup of coffee with him and, at one point, I imagined he got up from the table, went to the imaginary urn, and poured me a second cup all the while just speaking calmly and comfortably how the worldwide pandemic has led him to take stock of where he is at this point in his life, and where he is headed next. He was visiting his father in Pittsburgh when we had our conversation. I’m assuming Michael was speaking from the living room at his father’s home, and the scene was quite idyllic. There was a beautiful ray of sunshine through the glass pane where Evangeline, the puppy he rescued from the Louisiana/Mississippi border, lounged quietly on the sofa in the sun’s warmth. The first time I saw Michael on stage was in 1993 in his Broadway debut of ‘The Who’s Tommy’ as the Pinball Wizard of this energizing rock opera. I went back later that year with a friend to see the show ‘cause it was so damn good. The next time I saw him on stage was in ‘Titanic’ and the third time was in the revival of ‘Sweeney Todd’ where he played the demon barber opposite one of the grand dames of the New York Theatre, Patti LuPone. Yes, this interview is lengthy again, but I didn’t want to miss a word. Thank you again, Michael: It appears that after five exceptionally long months we are slowly, very slowly, emerging to a pre-pandemic lifestyle. How has your daily life and routine evolved as a result of this emergence? It’s been up and down, I think, like it is for everybody. I’ve gone through different stages of dealing with things. I think we all expected this to be a shorter event early on, so there was the initial panic and anxiety but a certain amount of excitement (I suppose you could call it) because everything was new and urgent feeling. It was quite frightening being in New York at the beginning stages because it was very dire there early on. Fortunately, New York is one of the safer places to be in America because people took it seriously early on. I wish the rest of the country could have recognized and learned from our example just what’s possible when you do take it seriously immediately. Since those early distance days, like everybody, I started to settle into this new way of existing. There are benefits in some ways to stopping the forward motion of your life and taking stock and really asking yourself which things essential, and which things are not. I’ve been trying as much as possible to use the time well and prepare myself to be a better person in a better place, when this is over or when we’re at least on the other side of it. I’ve never had so organized clean closets and dresser drawers and basement in my life. Right now, I’m going through boxes in my father’s basement that I’ve left there for years, and that he’s been asking me to go through for years. And that’s been great fun as I’ve been discovering all kinds of terrific things, posting photographs from my early performances as a boy growing up in West Virginia. That apparently is the most entertaining thing I’ve done in decades for people as they are seeming to enjoy it a lot. My Facebook and Instagram feeds are full of people enjoying my embarrassing younger photos. So at least I feel like I’m doing something good for the world right now. I’ve also spent a little bit of time a little further upstate at one point during the pandemic, and I do recognize it’s easy when you aren’t living in a close urban environment, like New York, to feel that the threat isn’t quite as urgent. When you quarantine in an apartment and have to wear your mask even to walk down in your building to get your mail, it’s a different kind of thing. When you see refrigerator trucks with bodies in them because there isn’t room in the morgue, it makes it clear how serious you need to take it. It’s difficult when you’re quarantining in a house with a yard, when you can walk along the street in a suburb without a mask, because you aren’t going to be encountering people close enough to necessarily have one. I do understand how difficult it is to impress upon people the seriousness and reality of the disease’s spread, and we’ve seen the consequences of that throughout the US, especially now in people not believing it or not taking it seriously. Of course, the numbers start increasing in those areas. It’s the benefit and the curse of living in a close urban environment, but I’m really proud of how New York and New Yorkers have responded. It really has been a real blessing to have the kind of leadership and the science-based thinking in the state and local governments that we have. Hopefully, that will mean that we can continue the course we’re on and think about opening theatres in a safe, responsible way at some point. It’s really difficult for all of my live performing friends, and hundreds of thousands of people who aren’t directly on stage but are affected with the closing of the theatres. A lot of the city’s economy is dependent on that business surviving, and it was one of the first to close in order to keep people safe, and it’s going to be one of the very last ones to re-open. There’s no discussion yet for serious plans for live entertainment venues to re-open anytime soon, even though some jobs are re-opening hopefully slowly and carefully. In my business, people are sometimes hanging on by a thread in the good times, so it’s really a challenge. We’re trying to encourage our government to extend subsidies to venues and to our live performers and it’s been an uphill battle. Were you being considered for any projects or involved in any projects before everything was shut down? Not on stage, I had a film project and television project that were both supposed to happen in March and April. They tried re-scheduling the film about four times. One time I had my car packed and driving to where we were supposed to film, and I got a call saying, “Ohhh, we’re not going to be doing that now.” So, that’s indefinitely postponed but hopefully, it will happen at some point. There is a television HBO production project that I’m going to be a part of that is planning to start work in late September if all goes well. And they have a well thought, organized set of plans to do it in a safe and manageable way. Hopefully, that will be happening and will be a long-term project. I can’t tell you what it is right now but it’s gonna be kind of terrific, and it involves a lot of New York stage actors. That will be a helpful thing. What’s been the most challenging element of this isolation for you? It would be really training myself to just exist in the present moment and not be making plans and feeling like I need to do things. It’s funny, I’ve been saying for the longest time that I’ve wanted to slow down and wanted things to stop. I guess, be careful what you ask for. So many of my friends and colleagues immediately jumped in and got into busy mode with self-creating projects. They were doing lots of camera and Zoom meetings and projects. I found myself busier while not working than I was working. Everybody had a podcast or a benefit performance they wanted to contribute to. I wanted to feel engaged and wanted to contribute something. The most challenging thing, to answer your question, is considering what my usefulness is in a time when our understanding of who an essential worker is has changed overnight. The immediate feeling was, well, maybe what I do isn’t really essential, and we like to think of ourselves as essential to society, and the arts are an essential part of society. An immediate crisis like that maybe those skills are the ones that aren’t most necessary. This can leave you feeling a little useless and superfluous. I had a lot of friends who became teachers and they were struggling for ways to provide service to their students so they would ask me and lots of actors to come visit their classes virtually and talk to their students. I thought, “Well that’s something that I can contribute to and positively offer something.” And then there were lots of other projects like the Sondheim Birthday streaming that went a long way to help reach people in isolation and make them feel a little connected still to things that brought them happiness and pleasure. I said yes to everything and found myself exhausted. I was busy doing things all the time and my friends who were saying they were bored in quarantine I kept wondering how is that possible? It’s different for everybody. Do you believe theatres might be shuttered until at least the fall of 2021? That seems a viable possibility. It’s difficult because there are so many layers to the question of when theatres can re-open. And this may be an opportunity for Broadway and large-scale commercial theatre to do some re-thinking and considering the economics of theatre. This is something I thought back in 2008 with the financial collapse and really threatened Broadway and you heard people wringing their hands and saying, “This is going to kill Broadway.” My thought was maybe this would make producers think differently of how they produce things to make them more affordable to more people, but instead, the opposite happened. Broadway got more expensive and business was better than ever. With a Broadway production, it can’t function at a 50% capacity. Broadway shows that are doing well in the 75% capacity range close all the time because even that is insufficient to keep them going in the business model the way it is now. My hope is the opportunity to re-think that and where the money is going. More money should be spent on people who are working for you than on things, on spectacle and re-think profit margins while thinking about the comfort and safety in the seating area for the audience. In some ways, downtown, regional, off-Broadway theatres that consistently find ways to operate with ticket sales at 50% with grants and sometimes don’t fill the houses are able to survive, and perhaps this something that the larger theatres may have to re-examine again. This might be the way things can re-open. The arts in general have shown an ability to adapt and change when it’s necessary. They just tend to drag their feet for as possibly long as they can. The theatres need to be more pro-active and forward-thinking rather than reactionary and responding to events, especially with the social justice movements going on right now and the technological advancements. The combined moments of social conscious awakening along with the pandemic crisis has been a real opportunity to shake the dust off these things and to get more people involved with new ideas about what is possible. Hopefully, that’s what’s going to happen. Equity is dealing with a case by case decision on whether or not to open a show given what the theatre is doing to ensure safety for all involved. It’s a challenge in so many ways, but this piecemeal show by show thing that different producers will have different ideas on how to do things might delay re-opening even more. The history of commercial theatre isn’t a well-organized machine. Any words of wisdom or sage advice you would give to other performing artists and recent theatre graduates who are concerned about Covid-19? Well, that’s always been a difficult question to answer and now it’s really difficult. I’m encouraging people to take heart and to take advantage of this time to be reading a lot of plays, watching a lot of things, and educating yourself. You can be writing and developing projects for yourself, talking to friends, and just try to imagine the theatre that you want to see when it’s possible again. My major words of encouragement: The fact that so many things we assumed to be true suddenly are not and things that could never be suddenly are (live performance could shut down for 6 months or longer). The positive side of all this? A lot of things that we thought could never change could now possibly change if there’s a will. That’s kind of exciting. I grew up with the idea that things are the way they are whether or not I liked it or not. We’ve seen now how immediately and completely things can change. Drastic change can happen if people do things differently. I think in some ways it’s an exciting time to start a career in the theatre. If we’re making things over again, we should be making things that contribute more to our society and to our communities by giving more opportunity to do something new. That’s the place to look for hope and encouragement. Do you see anything else positive coming out of the pandemic? In my country, I see the potential for a positive regime change, although it’s anything but assured, I’m afraid. I don’t think of myself as an optimist generally, and yet I think I fundamentally am. I fundamentally want to believe the best of people and the best of situations. I’m very conscious and very clear about the perils and dangers about the really dark and unpleasant things that have been revealed about the country I live in. It’s not isolated to my country, it’s a global phenomenon but it’s especially heightened here. It’s been really heartbreaking to have to come to terms with the realities of life in this country for a lot of people. To have spent the last four years to have the mask lifted from who we as Americans like to believe we are. But the positive thing is now we know what we’re up against. We know what the real truth is. And again, that gives us the opportunity to change it. We can’t change anything if we don’t acknowledge it to be true and needs to be changed. That goes for everything from economic inequity to racism, sexism. These things are all tied together and incredibly complicated, but just thinking your country is the best with the best democracy, that kind of thinking blinds you to the problems that are there and need to be solved. Well, it’s pretty clear what the problems are and needs to be solved. Whether we can do that or not, it’s up to us, but at least now we know where the work needs to be. Depending on your half full, half empty glass perspective, that can be a positive thing at least a first essential step. Will Broadway and the North American performing arts scene be changed or impacted on account of the coronavirus? People are starved now for coming together. For a long time now, there’s been a move for more isolated kinds of entertainment. We get a lot more through our screens now, and I think we’re getting a little tired of it at this point. For example, I hated Zoom and Face Time before all the shutdowns necessitated them. I would always try to avoid doing them. I can’t say I love them anymore now than I did then, but I’m at least used to them now and see the benefits of them. I think a lot of things will be done through these formats even after things slowly open up. There are good things to that. We’re starting to find the limits of the satisfaction we can get from our screens. Theatre, live performance, even for people who say, “Well, I can get all that on my screen, why bother going back?” Well, I think the first-time people return to the theatre, and that theory is all going to be blown out of the water. They’re going to remember as though for the first time what that thrill is. There’s nothing to make you appreciate something like the threat of losing it or not having it. I like to think and hope there will be more value placed on live performance and interaction. Certainly, that will be true in the beginning and, as humans usually are, will take it for granted again. I look forward to a time when we can take going to the theatre for granted because that would be nice. The arts and theatre have often thrived in times of great social unrest and difficulty. I’m hoping there’s a lot of seeds of great art being sown right now that will flourish when there’s a place for it to flourish again. And I think that is possible. There’s certainly a lot to write about now, not just the pandemic but our very mortality and humanness. It’s fair to hope there will be a re-surging, flowering and a Golden Age of theatre when we’re able to come together again. What are your thoughts about live streaming? The streaming of filmed live productions that has already happened, hmm…maybe it’s because I grew up in the bootlegging concert era, tape your favourite band era. I’ve never had the aversion to those things being available. I’ve never believed that’s made people less likely to go and see something. I’ve always felt that it will more likely make you want to go see something. If you hear a garbled cassette performance of The Grateful Dead, you’re going to be more likely to go. I understand and appreciate the economic concerns and people having their work compensated, so if somebody is making a profit from the streaming of your work then, certainly, that needs to be compensated. There are so many things I’ve done over the years that are archived at the Lincoln Centre Performing Arts Library. It wasn’t the thing to record a show for broadcast back in the day. I do wish those kinds of archives could be accessible to people. It’s very difficult to access those things. You either had to be involved with the production or an academic pursuit to watch them. I would prefer that live streaming not be sold or commercially done. If you do, then you really have to pay everybody which will make it prohibitive. I wouldn’t mind if that’s the way things happen. As far as creating work to be Zoomed or streamed, it doesn’t excite me as an audience person or as an actor. I watched a few earlier on. For the most part, I was disappointed and frustrated, and ultimately not all that interested. There were some things like Richard Nelson has done a series of plays called The Apple Plays, the Gabriel Plays, that were recorded. I would encourage people to go find these plays because they’re really great, but he since has written a couple of Zoom plays and those work well because that’s the premise of the play. These characters are on a Zoom call to each other, so it makes sense that it’s happening as to how it’s happening. I haven’t really seen other things online that I’ve found particularly satisfying. I’ve done a couple of readings and they were really just kind of pale and unsatisfying, the technological challenges are a big hurdle. It’s hard to get any sense of pace when there’s a delay between people’s microphones. I would be more in the camp of “I’ll wait until we can actually do it.” Despite all this confusion, drama, turmoil, and change surrounding our world now, what is it about performing you still love? It’s pretty obvious the live human communal experience of it. Both as a part of an ensemble working together to make the performance and the event of having an audience, the stage crew, dozens of hundreds of people that make it magical, even if it might have occurred only once out of say 500 times. We go to experience with other humans. It’s part of our DNA to gather. Our society has drifted away from that for a long time. It would be nice if this was a bit of a turning point of how much we missed that, and how much we need that. That’s the fundamental thing about performing. Follow Michael on his Facebook: Michael Cerveris Actor/Musician or his Instagram: michaelcerveris. You can also visit Michael’s website: www.cerverismusic.com . Previous Next

A deconstruction of an individual's story. Back 'Wonderful Joe' created and performed by Ronnie Burkett Now on stage at the Jane Mallett Theatre, Toronto, St. Lawrence Centre for the Arts, 27 Front Street East Ian Jackson Joe Szekeres ‘A story told with poignant compassion and heart-filled care. ‘Wonderful Joe’ reminds us of how important it is to show these human qualities to others in this time of giving thanks. Uplifting and emotional.” Ronnie Burkett is truly inspiring. His marionettes are captivating extensions of himself. His use of wit, humour, and a touch of naughty mischief prompts the audience to contemplate, think and ponder—and it's impactful when a compassionate artist achieves just that. That’s Ronnie Burkett. He’s ours. And he’s Canadian. The TOLIVE website states that Burkett returns to Toronto after performances of ‘Wonderful Joe’ in California and Edmonton. It is the story of Joe, a senior who is down on his luck and lonely. His loyal companion is his very old dog, Mister. Joe's landlord tells him and the tight-knit residents in the apartment building that they face eviction in one month. The working-class neighborhood will undergo gentrification with the construction of modern condominiums. Amid this devastating news, Joe ventures out for one last adventure. Although the news of eviction brings sadness, Joe chooses not to see it that way. He sees magic in the mundane, beauty amid brutality and life in the lost. Along his journey, Joe meets many people from the neighborhood. He experiences a troupe of homeless players in a cardboard theatre and shows a disinterested teen how to jump over the moon in a playground rocket ship. Burkett's clever story contains elements of a picaresque quality. Typically, the protagonist in a picaresque tale is a mischievous rogue who, through humorous details, experiences the life of ordinary people. I wouldn’t necessarily call Joe a mischievous rogue. However, the fact that he is a gay, middle-aged man, as are his close-knit friends, might lead some to view Joe as unprincipled because of who he is. I choose not to define Joe with that specific sexual label. His orientation and those of his close friends are of no concern and mean nothing to me. He is a human first and foremost. Joe walks through his neighbourhood and converses with people such as Mother Nature, Santa Claus, Jesus and the Tooth Fairy. Some of these moments are often hilarious. For example, there is what I thought was both a gentle but point-blank poking fun at the so-called demand of correct ‘pronoun’ usage. As a practicing Catholic, I didn’t find Joe’s discussion with Jesus disrespectful or sacrilegious at all. It’s funny, and I don’t want to spoil what occurs. Final Thoughts: It’s not Burkett’s wicked sense of humor that makes ‘Wonderful Joe’ memorable. Yes, there are moments of welcomed, appreciated laughter. That was the very reason my sister attended the production with me—she wanted to experience it again after seeing 'Little Dickens' last year. She and I discovered there’s more to ‘Wonderful Joe.’ Burkett gets his audience to think and to see things from another point of view. ‘Wonderful Joe’ is a vital reminder to reach out to others in a world that is often cold, cruel, and heartless. As a practicing Catholic myself, this emotionally moving production genuinely reflects six of the Catholic social justice teachings: ‘Life and Dignity of the Human Person,’ ‘Call to Family, Community and Participation,’ ‘Rights and Responsibilities,’ ‘Options for the Poor and Vulnerable,’ Solidarity,’ and ‘Care for God’s Creation.’ (Spoiler alert – it is the last moment of the play where the audience sees the teen jumping over the moon. Joe has reached out to this young person to give hope to him and the others he has met. That is precisely what Catholic Christians are called to do.) On this holiday of giving thanks, thank you, Ronnie Burkett, for reminding us of the dignity, worth, and value of everyone we meet and see. Running time: approximately 90 minutes with no interval/intermission. ‘Wonderful Joe’ runs until October 23 at the Jane Mallett Theatre, 27 Front Street East, Toronto. For tickets: visit tolive.com. You can also email at boxoffice@tolive.com or call 1-416-368-6161. TO Live Presents ‘Wonderful Joe’ Created and Performed by Ronnie Burkett Music composition and lyrics by John Alcorn Lighting Design by Kevin Humphrey Production manager/artistic associate: Terri Gillis Stage Manager/Technical Director: Crystal Salverda Associate producer: John Lambert Marionette and costume design by Ronnie Burkett Costumes by Kim Crossley Previous Next BACK TO TOP

Dramas encompass the human response to a created life situation on the stage. Back 'On the Other Side of the Sea' by Jorgelina Cerritos and translated by Dr. Margaret Stanton and Anna Donko. The Canadian premiere Produced by Aluna Theatre and now onstage at The Theatre Centre Credit: Jeremy Mimnaugh Pictured: Carlos Gonzalez-Vio and Beatriz Pizano Joe Szekeres ‘Artfully directed by Soheil Parsa. Beatriz Pizano and Carlos Gonzales-Vio deliver poignant performances.” ‘On the Other Side of the Sea’ is initially a story about two people connecting in a surreal environment. The setting is a dock on an abandoned beach. Sound Designer Thomas Ryder Payne again works his clever magic in establishing a believable one. There are the sounds of water ebbing and flowing to and from the shoreline. There is a dock with a desk and chair. Neatly piled paperwork can be seen on the desk. Lone civil servant Dorotea (Beatriz Pizano) works at her desk on the dock in front of the water. She appears busy completing paperwork. Periodically, she calls out: “Next” for the person in line to approach. No one does. Fisherman (Carloz Gonzalez-Vio) requires documentation from Dorotea to prove he exists. There is an issue at hand first. Before Fisherman gets the documentation to prove he exists, he needs documentation to say who he is to get the documentation he needs. Sounds absurd. That’s precisely what initially piqued my attention to the Canadian premiere of ‘On the Other Side of the Sea.’ Playwright Jorgelina Cerritos incorporates elements of ‘Theatre of the Absurd’ into the script. For example, Costume Designer Niloufar Ziaee has Dorotea wear a comfortable-looking dress as she would in an office setting. However, her office is on the beach. The fact that Dorotea waits for the next person in line, and no one approaches, shows absurdity. Where is everyone? Ziaee has Fisherman dressed in appropriate tattered shorts and a white sleeveless shirt to indicate he works outside; however, he stands in line waiting patiently to speak to Dorotea about getting his paperwork. Dorotea is too busy with her other paperwork and doesn’t want to complete what Fisherman needs. Scenographer Trevor Schwellnus draws attention away deftly from the ordinarily simple view of a dock on a beach to the auditorium’s back wall. In the darkness, there appear to be what might look like crests of waves and a sun in the sky. For some reason, though, there’s something different every time I look at this drawing during the pre-show and the performance. It’s the backlighting. The image never draws focus away from the stage action, but there’s a defined uniqueness each time I see it. There’s more to appreciating this prestigious 2010 Casa de las Américas Prize script for drama. I profiled Director Soheil Parsa last week and asked what drew him to the story. He spoke about the lyrical beauty of the words and the subtext underneath what the characters say. Under Parsa’s artful direction, Beatriz Pizano and Carlos Gonzalez-Vio capture the lyrical sound of the words courtesy of translators Dr. Margaret Stanto and Anna Donko. At times, Pizano’s Dorotea is gruff, business-like, and professional. She’s there to do her job, and that’s it. She’s not there to make friends. Gonzalez-Vio’s Fisherman is often witty and whimsical in his desire to connect with Dorotea. Although he gets frustrated that Dorotea does not listen to him at first, Fisherman is tenacious. He doesn’t give up on wanting to connect with the lonely civil servant, even if only for a few minutes. Pizano and Gonzalez-Vio instinctively know when to pause and when to savour either the words or their meanings in this absurd understanding of relationship building. They listen attentively and actively to each other. Each has a gorgeous spotlit monologue about his and her life and the courage they have found in their circumstances. Dorotea’s responses are at first apprehensive of Fisherman. He appears to be in control. Ultimately, they finally hear and listen to each other with compassion and care. And it’s quite lovely to watch these two fine actors doing so. Parsa finds the subtext of any play interesting. I find the subtext behind ‘On the Other Side of the Sea’ intriguing. For one, the story makes subtle comments about immigration to a new world, and the dialogue between Dorotea and the Fisherman is often funny in this discussion. And that’s important. But there’s more, at least for me. Some may consider the existential angst of cultural identity or human identity within the script. And that too is fine. I’m going one step further, taking a risk, and speaking about the Christian spiritual side of ‘On the Other Side of the Sea.’ In his quest to get Dorotea to listen to him, Fisherman becomes that ‘fisher of people’ to go out into the world and get others to listen. At first, Dorotea represents those too caught up in their day-to-day lives. She doesn’t have time for Fisherman and even becomes annoyed that he won’t leave her alone. But like the tenacious Christ who will not give up on his beloved people, Fisherman is just as tenacious with Dorotea. He doesn’t give up on her. He wants her to listen to him and to understand the spiritual identity of ‘Who do you say I am?’ There’s a beautiful tableau near the end of the play where Dorotea and the Fisherman peacefully stare out over the water. A veritable sense of contentment and calm hovers over them. The serene looks on their faces finely sums up this Christian understanding of identity. Whether or not it was intended to time the scheduling of the play as the Christian season of Lent begins doesn’t matter. Good theatre gets its audiences to think, ponder, and consider other perspectives. ‘On the Other Side of the Sea’ is good theatre. Running time: approximately 80 minutes with no interval. ‘On the Other Side of the Sea’ runs until February 25 at The Theatre Centre, 1115 Queen St. West. For tickets, call (416) 538-0988 or visit alunatheatre.ca. ‘On The Other Side of the Sea’ by Jorgelina Cerritos and translated by Dr. Margaret Stanton and Anna Donko A Canadian Premiere production from Aluna Theatre Directed by Soheil Parsa Scenography by Trevor Schwellnus Sound design by Thomas Ryder Payne Costume design by Niloufar Ziaee Performers: Beatriz Pizano and Carlos Gonzalez-Vio Previous Next

A talk with a professional artist about their career. Back Chilina Kennedy Moving Forward (from Chilina's Twitter account) Joe Szekeres Chilina Kennedy certainly has a lot going on in her life right now as you will see from her answers below. With a five-year-old son who is the pride and joy in her life right now, I am grateful she was able to take a few minutes from her schedule to check in with me as she moves forward into a new way of living. Along with her work as one of the Co-Artistic producers of Eclipse Theatre, Chilina is a top-notch and dynamic performer. I’ve seen her work as Mary Magdalene in Jesus Christ, Superstar at The Stratford Festival. I hadn’t heard the music from ‘The Band’s Visit’ so when I attended the opening night performance through the Mirvish series I wasn’t sure what to expect. I did like the story, and one of the reasons why was her performance. The one role I will always remember her was in ‘Beautiful: The Carole King Story’. I had taken m sister as my guest when I reviewed the opening night production. My sister, Kathy, even remarked how I put my pen down as I didn’t want to write any notes but simply enjoy what was presented before me. It was glorious. Thank you again, Chilina, for taking the time from your schedule: It appears that after five exceptionally long months we are slowly, very slowly, emerging to a pre-pandemic lifestyle. How has your daily life and routine along with your family’s life and routine been changed? Well, it’s interesting that you asked me at this point because I’m in quarantine with my five-year-old son. I didn’t want to lose our green cards so we had to go back to the US for three nights just for the while we re-applied for the entry permits so we could stay in Canada for the next two years. Once you come back, you have to quarantine and they’re very strict about it as they should be. It’s been very interesting. He still continues with at home learning. He had a drum lesson this morning and we’re about to go into a home school situation with three or four other kids. We’re going to take turns as each family is going to teach on a different day. It’s been fascinating, but unfortunately for people in our business there has been virtually a 100% unemployment rate in the terms of performing artists at least. People are able to continue doing all other sorts of things which is great, but at least in terms of the performing arts film and tv are starting to come back and that’s been great as I’ve had lots of auditions for that kind of stuff. But everybody job that I had has been cancelled which is disappointing. Were you involved or being considered for any projects before everything was shut down? I was supposed to be playing Fantine in ‘Les Miserables’ right now. That’s a disappointment as I’ve always wanted to play that role, and I figured it was my opportunity to do that role now. I don’t know if I’ll get that chance to do it again. I just had a fitting for it when the pandemic hit. A lot of things are now shooting in Canada so they’re looking to fill a lot of Canadian quotas, the American companies are, and there are a lot of Canadian companies that are too. That’s good news plus the online concerts. What has been the most challenging element or moment of the isolation period for you. Solitude is not something I’m afraid of even with my five-year-old son. I quite like it. I like the peace of mind it brings. It’s a positive thing really. The hardest part for me initially was not seeing my parents for the first couple of months until we decided to bubble with them. It was tricky because we came from New York, so we were really worried that we were carriers of the virus. The last thing I wanted to do was to spread it to anybody, particularly my aging parents. That was hard with the panic of what to do. And the panic of what to do with my apartment in New York. That still remains a challenge but at least I’ve got somebody in there right now. Life as we know has kind of died. It’s a bit tricky because I’m never going back to that apartment in New York as I’m going to let it go. Everything has just changed. I don’t know if Broadway will ever be the same again. In some ways, that’s a good thing because we’re learning a lot of lessons in this time. It’s challenging, that’s for sure. I agree with the comment that Lucie Arnaz also made about Broadway not coming back until the fall of 2021. I think it will be at least that. People are very creative and there are lots of interesting ways of getting around things. As you know, I’m the Co-Artistic Producer of Eclipse Theatre here in Toronto along with a bunch of other people. The company is trying to follow suit and do some of the things we want to do at a distance, but it’s challenging. Our systems have not really been tested yet, so we don’t know yet what we’re doing. What had you been doing to keep yourself busy during this time of lockdown? To be honest with you, there has been a lot to do, running the household and keeping my five-year-old entertained. I want to make sure he’s stimulated so we have a lot of projects happening. I’ve been re-doing my basement, cooking a lot, and I’ve had tons of auditions which has been great for film and tv so that’s been helping me to get my chops back up. We’ve been setting up an Education Department at Eclipse which has been great. There have been some online classes and I’ve been teaching a little bit. Most importantly, I’ve been remembering how to relax, gardening and doing things like that. I’ve also been trying to open my eyes and educate myself on what’s been going on in the world. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of Covid-19? What advice would you give to new theatre graduates about this time? Oh, that’s a very good question. In fact, I’ve just offered some words to artists at York University who are about to start school next week. My advice, and you can take it with a grain of salt, “I hope that people don’t feel discouraged.” I know it’s a challenging time but theatre is going to survive, it’s never going to die. We’ve been through wars, through pandemics and all sorts of things and theatre has always survived. I think it’s going to look a little different on the other side, but I think we’re going to get through it so I hope the next generation of artists are training as hard as ever because they’ve got to be ready when we ARE ready to come back. This is a pause button and an opportunity to reflect. It’s a time of great change so if we can learn something from this time and move forward with new voices and new stories and exciting material coming out of this time, we’ll be all the better for it and have a stronger arts community. A lot of the great artists wrote their masterpieces during times of great suffering and trial – ‘King Lear’ was supposedly written during the Great Plague. Do you see anything positive stemming from this pandemic? If we take the bull by the horns, I see a lot of positive change. I also see a lot of possibilities to revert back to the way we were, and I don’t think that’s a very good solution. There’s a lot of push and pull – there are a lot of people who do want lasting change, and I think there are a lot of people who have a stake in the way things used to be and want things to go back to the way they were. And I understand both as there is a comfort and familiarity in going back to the old ways. We’ve got to strive ahead in a much better fashion than we were before. I feel encouraged for the environment, for diversity in representation. In your opinion, can you see Broadway, the Toronto, regional and North American professional performing arts scene somehow being changed on account of the coronavirus? I sure hope there is diversity in representation with the BIPOC voices and communities. I hope there is a lot of change. I think there should be change. There should be more listening happening, much more diversity and inclusion in terms of stories that we’re telling, and who’s telling, and who’s creating them and the way we collaborate. I think we have this great opportunity to enter a new phase of how we create art and how we tell it. What are your thoughts about streaming of live productions? Will it become part of the performing arts scene in your opinion? Have you participated or will you participate in any online streaming soon? Well, I’m probably going to misquote somebody. I’ve heard somebody say there is a name for acting on camera and it’s called film and tv. I don’t think live performance is meant to be Zoomed. It’s weird. Frankly, I’m not a huge fan but if that’s all we have well I think we’ll find creative ways to present it in a fresh capacity. To be honest, isn’t there a term – I think we’re all getting a bit Zoomed out? People are just aching to be back together again in the theatre. There’s something about gathering that is so unique to what we do for a living, breathing the same air, and the heart beating at the same time as we wait for the production to begin. Indeed, it’s a shared experience. It’s so important and those live emotions that are shared with each other do not exist through a screen. It’s only a percentage of the experience. Obviously, artists have to be compensated appropriately if streaming is the only possible option if any kind of profit is made. Despite all the change, the confusion and drama surrounding this time of re-emergence and recovery, what is about performing you still love? I love creating new work as that is probably my greatest love. One of the things I have been continuing to work on is a new musical that I’ve written with Eric Holmes who’s one of the writers on ‘The Good Fight’. He was one of the writers on ‘Smash’. He’s a fantastic guy, very talented and he and I have been working on this new musical for a couple of years. We’ve been continuing to bash away at it. It’s wonderful because I do have a piano in my house, guitars and ukuleles and all sorts of instruments around the house. My son and I make music together. I continue writing my show. There are ways to keep at it. I was sitting in an outdoor gathering with a bunch of wonderful women, friends of mine and colleagues and we were all sitting at a distance around this fire. We were talking about singing, not for the pay cheque, but just for the fact we love to sing and that’s something I think so many of us have forgotten. Now this chance, this quiet opportunity has made many of us so aware that we miss singing simply for the joy of it. We started singing in this circle with all of us getting involved not because we were getting paid or people were watching, no job at stake. It was just for the simple fact we love it. We were just feeling that live vibration in that space and right in that particular moment, in that outdoor space. And I think that to me, “Oh, wow”, I think back to when I was a kid just starting out. And it’s the whole reason why I do what I do. That’s why I love it. Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back I GOT THE JOB ! Songs From My Musical Past Lucie Arnaz Luckinbill with Ron Abel at the piano Joe Szekeres VOICE CHOICE Keep playing your song again and again, Lucie Arnaz. Thank you for sharing your joy of music with us each time you got the job from the past. Lucie Arnaz Luckinbill is one hell of an entertainer and performer who has taken to heart the advice of two very dear people to her. The first is from her father, who told his daughter years ago that she should develop an act showcasing her song versatility. At that time, she jokingly told him she only had two Broadway shows under her belt. But she remembered her father’s words and has since amassed a glorious musical repertoire. The second pieces of advice came from her dear friend, the late Marvin Hamlisch: “You have to respect the instrument you were given.” and “Find humour in life because it’s so precious and short.” Tonight’s show indicates that she has done just that. In between musical numbers, Lucie regaled the audience with some very funny bits where she unabashedly drops the ‘f bomb’ with such class and pizazz. Atta girl. Arnaz continues reiterating how grateful she is to return to New York’s 54 Below after four years with her show “I GOT THE JOB: Songs from My Musical Past.” She also appreciates those whose tickets changed umpteen times because of Covid and who could make it to the show. As a Canadian fan, Lucie, keep playing your song again and again. I was honoured to be in the audience tonight, and I sincerely hope Toronto will be playing your song very soon. Arnaz looked terrific tonight in what appeared to be an aqua-blue top with form-fitting slacks and dark shoes. There were moments, however, when her top's colour appeared magically to change to green depending on the stage lights at any given moment. Her passion is performing live, which was oh so gloriously evident in several musical numbers. Arnaz doesn’t just sing. She feels the consonants of each word and tastes its meaning before breathing that healing force of music and sound toward the audience. A couple of people sitting around me were indeed affected. I saw one big burly fellow wipe tears from his eyes. His guest at the table put his hand on his friend’s shoulder. What a lovely selfless act of compassion and trust. A couple of musical moments touched my heart. Lucie played Annie Oakley years ago in “Annie Get Your Gun” A beautiful moment from the end of ‘I Got Lost in His Arms’ had her looking lovingly and longingly at her wedding ring. Everyone in that room just sensed and knew there was a moment between her and her husband, Larry Luckinbill, and that no explanations were necessary. The second occurred with the song ‘I Still Believe in Love’ from the show “They’re Playing Our Song” where she got the opportunity to create her character, Sonia Walsh, from scratch. At the song's end, Lucie blew a kiss skyward to Marvin Hamlisch and again no explanation was necessary. That’s the power and reach of music. I had the opportunity to see her perform in London’s West End in “The Witches of Eastwick”. I learned producer impresario Sir Cameron MacIntosh wanted Lucie so desperately for the production that he offered her any of the lead roles in the show. Lucie comically stated she wanted to play the devil before she said she would play Alexandra, the mother. Arnaz’s comic genius inherited from her father and mother was evident in how she sang ‘Who’s the Man?’ The piece de resistance of the evening (or the eleven o’clock number)? Lucie was contacted when the revival of ‘Pippin’ went on its national tour. She was asked if she would play Pippin’s grandmother, Berthe. Even though the grandmother doesn’t have much stage time, Arnaz jumped at the chance after speaking with her husband. She loved ‘Pippin’ when she saw the Bob Fosse original many years with Irene Ryan (Granny Clampett) playing Berthe and singing the song: ‘No Time At All.’ Another reason why she performed the role on tour? She got to play on a trapeze bar high above the stage during the song. And when she sang ‘No Time At All,’ tonight, I found myself mouthing the words while several around me were swaying in their chairs, keeping time to the music. I loved that Lucie left us this message at the end of I GOT THE JOB. Don’t regret wondering if you should do something. Do it now because life is so short. Appreciate its preciousness and wonder of the moment and in the moment. That’s what Lu did. And she wants us to do that too. See I GOT THE JOB: Songs from My Musical Past. It’s a Voice Choice from me. Running time: one hour and 30 minutes with no intermission. The show runs until July 22 at 54 Below, 254 West 54th Street, NYC. I hear the show is sold out, but if you are in the area and would like to try and get tickets, visit http://www.54below.org . The show is to be streamed on Saturday, July 22 so if you can’t get tickets, learn more about how to stream the show. Visit Lucie’s website: www.luciearnaz.com to learn more about the actress and see where I GOT THE JOB: Songs from My Musical Past will be performed next. Previous Next

Where theatre is not only presented on the stage. Back The Man That Got Away (A Special Appearance) by Martin Julien Buddies in Bad Times Theatre HAUI Joe Szekeres An absorbing performance of a gutsy, complex individual who has lived life the way he wants in all its glory, its warts, and its divineness. This is my first time seeing Martin Julien in a live performance. Why have I waited this long? According to a release I received, ‘The Man That Got Away’ was developed in the Buddies Residency Program. It’s a “genre-subverting piece deconstructing the cabaret and confessional forms, delving into Julien’s queer upbringing as the child of a lesbian and gay man in mid-twentieth century Toronto, as well as the loss of his father to HIV/AIDS in the late 1980s.” There’s a great deal going on just in this description alone. Suffice it to say Julien took me on a deeply personal journey with him through a Toronto I remember reading about it in the papers and seeing the various stories on the news. As a young teacher at that time, I remember the tremendous heartache, the fear of the unknown and the personal suspicions about those deemed different which irreparably destroyed lives. Martin ably and heartfully captured these emotional highs and lows with respectful class and dignity. ‘The Man that Got Away’ took on a completely different meaning for me in hearing it from an individual who was there, who lost loved ones, and who will forever be changed by what he saw, heard, and encountered during the AIDS crisis. And as a member of this opening night audience, I was richer for listening to Julien share and sing his fascinating story about his family supported by two fine artists, Tat Austrie and Ben Page. Austrie played a vocally astounding Judy Garland while Page ably accompanied on the keyboard (and provided the odd voices from Julien’s past). ‘The Man that Got Away’ is not simply a cabaret piece. In his Playwright’s Notes from 2020, Martin writes he wanted both “to use and subvert the tropes of cabaret/nightclub/concert hall performance.” For me, the show is more than just that. It becomes a call to action to truly hear and listen to not only this story but all stories that are not like our own. Director Peter Hinton-Davis subtly directs with intimacy and compassion as he moulds and shapes Julien at various stages of his life that are sometimes moving, sometimes heartbreaking but most often always credibly real. Stephen Woodjetts’ musical arrangements are soundly placed at crucial points in Julien’s life as the song lyrics led me further into going deeper in understanding this complex individual. It’s been a long time since I’ve heard Judy Garland sing ‘The Man That Got Away’ from the 1954 film ‘A Star is Born’. Here, I found this rendition mesmerizingly haunting and permeated the auditorium walls and remained with me long after I got home. Sean Mulcahy’s starkly simple set design gripped my attention immediately. A lone spotlight hazily reveals a chair centre stage. It reminded me of those tv talk shows from the mid–late 1950s where the host smoked a cigarette and interviewed his guests. Bonnie Beecher’s full-on cabaret style of lighting at one point sets the stage fiery ablaze as Julien sings in a style that reminded me of Liza Minnelli’s rendition of ‘Cabaret’ in the Fosse film. HAUI’s striking video designs referenced, when necessary, the time frame or Julien’s state of mind at various points in his life. The press release also states, “while the play is deeply personal, the production grapples with broader questions of queer identity, struggle and history exploring the liminal spaces between the unobserved and the public, the closet and the stage, escape and encounter.” Once again, a great deal to ponder from my audience’s perspective on how I am to look at the subject material with an open mind, eye, and heart. The odd bits of humour especially in how Martin and his father used Broadway show tunes in their personal lives did make me smile and utter a low chuckle behind my mask as it did, according to Hinton-Davis’s programme note “described a time, distant and unrecognizable to another generation…we challenge and teach each other in the exchange.” Final Comments: An engaging performance, ‘The Man That Got Away’s’ success remains incumbent on us to listen to other voices, to hear their stories, to digest and to think really about what is most important in life. For Martin Julien, he’s lived life the way he wants in all its glory, its warts and its divineness. I respect that truly. Running Time: approximately two hours and 10 minutes with one intermission. ‘The Man That Got Away’ (A Special Appearance) runs until December 18 at Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. For tickets, visit buddiesinbadtimes.com or call the Box Office at (416) 975-8555. ‘The Man That Got Away’ (A Special Appearance) by Martin Julien A Buddies in Bad Times Theatre Production Director: Peter Hinton-Davies Musical Arrangements and consultation: Stephen Woodjetts Assistant Director and Dramaturge: Monice Peter Stage Manager: Fiona Jones Set and Costume Design: Sean Mulcahy Lighting Designer: Bonnie Beecher Video Design: HAUI Sound Design: Wayne Hawthorne Performers: Martin Julien, Tat Austrie and Ben Page Previous Next

A deconstruction of an individual's story. Back 'Monster' by Daniel MacIvor Part of a double bill by Daniel MacIvor now onstage at Toronto's Factory Theatre Provided by B-Rebel Communications. Pictured: Karl Ang Joe Szekeres "A puzzlement of a script but oh so frightfully fascinating to watch unfold. Karl Ang and Soheil Parsa are extraordinary artists who dig deep into the human psyche and uncover some dark intentions." ‘Monster’ and ‘Here Lies Henry,’ written by Canadian playwright Daniel MacIvor, are on a double bill this month at Toronto’s Factory Theatre. I saw the opening night performance of ‘Monster.’ Another Our Theatre Voice writer will comment on ‘Here Lies Henry.’ ‘Monster’ was, well, a puzzlement. Don’t get me wrong. The production contains a memorable performance of emotional control and nuances by Karl Ang and is directed with careful precision and understanding of each individual line by Soheil Parsa. But a lot is happening here…at times, ‘Monster’ is frightening. Other times, it’s alarming… But where is Karl Ang taking me? That’s what I want to find out. The Factory website bills the solo show as peeling back the 16 layers of 16 different characters to reveal the dark heart of the individual experience. ‘Monster’ invites its audiences to confront our fears and embrace the complexities that make us human. Hmmm… Trevor Schwellnus’ bare stage goes completely dark at the top of the show where we then hear someone yelling ‘Shut Up’. To whom is this directed? It just comes out of nowhere. Karl Ang then appears. The programme lists Allie Marshall as Wardrobe Stylist. Ang is dressed comfortably. He appears to be the kind of guy we want to sit down and talk with. Was this he who shouted at someone to shut up? At first, I thought someone was talking in the audience and was all this staged as part of MacIvor’s script? Schwellnus’ eerie lighting design doesn’t leave me feeling comfortable. For some reason, I just sense that something is not right here. But I want to keep going. Ang then proceeds to regale with stories and various characters that somehow are all related. For most of the running time, he is rooted centre stage with a spotlight on him. Aided by Thomas Ryder Payne’s meticulously executed (and sometimes frightening sound design at the right moment), Ang is an incredible performer who can switch from one character to the next, whether male or female, in seconds. For example, there’s the story of a young boy who hacked up his father in the basement. We then meet lovers Al and Janine, who argue, make up and then decide to marry, although there is this strong sense the marriage will not last. What’s the connection? MacIvor was recently interviewed by Aisling Murphy for Intermission. The following made me re-think again more about ‘Monster’: “The world has become both tender, and more brutal. The notion of evil is a very different conversation today…More and more…my responsibility is to step further into telling truth, so I can bring the truth of myself, or whatever the hell that is…” What truth is told in ‘Monster’? And then it finally dawned on me about halfway through the 75-minute running time. Does it really matter if truth is told in the end? Another frightening element to consider. The final few moments of the piece are spellbinding and haunting. Karl Ang is a changed man at the conclusion. I will never look upon Burt Bacharach’s ‘Raindrops Keep Falling On My Head’ in the same way again. ‘Monster’ is one of those solo shows that once again demands a talk back. Hopefully there will be some scheduled in its run to December 17. Side note: there’s talk that it might be a good idea to see both ‘Monster’ and ‘Here Lies Henry’ on the same day. I didn’t have that opportunity this time. However, it might be something to consider. Running time: approximately 75 minutes with no intermission. The production runs until December 17 in the Studio Theatre at Factory Theatre, 125 Bathurst Street, Toronto. For tickets, visit factorytheatre.com or call the Box Office (416) 504-9971. FACTORY THEATRE presents ‘Monster’ by Daniel McIvor Directed by Soheil Parsa Production Dramaturge: Ric Knowles Set, Props and Lighting Design: Trevor Schwellnus Sound Design: Thomas Ryder Payne Wardrobe Stylist: Allie Marshall Stage Manager: Meghan Speakman Performer: Karl Ang Previous Next BACK TO TOP

A talk with a professional artist about their career. Back Michael Torontow Artistic Director, Talk is Free Theatre (TIFT) Barrie, Ontario Lane Dorsey Joe Szekeres Talk is Free Theatre’s (TIFT) company name from Barrie, Ontario has always piqued my curiosity since I’ve embarked on this new journey into professional theatre commentary. When I profiled Arkady Spivak a couple of years ago, I forgot to ask him about the name’s genesis. I was so thankful he assisted in helping me obtain an interview with TIFT’s Artistic Director, Michael Torontow. After I spoke with Michael, I got in touch with Arkady again to ask about the genesis of the name: From Arkady: “There are many inspirations for the name; three more widely used are 1) free speech and an opportunity for artists to engage in projects without interference from other pressures, 2) the satire on everyone thinking they are doing something by simply talking about it performatively, 3) acronym TIFT is a Restoration verb which means to get something ready, to prepare.” And in that same email, Arkady coyly wrote: “There is an inside meaning, but to reveal it would be to lose magic” with two smiley emoticons following. Thank you for this explanation, Arkady, as I would never want to destroy TIFT’s magic for me. I like what Christopher Hoile from Stage Door wrote about TIFT: “[It] is one of the most vibrant, innovative theatre companies in Ontario. TIFT provides one of the best reasons why Torontonians who love exciting theatre need now and then to look beyond the city’s borders.” I am planning to do just that going forward. I thoroughly enjoyed and appreciated Michael taking time to speak with me and to allow my Grade 12 Co-operative Education student to sit in on the interview and to hear a highly respected and articulate man speak about the company. Torontow will also appear in TIFT’s production of ‘Sweeney Todd’ in June. More about this upcoming musical shortly. On a personal level throughout Covid’s continuation, he and his immediate family have been faring very well. Michael feels extremely grateful of course and privileged in many ways that, with many who have suffered loss over the course of the pandemic and endured so much hardship, he is very lucky. He and his partner live in a house with a yard and nature nearby in the Dundas, Ontario area. They got a dog over the course of the pandemic and have taken the advantage of being able to live their ‘little’ lives and be safe in venturing out to the grocery story when necessary. Michael feels there is so much to say about the trajectory of Canadian live theatre regarding Covid’s influence. He is going into his first season as full-fledged Artistic Director with the company. He is excited just for a sense of normalcy within the industry once again when it comes to how everyone experiences live performance. TIFT took some inspiration in learning from the pandemic last summer in venturing forward with the outdoor production of ‘Into the Woods’ and the ‘Plural of SHE Festival’, a series of shows performed by women and those identifying as women. TIFT continued to search for ways to keep the artist working, whether it was through first day readings (where they got people together on Zoom to read a play) and whether something would come from that. Some of these opportunities turned into development of full plays. For example, the recent ‘Judas Kiss’ came from one of these first day readings. I could tell Michael was keen to share TIFT’s plans for its upcoming slate which will be announced soon as certain details are still being worked out on certain projects. Additionally, the pandemic has allowed the company to complete a great deal of reflection about moving forward with development of some service projects, to examine mental health in the rehearsal space, and to address some of the issues that have come up over the last couple of years. Through implementing these changes in future TIFT productions, Michael hopes the company can become a leading example of progress within the theatre industry that other theatre companies can look to for advice, guidance, and inspiration. When I looked at the names of the company members on TIFT’s website, there are the crème de la crème of quality artists. I asked Michael if all these persons were gathered and sitting in front of him at this moment, what would he say to them? He paused, and in a hushed voice said, “Oh my gosh!” I know I put him on the spot, but he acknowledged he wouldn’t be able to keep it brief. But he did: “Thank you for being a friend. There’s an element to which TIFT is what we are today because of all of you. We have an interesting symbiotic relationship with all of you where a strength of TIFT is that and what attracts great people to the company is that we do work that people want to do, whether it be original or anything artists want to create themselves. We will continue to do things differently and uniquely from how you might see things at other places. And you, dear artists, continue to inspire TIFT with the gifts you offer.” What a beautiful tribute Michael paid to this company which proudly sees itself artist first and organization second. Nevertheless, Michael also recognizes the company’s learning during this time how artists and audiences are aware Covid is still among us and not going away immediately. There may have to be a pivoting away from plans and goals depending on how Covid progresses. He got to direct his first musical, ‘Into the Woods’ with TIFT as Arkady saw something within to venture into new territory as director as he had been thinking about that for some time. In June, Michael will play the titular role in ‘Sweeney Todd’ directed by Mitchell Cushman. The production will take place at the Glen Rhodes Campus at the Neighbourhood Food Hub. (Link provided at the end of the article) Without spoiling too much fun, Michael said audiences will be made to feel part of Sweeney’s story in an immersive and roaming production instead of just merely watching it. Nearly every inch of space in the church will be used. Guests will enter through the church, but they have no idea where they will be taken. There are certain scenes of the show where audiences will literally be among the action, perhaps even twelve inches away from the actors and artists. You may not know where to look, but that’s okay as that’s all part of the point as so much stuff will be going on all over the place. Rest assured though Covid protocols and masks will be used since there are no understudies and TIFT does not want anyone in the cast, crew, or audience to get sick. Some staging of the scenes will be intention as the wearing of masks will also become intentional as part of the audience involvement and performance. One of the things Torontow hopes to accomplish in playing Sweeney is seeing the human side of Benjamin Barker first before he became the murderous, demon barber of Fleet Street. The whole reason for Sweeney going through emotions and actions when he returns to London from Australia is the fact he is trying to get a sense of what he might have lost as Benjamin Barker. He wants his daughter back and he wants to find his wife. Why do audiences need to see ‘Sweeney Todd’ now? For Michael, one of the prevailing themes comes from one of the lines in the show: “Those above will serve those down below.” The play is all about a class issue and how Sweeney was easily whisked away to that penal colony in Australia by a Judge who, just because of his position in society, was able to take something from Sweeney and then shove him off wherever he wanted. To a certain degree in our society for Torontow (even though he doesn’t consider himself an economist) the rich and the poor are diverging more and more, and the middle class is disappearing more and more. To be able to illustrate the difference between the above and below is a little bit of a nice reminder to people. A month of rehearsals was already completed. The production was at the end of a two-month hiatus, and the company returns into a refresher and into technical rehearsals starting Tuesday May 31. And once ‘Sweeney Todd’ has completed its run? What’s next for Michael Torontow? Well, right away he is going to be part of the Porch Side Festival at Theatre Collingwood. Michael had performed the play ‘Every Brilliant Thing’ with TIFT a couple of years ago and will perform it once again in Collingwood. After Collingwood, Michael will then be developing new and exciting things coming up for late summer and early fall for TIFT. He is one busy guy but the energy he exuded during our conversation was infectious. Thank you so much for your time. To learn more about Talk is Free Theatre, visit www.tift.ca . To learn more about TIFT’s upcoming production of Sweeney Todd: https://tickets.tift.ca/TheatreManager/1/tmEvent/tmEvent328.html Previous Next

A talk with a professional artist about their career. Back Justin Stadnyk Looking Ahead Courtesy of Talk is Free Theatre website Joe Szekeres ‘There are other voices in today’s world right now that are more important than mine for them to tell their stories, and for them to lead and be seen leading.” Justin Stadynyk’s final comment during our recent conversation resonated strongly with me. He is more than happy to allow these voices to take their course and proper place in society. He hopes to still be performing in the next five years but also hopes to take that creative bug he has to be on the writing team of a show or the re-creation of a show. I applaud artists who will do their best to make something like this happen and I believe Stadnyk will do just that. He and his wife (who owns a few Winnipeg dance studios) have one newborn and one toddler boy in the house. He stated that he prefers shorter work contracts for now as he doesn’t want to be too far away from home. After we ‘zoomed’ each other, I did a bit of research and discovered I had seen him perform in 2009 at Toronto’s Royal Alexandra in ‘The Boys in the Photograph’ (formerly titled ‘The Beautiful Game’ when I saw the show in London’s West End). I wished I had told him that during our conversation, but it’s here now in print and that’s the important thing. He will appear in September for three days in Barrie Ontario’s Talk is Free Theatre’s ‘Giants in the Sky’. Just what is ‘Giants in the Sky’ aside from a song title in ‘Into the Woods’? Over September 9-11, 2022, and September 16-18, 2022, culture, music, and theatrical performance are bringing rooftops, balconies, and fire escapes of the city of Barrie, Ontario to life, and it’s all free. Performing in some manner has always been a part of Justin’s life. He reminisced that he sang on the playground when he was a “young, young kid.” He attended a Winnipeg high school that had a good performing arts program. He jokingly stated he didn’t follow in the footsteps of his two older brothers and decided to go somewhere else. As soon as he graduated high school, Justin relocated to Oakville, attended the Musical Theatre Program at Sheridan College, and graduated in 2006. This thing called Covid still hovers around all of us, including the performing arts. For Justin, these last two-plus years of absence from live entertainment have placed a lot of things into perspective for him. Justin proudly states his path during the pandemic slightly veered as he and his wife had two boys born during this time. One was born days after the initial shutdown and the other was born five months ago. He calls these last two years a re-shuffling in a perspective shift: “it feels nice that things are slowly getting back in, and it seems as if people are okay with that. Before there was the hustle of the artist trying to get the work, and now, for me, the work seems more meaningful and has a weight to it. Talk is Free’s GIANTS IN THE SKY will allow me a three-day event of musical theatre songs that I love and love to showcase.” What was it that drew Justin to the upcoming ‘Giants in the Sky’ project? He found this a great welcome back for the artists to come together to share their voices in this festival. He recognizes artists are trying to find their comfort level returning to performance as it is nerve-wracking since one can’t just simply return and pick things back up again. Not only does he consider his 45-minute performance set ‘Corner of the Sky’ a nice welcome back to theatre, but also the vast array of programming that has been put together by Talk is Free for the two weekends is fascinating from drummers to poetry readings to opera singers, jazz singers, musical theatre artists, impersonators. Stadnyk calls ‘Giants in the Sky’ a great chance for the artists to ‘wet their whistle’ again with arts and not be forced to put an entire evening aside for one style. Stadnyk will perform outdoors in a back alley for the comfort of those who might not be ready yet to venture indoors into a packed theatre. He has selected an array of songs from the musical theatre canon from classic to pop. He doesn’t have to stick to one genre of the musical theatre category in case a specific song might not be someone’s cup of tea. Additionally, Justin is also a ten-year entrepreneur and works in Yoga and Meditation. He completed his teacher training for Yoga in Brazil in 2011/2012. According to his website, his primary business is: “just music™ . It has become the “go-to” music editing company for choreographers all over North America and the world. The mission of just music™ is to provide a resource for the creative arts and sport communities to create non-jarring, seamless music edits along with providing other music services in order to allow choreographers the time and head space to flourish as just that, the choreographer.” Justin started Yoga when he was playing Gilbert Blythe in the Charlottetown Festival’s production of ‘Anne of Green Gables’. It was called Moksha Yoga then and now it’s called Modo Yoga. He fell in love with yoga as he discovered it helps with his singing and dancing in his musical career. What he didn’t expect from yoga was how much it would help in his acting because of the ability to practice letting go of everything and being in yoga for however long the session: “It is the same with acting.” Justin explains: “One has to let go of the day and be in the moment for the length of the performance. This is hard as there is so much going on in our lives especially surrounding the pandemic now. It’s important not to be able to push down your feelings and stories but to shelve for that moment so you can pick them up later for performance if necessary.” He smiles and concurs how good of a question it is to ask someone where he/she/they see themselves in the next five years. His favourite part of the arts is creating. Some of Justin’s favourite shows have been world premieres and not re-creations of something. He would love to start working on the other side of the table as part of that creative process and perhaps become a writer, an assistant director or a director. If these opportunities presented themselves in the next five years, Justin would like to dabble in them more. And finally, what’s next for Justin Stadnyk once ‘Giants in the Sky’ is complete and he returns home to Winnipeg and his family: “I’m working on ‘Into the Woods’ with Winnipeg’s Royal Manitoba Theatre Centre. The pandemic has made many companies realize they need a bigger insurance policy with standbys and understudies. This is a different role for me as I will be a standby for two of the roles: the Baker and the Narrator and the Mysterious Man. So, in true form to what I said about my five-year plan, I’m really looking forward to the creative process where I get to sit and watch all of these people create and then I get to learn the roles…It’s going to be a new experience for me to be sitting taking notes up in the back and rehearsing things, but I’m excited to be doing it in Winnipeg. I’m happy this is happening more and more in theatre companies.” To learn more about Talk is Free Theatre’s ‘Giants in the Sky’ festival, visit www.tift.com . Previous Next

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

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

A talk with a professional artist about their career. Back Iain Moggach “If the last few years have taught me anything, me writing these things down and putting them out into the universe is half of the battle. And whether it is me or a successor at the helm, it will happen.” Khaleel Gandhi Joe Szekeres To Barrie, Ontario: you are one lucky city to have Iain Moggach promoting your theatrical artistic community. The youthful-looking Theatre by the Bay’s (TBTB) Artistic Director is one to watch. What’s foremost for him is his commitment to ensure Barrie’s artistic endeavours, especially in the theatre, remain noteworthy. For example, (and according to his website), much of his work with Theatre by the Bay has been on education and training for emerging artists. Since 2020, he has been the lead instructor of the Emerging Director Project, created the Barrie Theatre Lab to support new play development, and he also launched the Simcoe County Theatre Festival to provide a platform for local emerging artists. I was fortunate to have attended the latter a few years ago. Just recently, in 2023, Iain was formally signed to The Talent House, a leading agency in the entertainment industry for over 35 years. This young artist is going places. I firmly believe that. I’ve continued checking in on artists I profiled three years ago when our world changed. The link to my first conversation with Iain is at the bottom of this profile. He and I once again conducted our conversation via email. As a professional artist, he feels very satisfied that things have never been better. He has had the chance to work with incredible artists and directed shows of which he is incredibly proud: ‘The Ghost Watchers,’ ‘A Scandal for All Seasons’ and ‘Icemen.’ While the pandemic has made it harder to get their work out of Barrie, a goal in the plan, the company has been able to do so. There was a production of ‘Mno Bimaadiziwin’ about Indigenous experiences in Orillia at the Orillia Opera House in 2021 (the first indoor theatre production for many of our audience members since the pandemic had started). I did get the chance to see it, and it was worth the trip to Orillia. In partnership with Theatre Collingwood, TBTB brought both of its 2022 full productions to Collingwood and presented Mary of Shanty Bay at the church that the real Mary O’Brien and her family built. Iain can’t speak about his 2024 show yet; however, I am watching for it and will share the title when it becomes available. Iain is also ‘through the woods’ on a book he is adapting and will be able to announce within the next year if everything goes according to plan. Like all of us, though, the last three years have taken its toll even on our hopeful, enterprising young people who have much to give back to the community. I am concerned for these young people as they are the ones who are going to lead us forward into the future. On one side of things, Iain has had a lot of sleepless nights and periods of overwhelming anxiety, despair, and frustration. On the other hand, there is incredible joy, relief, and success, especially in reading about his accomplishments. Moggach recognizes that such considerable fluctuations in emotions as regularly as the last three years have taken their toll on him. He feels like a very different person than he was three years ago. While an eternal optimist, that optimism has been wrung quite dry. He chooses to keep going. That’s admirable, young man, but please never forget that you and your family come first. The Barrie community (and me) want you to enjoy life and the fruits of your labour with your family and community in that respective order. Moggach hasn’t lost his quick wit during these last three years. He shared he had an acting teacher at George Brown who would use making theatre in Barrie as the punchline of a bad joke. He quoted verbatim what the instructor used to say in class: “You can be a great actor, or you can go and do work in Barrie.” Where is this instructor’s professionalism? Ugh!!!!!!!!!!!!! Moggach has something else planned. Instead, his goal is to swap that asinine perspective and have the broader theatre community be excited (and perhaps a bit jealous) about what is going on in Barrie and be amazed by the quality and quantity of work and calibre of artists coming out of the community. Iain also hopes that the artists who live in the community feel like they always have a place in TBTB. It is also hoped that TBTB can provide as many ladders as possible to ensure a place for them at each step of the local theatre community’s journey. What are some areas of growth Moggach still sees for Theatre by The Bay? He recognizes that the most urgent task is to capitalize better on community goodwill and turn it into dollars in its bank account. TBTB also needs to break into the OAC and CCA operating streams – which has never happened before in the company’s 20+ year history. On the artistic side, the theatre has identified gaps in the local community that need to be addressed to keep hiring local artists as high as it would like. Moggach suspects these two things could go hand in hand and lead to the Theatre by the Bay, which he sees clearly in his mind. There is also the hope of bringing TBTB’s work out more broadly. For example, I was highly impressed with ‘Icemen’ in the fall of 2023 and thought how important it would be to bring that production to community centres or stages in smaller regional towns. Moggach mentioned Alliston, for example, and that would be great; however, since I live in the Durham Region, might he consider bringing productions down further south? The same holds true for two other productions I saw that were indeed memorable: ‘Mary of Shanty Bay’ and ‘Bobbie’, which came to my mind. Iain also spoke about possibly bringing these three shows across Canada in the future. He’s just that kind of earnest artistic leader who would and could make this happen. I’ve asked some artists I’ve profiled where they see themselves again in the next five years. Some have chosen not to gaze into that crystal ball as they see no benefit, while others have pondered the future. Moggach was clear on his five-year plan for TBTB and wanted to share the results. Actually, 2024 will mark the end of the plan that started in the fall of 2019. Despite the pandemic, TBTB has been able to achieve many of the goals that it had set out. TBTB is now twice the size that it was in 2019. It launched much-needed community development projects like the Simcoe County Theatre Festival and the local Indie Producer Co-op. The company dramatically increased the diversity of its storytellers and artists. A few things couldn’t be achieved, but the company is fine with those being in the next plan. One day, TBTB should own its own space for workshops and classes, auditions, and rehearsals, for instance, but 2024 is probably not the right time for that. He elaborated further: “There are more pressing priorities than that right now. Looking back, I knew developing the first Five Year Plan would be useful, but I think it spoke things into being - as if by writing our goals down, we made them real.” The growth of TBTB has been remarkable for Moggach. For him, an example that comes to his mind is the Indie Producer Co-op. This program has always been a gem in TBTB’s crown, but it has really come into its own in the last few years. In 2022, thanks to the donation of a local foundation, the Co-op expanded to include a local component to help develop the producers of the future in Simcoe County – a much-needed expansion and support for the ecosystem. And then, in 2023, it was expanded again to become a national program. TBTB had participants from across the country who lived and worked in Barrie for several weeks. They met the community, saw the value and quality of the work first-hand, and are now using their skills to support their communities. It is an incredible achievement and a unique way for TBTB to support theatre across the country. Once again, he clarified his thoughts: “As I think about it, what the expansion of the Co-op exemplifies is how TBTB is growing. On one side, we are bringing our work ‘out’ and getting people from across the country to take notice, while on the other side, we are addressing issues in our local ecosystem to support its growth!” Go to the theatre’s website: www.theatrebythebay.com and check out more of what has been going on in Barrie. There’s exciting stuff. And make sure you say hello to Iain (and even say that Joe sent you). This polite, industrious and personable fellow will put you at ease very quickly as he shares his thoughts about the future of theatre in Barrie. And it’s looking good as far as I’m concerned. Link to Iain’s first profile: https://www.onstageblog.com/profiles/2021/3/22/theatre-conversation-in-a-covid-world-with-theatre-by-the-bays-artistic-director-iain-maggoch?rq=IAIN%20MOGGACH Previous Next

A talk with a professional artist about their career. Back Christel Bartelse Canadian Chat --- Joe Szekeres As we slowly emerge from this worldwide pandemic, it has been fascinating to discover how many artists have found themselves on new paths moving forward and heading into a future unknown to all of us at this time. Actor, storyteller, writer, creator and teacher Christel Bartelse’s profile shows she has prepared herself to head into this unknown future but she appears to be equipped with what the future might or can possibly bring to her. Christel discovered theatrical clowning at the age of 21 and honed her skills with some of the top instructors, including Mike Kennard, John Turner (Mump and Smoot), Sue Morrison, Philippe Gaulier, Francing Cote, Andy Massingham, and Caroline Dreaming. She got her start in comedy with the physical comedy duo, The Burnt Marshmallows (Canadian Comedy Award Nominees). She has also created and written six award-winning solo shows (Chaotica, ONEymoon, Significant Me, All KIDding Aside, The Surprise and Encore!), which have toured across Canada, the U.S. and the U.K. Christel is currently promoting her online Comedy School called Comedy Coop (Home for Hilarious Chix). She is one of the co-founders and an instructor of Physical Comedy. Comedy Coop is a unique training ground for women (including female identifying/non-binary students) to explore their passion for comedy and get their comedic voices heard. This school is the first of its kind in Canada. For more information, please visit www.comedycoop.ca . We conducted our conversation via email. Thank you so much for the conversation, Christel: 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. I’m very grateful for my early drama teachers - Dorothy Leitch in Kitchener at the Beckett School and Mrs. Catherine Carlson, my drama teacher, at Grand River Collegiate. Both these women were great teachers who believed in me and fueled my passion in acting. I’m also grateful to Andy Massingham, who is now a great friend and colleague. I looked up to him in my early days because he is a great physical theatre/comedy performer, teacher and it’s been a delight to work with him over the years on some shows. I believe everyone you me teaches you something in some way. 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? Now that we’re moving towards all restrictions lifted, it really feels like we’re moving on. The one positive about Covid is that it really forced me to slow down and take some time to reflect. As an artist, and educator, I was always on the go, always busy, so it was nice to just take a pause and reflect on it all. However, I have been teaching a lot over the last 18 months and it was a great challenge to figure out how to teach physical comedy and clowning over Zoom. And I really made it work. It taught me, when faced with a challenge, you find a solution. My husband and I also lived out in the country for a long time with my parents, and I am grateful for all that time I had with them when so many couldn’t see their loved ones. But we did miss the energy of the city. Now that things are open, it has been exciting to go out again, see friends, go to restaurants, go to shows and perform again. We do love all the stuff the city has to offer and realized how much we missed it. The buzz of the city and people is wonderful. I did a lot of things during the pandemic because I hate being bored. I was actually very busy, so I’m taking more time to applaud what I did, rather than chronically beat myself up, which I’m very good at. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? Just before Covid hit, I was re-writing and re-working my solo show ONEymoon. I had performed it on and off for several years but wanted to give it a full revamp. I was headed to Brighton, and London, UK with the show in May of 2020. That was all cancelled when Covid hit and I lost my mojo for working on the show. I felt so uninspired to work on something I didn’t know when I would get to do again. That was hard because I always had such a drive to create. But, at the same time, I continued my Storytelling Show online and the silver lining was that I met artists from all over the World I normally wouldn’t have had the chance to meet. I also started my online comedy school for women, Comedy Coop, with my colleagues because we figured online classes in some capacities are here to stay. I want to help people and bring laughter and joy to those who I can, especially when the World feels so dark. In your opinion, do you see the global landscape of the professional Canadian live theatre scene changing at all as a result of these last 18 months? I think very slowly it’s starting to come back. You are able to go and see a play, and that’s exciting. But it for sure has changed. Can we ever sit in a packed theatre again and feel fully relaxed? Who knows? Also, I think theatre companies/productions had to get more creative with virtual shows, pre-filmed productions, and I think some of that will stay - I hope it does in a way since it expands the potential audience for a show beyond geographies. So many people lost work, and some moved on. I think it will be interesting to see the content that is created as well, after we’ve all been through this. What excites/intrigues/fascinates/interests you post Covid? I’m excited to get back to creating and performing again; in this new “normal” I hope to be able to tour and travel again, and excited to return to festivals from years past. I’m excited to go and see shows and movies again in a theatre. I’m also excited that so many huge Global issues were brought to the forefront and people are taking more care, paying attention, and listening. So, I'm interested to watch the type of work that will be created. The innovation that came from this time. But I’m intrigued to see what will happen. It still feels like everyday there is new information. Can we get over to the other side? What disappoints/unnerves/upsets you post Covid? It’s still disappointing to see people who don’t take the pandemic seriously or are selfish in their views. They don’t care about others, only themselves. That people are still so mean to others. I’m still unnerved with the uncertainty of the future. It’s hard to plan anything when you don’t know what will happen in a month from now. Fingers crossed we continue to get through this, but no one knows, especially when you see places such as the UK going in the wrong direction again. Where do you, the artist, see yourself going next? For a long time, I’ve been wanting a big change. I still don't know what that means, but the pandemic has taught us you can work from anywhere. Self tapes have allowed this. Classes online etc. So, I'm looking to maybe try out my craft in a new place? I’m also excited to work on a new Solo show. It’s been a few years since I’ve created one and I’m itching to do this. I’m excited to continue building this online comedy school. I believe it has so much potential. And I’m excited to be back doing “live” storytelling and comedy shows again. Where do you, the person, see yourself going next? On a wild adventure. I just need to get over my fear and take a leap of faith. And also see what travel looks like, post pandemic. 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 format of questions. 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. I appreciate you more than you know.” As a teacher myself, I know how little teachers get thanked. So just a simple thank you for all you did, goes a long way. 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? “I’m glad I didn’t listen to you. But thank you for pushing me harder.” When someone thinks I can’t do something, I’ll go out of my way to prove that I can. What’s your favourite swear word? Fucking Fuck! What is a word you love to hear yourself say? Ridiculous. What is a word you don’t like to hear yourself say? Can’t. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? Slow down and trust it will all work out. With the professional life experience you’ve gained over the years, what would you now tell the upcoming you from years ago who was just in the throes of beginning a career as a performing artist? Keep going, work hard, believe in yourself and when a door slams in your face, it will only make you work harder. Oh, and also, don’t try to do 500 things all at once. Focus on one thing at a time. (even though I haven’t learned this as my older self yet, ha) What is one thing you still wish to accomplish both personally and professionally? Personally, there are so many places I’d still love to travel to. I’ve been grateful for my travels so far, but 2 years without it, I’m dying to get on a Plane. First stop would be Italy. Professionally, although my first love is live theatre, storytelling and comedy, I really would love to do more film/tv. I’m hungry for this. And love being on set. Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. I’d love to go back to my 20’s when I was doing a ton of improv and sketch comedy. I would want to revisit this because there were so many incredible people around who were all just starting out, and we were all having the best time. This was well before anyone had phones, or social media, so we were all just so present with each other, and it really was word of mouth to get people to come and see you. Would you do it all again if given the same opportunities? Being in the Arts, as unpredictable and wild as it is, I wouldn't change it. I have amazing stories to tell, I have met so many incredibly talented people and I’ve been able to see and tour the World while doing what I love. And wow, have I laughed which keeps you vibrant and young. As far as teaching goes, I have loved watching myself evolve and learn, not only from myself but all my fabulous students. Previous Next

A talk with a professional artist about their career. Back Michelle Bouey (Patsy Cline) and Rob Kempson (Director) from 'A Closer Walk with Patsy Cline' at Port Hope's Capitol Theatre Moving Forward Sam Moffatt Joe Szekeres A conversation with Rob Kempson (Director) and Michelle Bouey (Patsy Cline) and ‘A Closer Walk with Patsy Cline’ If you haven’t made the trip to Port Hope’s Capitol Theatre to see ‘A Closer Walk with Patsy Cline’, I encourage you all to do so. It was a lovely evening at the theatre and a smart choice to stage this play and begin welcoming audiences back after two years. But why ‘A Closer Walk with Patsy Cline’ to re-open the Capitol summer season? Artistic Producer and Director of the show Rob Kempson was happy to explain his reason why this show was apropos to begin. He wanted to start the season with this show because he has loved Patsy Cline’s music for a long time. As the first BIPOC artist to essay the role of the country music songstress, Michelle Bouey is such a talent that Rob couldn’t even imagine doing the show without her. But in his new role at the Capitol, Rob had to also think of the larger picture – how to introduce himself artistically to the community plus how to bring people together through all ages and demographics. For Rob, very few musicals, artists and plays have that cross-generational appeal as Patsy Cline’s music does. ‘Closer Walk’ is cross-generational. There are many Patsy Cline fans in the audiences who have never seen a performance like the one Michelle Bouey delivers. That was intentional as Rob wanted to make sure that, as Artistic Producer, he was delivering the familiar alongside the unfamiliar. Yes, it’s important to ensure the Capitol’s legacy supporters are welcomed back plus it is also important to bring a whole new generation of audiences into the theatre. Kempson shared two stories as proof of this crossover. He recalled an older gentleman who has been a long-time supporter of the Capitol who said: “You make sure you go back and tell Michelle that she’s even better than Patsy Cline herself, and I saw Patsy Cline perform when she was alive.” The other? One performance had many of the workers from the local brewery attend who had a great time and were loving the show and had no idea the Capitol existed. These are signs changes have already begun as Rob continues to look for ways to invite audiences back to the theatre, but he is keenly aware they will have their own terms. As Artistic Producer, he’s looking for where he can find other crossovers in live entertainment and have people sit beside people who are totally different from each other and yet have a shared artistic experience. Thus the reason for selecting ‘Closer Walk’ and Dolly Parton’s musical ‘9 to 5’ to be staged later this summer. When rehearsals and initial preparation on her own began for ‘Closer Walk’, Michelle Bouey says she didn’t know a lot about the singer when she first began working on the show but is “so glad she was introduced to Cline’s world because her catalogue of songs and her legacy is one that is so truly incredible in that it all happened before the age of thirty.” What is it about Cline’s music that speaks to Michelle? It’s the vocals and passion that spoke first to her when she heard Cline’s music for the first time. Whether it was an up-tempo piece or a soaring ballad, Bouey felt transported and stated she felt exactly what Cline was feeling at that moment. Bouey reiterated further that if you’ve never heard of Cline before, it is her music and the stories told through songs that are touching to hear, plus the bonus of being able to hear the songs live in a theatre instead of a recording. Michelle loves singing the songs for which Cline is known like ‘Always’ and ‘Crazy’, but there are some lesser-known musical numbers that pack an even greater punch. As director of the show, did Rob wonder about the mammoth task at hand to mount the production or did everything fall into place for him? He said it fell somewhere between these two parameters. Rob has directed other historical productions and has always felt inspired by the history of real-life people rather than being bound by the history. This connection is interesting as he further reitrerated: “Patsy Cline didn’t dance around the stage. She stood at the microphone and sang because she wasn’t wirelessly microphoned.” In other words, Cline lets the song tell the story. Although we are watching this show in 2022, Kempson praises the work of the entire crew and the band in all of their fringes and tassels. He recognizes the fun in using history as the inspiration from which to jump off rather than mimic it or pretend to do something. Rob completes a lot of research even before rehearsals begin because he asks the question: “As artists, how can we interpret and imagine the world of Patsy Cline through a 2022 lens rather than impose it?” The historical research for him becomes a launching pad rather than a definitive endpoint. This historical launching pad for the production makes complete sense. For me, Bouey hit all the vocal emotional chords within me. The entire look of the production was constructed uniquely and solely for this production alone. If audiences see ‘A Closer Walk’ somewhere else, they will probably end up seeing a new vision. Both Michelle and Rob speak glowingly about the incredible joy they experienced in working with seasoned actor Tyler Murree who plays DJ Little Big Man. Bouey is in awe of Tyler. She says he was so kind and supportive to her. She was intrigued in watching him develop all of the various characters he plays and how he switches characters in performance so effortlessly. Rob has worked with Tyler before and knew he performed this role of the DJ. Kempson was not asking for a replica of Tyler’s previous performance but take on a new version of it. And he did just that. Kempson echoed what Michelle said about Murree. He is a constant professional and such a joy to have in the room because he is a beautiful collaborator, open, and risk-taker who makes people smile at every single turn. Once again, I appreciated Rob’s candour very much. When he puts together a team he has a pretty strict ‘no asshole’ rule. For Kempson, it’s more than just if an actor can do the job; instead, it becomes ‘are you the right personality for this group of people’. And how are Rob and Michelle feeling about the theatre, the trajectory of Canadian theatre going forward, and the health protocols? Both agree the Canadian theatre scene has been forever altered moving forward. Kempson recognizes there are positive and negative changes Nevertheless, what really hit home for him was the sad reality many amazing artists in the industry have chosen not to return. These artists left to find other work and are staying in that other work because it is less precarious than the theatre industry. The positive reality moving forward – Rob believes artists and arts organizations are far more attuned to taking care of people and those within the community, and this makes for a far more beautiful collaboration. Although Rob had never worked with Michelle before, he strongly felt the importance of creating a space for her during rehearsals and performances where she felt welcome, cared for and safe both at the theatre and where she is billeted. Michelle remains grateful that Rob and the entire Capitol company have continued to ensure the safety of everyone involved in all the shows remains a top priority. She considers herself lucky because she chose to go back home to Prince Edward Island in 2020 to be with her family. The east coast provinces had strict entrance and quarantine requirements. Because of these strict requirements, the east coast provinces could continue performing and putting on shows, so Michelle could continue doing what she loved. She continues to feel safe in her work at the Capitol. As our time on Zoom wound down, I know I put Rob and Michelle on the spot to ask them the following question: “If Patsy Cline were sitting in on this Zoom call with us, what would you say to her?” There were a few seconds of awkward silence. Were they panicking? uncomfortable because they might not articulate what they wanted to say. Rob was the first to break this pregnant pause. He said it might not be satisfying but: “I’d want to jam with her. Can we get off Zoom and go hang out in a room somewhere and play some music together?” Everything Rob read about Cline, he learned she was a collaborator and loved to work with people. She also had strong opinions of what she likes and doesn’t like and Kempson is fine with that in any person. And Michelle Bouey: “Wow! My first instinct because I’m an emotional, cheesy gal, I would probably cry my eyes out and she would be so weirded out. And in my emotional state and tears, I would thank her so much because she is such a gift to this world of music. Your talent touches me more than you’ll ever know. And then I’d do what Rob said. I’d want to hang out with her and get to know her. She was a trailblazer, a feminist and ‘a badass bitch’. Patsy just seemed so cool and collected but still had this fire within her. I think it’s rare to have both things.” ‘A Closer Walk with Patsy Cline’ continues to June 26 at the Capitol Theatre, Mainstage, 20 Queen Street, Port Hope. For tickets, call 905-885-1071 or visit capitoltheatre.com. Covid protocols and masks remain in effect at the theatre as of the writing and publishing of this article. One of Rob Kempson’s responsibilities is to ensure the safety of his artists, crews and audience members because as he told me in the interview: “At the end of the day, we just wanna keep doing plays.” Previous Next

A talk with a professional artist about their career. 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

Dramas encompass the human response to a created life situation on the stage. Back 'Harper Lee's TO KILL A MOCKINGBIRD' by Aaron Sorkin The Touring Company Now onstage at Toronto's Ed Mirvish Theatre Julieta Cervantes. Pictured Richard Thomas and Melanie Moore Joe Szekeres “Ontario Boards of Education need to re-think their position on excluding Harper Lee’s ‘To Kill a Mockingbird’ from school curricula. This fine touring production of Aaron Sorkin’s new play of the ‘slice-of-life’ American classic still speaks volumes about racial inequalities and social justice. Some wonderful performances that are not to be missed.” Directed by Bartlett Sher with gentle compassion and empathetic kindness, Aaron Sorkin’s fresh perspective script of the iconic ‘slice-of-life’ small-town Americana in the southern United States rolls into Toronto for a short run until November 27. This touring production returns to Mirvish at the end of May/beginning of June 2024 for another run. Please get tickets for it. It’s a vital story that still speaks volumes about racial inequalities and social justice for twenty-first-century audiences. Parents, if your child’s school has removed the book from the curriculum for whatever reason, please take him/her/them to this production. Based on Miss Lee’s novel, Sorkin’s script is set in Maycomb, Alabama, in the early 1930s, just after the Depression began. Principal narrator Scout Finch (Melanie Moore), her older brother Jem/Jeremy Atticus (Justin Mark) and their childhood friend Dill/Charles Baker Harris (Steven Lee Johnson) break the fourth wall periodically and talk to the audience. At one point, Scout is an adult when she speaks to the audience. We learn of the childhood games the three youngsters played years ago. One of them was trying to make their unseen and scary neighbour Boo/Arthur Radley (Ian Bedford) come out of his house. The young characters refer to the time Jem broke his arm years ago on account of a horrific attack he and Scout endured. Scout, Jem, and Dill believe this incident and several others within the town stemmed from Tom Robinson’s (Yaegel T. Welch) unfair trial, where he was accused of rape by Mayella Ewell (Mariah Lee) and her father, Bob (Ted Koch). Scout and Jem’s father, lawyer Atticus Finch (Richard Thomas), is asked by Judge Taylor (Jeff Still) to defend Tom. Atticus is aware of Maycomb’s usual disease of prejudice that runs rampant throughout the town. Even though he knows Tom will be found guilty, Atticus takes the case and does his best for his client because it is the right thing to do. Taking on Tom’s case will also show Scout and Jem an essential message about courage – “it’s knowing when you’re licked before you begin, but you begin anyway and see it through, no matter what.” Sorkin’s new production does not follow the novel's linear presentation of plot events. Some have been altered for dramatic effect. I couldn’t help but connect to the terrific production of Christopher Sergel’s dramatization of the novel at the Stratford Festival a few years ago under Nigel Shawn Williams’ direction. That production also introduced Scout breaking the fourth wall and contained one of the most exciting, yet frightening moments captured live on stage – the night Scout and Jem were attacked on their way home from the pageant. What makes Sorkin’s new production of this classic story work if you did not see the Stratford version? Most importantly, is Sorkin’s script worth seeing and doing? To answer the former, the performances are the reason to see this fine play. To answer the latter, yes, Sorkin’s script is worth seeing and doing. Although the production clocks in at three hours, the pacing never seems to drag. The cast moves Scenic Designer Miriam Buether’s set pieces with fluidity and ease. Ann Roth’s costumes are faithful recreations of the Depression era and help delineate the social class structure within Maycomb. Jennifer Tipton’s lighting design assist in creating specific emotional effects especially when Boo/Arthur Radley (Ian Bedford) is introduced near the end of the story. Richard Thomas is remarkable as Atticus Finch. His final address to the jury (where we learn the significance of the title) before it goes to deliberate Tom’s fate still packs a wallop of a punch. Thomas gallantly delivers it with dignity and class. Those moments he shares with Melanie Moore as the young Scout are touching. Moore nicely captures an introspective precociousness of childhood innocence in her performance as Scout, as do Justin Mark and Steven Lee Johnson in their work as Jem and Dill. Jacqueline Williams as the Finch housekeeper, Calpurnia, and Yaegel T. Wilson as Tom Robinson deliver poignant work. Williams and Thomas remain in harmonious synchronicity and respect with each other as the adult role models within the Finch household. When she tells Scout she likes what she sees when she looks at her, the line is delivered with care and love that it brought tears to my eyes. Wilson’s first-rate work as the wronged man unjustly accused of a horrible crime remains one of the highlights. He delivers his courtroom testimony with genuine conviction that it is still hard to see how anyone could find this man guilty. As Bob and Mayella Ewell, Ted Koch and Mariah Lee thankfully do not appear as the story's proverbial ‘bad guys.’ Instead, as Atticus says, Koch and Lee carefully zero in on moments where they are to be pitied for what life has thrown at them. They both make their testimony credibly sound as if they have been rehearsed by their prosecuting and racist lawyer, Horace Gilmer (Christopher R. Ellis). However, that does not give the father and daughter the unforgivable right to do what they did in accusing a sympathetic and caring man of something he did not do. Another highlight of this performance and for this portion of the tour is seeing Mary Badham’s work as morphine addict, Mrs. Dubose. Badham was the original Scout nominated for an Academy Award in the film version of ‘Mockingbird’ opposite Gregory Peck. Badham utters some horrible things as the suffering woman that are extremely tough to hear in knowing her work from the film. Contextually, though, these words are grim reminders of a time when intolerant mentality prevailed in southern US society. The only thing I did wish from this production was Jem’s timed reading to Mrs. Dubose to help cure her addiction to the painkiller. That message about learning courage and knowing when, as Atticus says, “you’re licked before you begin, but you do anyway and see it through no matter what” is lost. Final Comments: Although I’m not one to make comments about latecomers to the theatre, this time I feel as if I must. Future audiences, the evening performances begin at 7:30 pm. Please check your tickets. Granted, I can accept if people are 5-10 minutes late on account of traffic. However, it was about 30 minutes into the show and I was paying careful attention to the performance when five people came to their seats. My guest and I had to stand up to allow these people in. What’s frustrating? Not only did we lose our concentration and attention for that brief moment, so did the audience members behind us when we had to stand and let these people in. There, rant over. I won’t mention it again. Please get tickets for this touring production of ‘To Kill a Mockingbird’. Call or check daily to see if rush tickets are available or if there are any cancellations. I may just return in May/ June to see it. Running time: approximately three hours with one intermission. The production runs until November 27, then returns May 28, and runs to June 2, 2024 at the Ed Mirvish Theatre, 244 Victoria Street. For tickets, visit mirvish.com. ‘HARPER LEE’S TO KILL A MOCKINGBIRD’ A New Play by Aaron Sorkin Directed by Bartlett Sher Scenic Designer: Miriam Buether Costume Designer: Ann Roth Lighting Designer: Jennifer Tipton Sound Designer: Scott Lehrer Music Director: Kimberly Grigsby Production Stage Manager: Eric H. Mayer Company Manager: Katie Cortez Performers: Richard Thomas, Melanie Moore, Jacqueline Williams, Justin Mark, Yaegel T. Welch, Steven Lee Johnson, Ted Koch, Jeff Still, Christopher R. Ellis, Melanie Lee, Travis Johns, Greg Wood, Anne-Marie Cusson, Ian Bedford, Lance Baker, Stephen Cefalu, Jr. Denise Cormier, Rae Gray, Greg Jackson, Joey Labrasca, David Andrew Morton, Andre Ozim, Dorcas Sowunmi and Mary Badham. Previous Next

A talk with a professional artist about their career. Back Martin Julien Looking Ahead to 'The Man that Got Away' Helen Tansay Joe Szekeres Since I’ve started the profile series, I’ve heard Martin Julien’s name or have noticed he may have responded to some Facebook comments these last few years. He has been a professional Canadian actor since the age of ten. Over time, he has also become a playwright, theatre deviser, lecturer, and scholar. Martin has been nominated for three Dora Mavor Moore Awards as Best Performer and was also highlighted as Toronto's top-rated theatre artist of the year by NOW Magazine in 1995. He holds a Ph.D. from the Centre for Drama, Theatre and Performance Studies in the University of Toronto, where he was an SSHRC Doctoral Fellow (2015-2017). Martin was the senior editor of Theatre Passe Muraille: A Collective History, Playwrights Canada Press (2019), and his play ‘The Unanswered Question’ premiered at Ottawa's National Arts Centre in Artistic Director Peter Hinton-Davis’s inaugural season (2007). Recent acting credits include ‘Under the Stairs’ by Reza Jacobs and Kevin Dyer, YPT (2019), and playing the titular role in ‘Sir John A: A Gentrified Ojibway Rebellion’ by Drew Hayden Taylor, NAC (2017). Martin’s newest show ‘The Man that Got Away’ opens this week at the Buddies in Bad Times theatre. He took a few moments to answer questions via email. Thank you so much for taking the time, Martin. I’m looking forward to seeing the show this week: 1. Where did you complete your artist training? As an actor, at TMU in the mid-eighties. Before it was a university. When it was the Ryerson Theatre School. The director of my play, Peter Hinton-Davis, was in my class. As a performance scholar, I hold a PhD from the Centre for Drama, Theatre and Performance Studies in the University of Toronto. 2. The twenty-first-century world of the professional artist has changed on account of the worldwide pandemic. What advice would you give to a young person who is/will or might consider a future career as a performing artist? As a veteran freelance player and deviser of theatre, I am far more interested in what advice such a young person might give to me! Those born since 2000 have the grand task of re-inventing a responsive ethics and practice for professional artists as we move on. We have two wonderful performers in their twenties – Ben Page and Tat Austrie – rounding out our cast of three, and they are my teachers. 3. Given the last three years of the worldwide pandemic, as a professional artist how are you feeling about the state of the live entertainment scene going forward? In your professional opinion, where do you see the world of live entertainment/live artist/theatre headed within the next proverbial five years? We must dedicate ourselves to clarifying new active relationships between creative practice, economics, and fairness. There seems no longer the funding for producing companies to invest in necessary rehearsal time and fair wages, while simultaneously there are important issues regarding artists’ health and scheduling which are being recognized. Where do time, money, and justice come together? The days of ‘the show must go on’ no matter what are over. 4. Personally, how are you feeling at this moment regarding the effects of the worldwide pandemic? I am also an educator of acting and theatre practice for young adults, and my personal feelings tilt towards both admiration and concern for this cohort of people. Crucial years of collaboration and collegiality have been lost, at a pivotal time of life for those just coming ‘into their own’. We must find ways to recover solidarity and trust in order to keep creating collective art. 5. Tell me more about ‘The Man That Got Away’ coming up at Buddies. What was its genesis? The play is based in my own personal history of growing up through the 1960s to 1980s in a loving and complicated family of my lesbian mother, my gay father, and me. It is a multi-faceted play that celebrates and critiques underexamined notions of queer identity through a unique personal lens, from the days of pre-Stonewall repression to ‘Gay Liberation’ to the AIDS epidemic. I sense that much of the ramifications of this collective journey are in danger of being ‘lost’, or simplified, in politics, art, and memory. It also celebrates and subverts my deep love of showtunes! a) Why do you believe it’s important for audiences to see ‘The Man That Got Away’ at this time? As a person in present-day society, I am appalled that the popular discourse continually insinuates that Covid-19 is the first epidemic to sweep North America since the influenza of 1919. Over the years between 1987 and 1992, in Canada alone, nearly 6,000 deaths have been attributed to HIV/AIDS. The vast majority of these deaths were gay men – often cared for by lesbian volunteers – who were often unrecognized and condemned by politics, religion, media, and the medical establishment. I fear this history of struggle and advocacy is being lost. At a time when trans and queer rights are both emerging and attacked in our civil dialogue, I feel it important to create public art that confirms and liberates the historical advocacy of LGBTQ2S+ rights and the beauty and breadth of queer culture. b) I thought I recognized the title of your show from a song title. I’ll be honest that I had to do a quick YouTube search to realize that the song was sung by Judy Garland in her 1954 film ‘A Star is Born’ opposite actor James Mason. It has been years since I’ve seen this film so it’s on my list to watch again. i) Am I reading too much into this or is the connection one that you are hoping audiences will make to your upcoming show? ii) From what I know about the life of Judy Garland, she was a tortured soul who battled many demons. Will your show focus also on demons/struggles/challenges you have faced in your life personally and professionally? Some audience members – Friends of Dorothy – will make the connection, and others will be learning something new about the depth and meaning of mid-twentieth century and mostly closeted and coded ‘gay culture’, and its relationship to Judy Garland. These ideas certainly have personal relevance to my family’s life growing up and are explored through the arts of theatre and performance in my show. I do not see Garland as a ‘tortured soul’ but perhaps, rather, a genius performer who was overused and abused by the ‘show biz’ industry. But also, her spirit was very good medicine for people such as my father Leo, who died of AIDS-related complications in 1988 at Casey House hospice. 6. What’s next for Martin Julien once ‘The Man That Got Away’ completes its run at Buddies? A rest from the four years it has taken to create this play and production! That said, I am participating in a workshop for a new musical in early January, then returning to teaching music theatre performance at Sheridan College through the spring. ‘The Man that Got Away’ previews December 6 and 7. It opens on December 8 and runs until December 18. All performances will be held at Buddies in Bad Times Theatre, 12 Alexander Street, Toronto. For tickets, call the Box Office (416) 975-8555 or visit buddiesinbadtimes.com for further information and/or to purchase tickets online. Previous Next

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The who, what, where, when ,why and how live theatre occurs. Back Opera Atelier's 2025/2026 Season All performances will take place Koerner Hall TELUS Centre for Performance and Learning, 273 Bloor Street West, Toronto. Credit: Bruce Zinger. Pictured Colin Ainsworth and Opera Atelier's production of Mozart's 'The Magic Flute' with the company's famous dragon, 2013. Press Release In recent years, I’ve attended several productions by Opera Atelier, North America’s leading In recent years, I’ve attended several productions by Opera Atelier, North America’s leading opera and ballet company, dedicated to creating period productions realized as complete artistic statements—with equal emphasis on music, dance, acting, and design. Performing in partnership with the award-winning period-instrument orchestra Tafelmusik, Opera Atelier has toured major opera houses and festivals worldwide. Since 1985, Opera Atelier has been led by co-founding Artistic Directors Marshall Pynkoski and Jeannette Lajeunesse Zingg. Recently, the French Republic has appointed them both as members of the Order of Canada and as Officers of the Order of Arts and Letters (Officiers dans l’Ordre des Arts et des Lettres). Recently, Atelier announced its 2025/2026 season. Coincidentally, the company will celebrate its milestone 40th year with two captivating productions: Mozart's ‘The Magic Flute,’ on stage from Oct 15 to 19 at the Elgin Theatre, and Debussy's surrealist opera ‘Pelléas et Mélisande,’ on stage from April 15 to 19 at Koerner Hall TELUS Centre for Performance and Learning. Magically redesigned in 2013 by Gerard Gauci, this English translation of *The Magic Flute* features dragons, flying machines, and 18th-century special effects. The program showcases audience favourites tenor Colin Ainsworth, soprano Meghan Lindsay, and bass-baritone Douglas Williams in the lead roles, supported by the Tafelmusik Baroque Orchestra, the full corps of Artists of Atelier Ballet, and the Nathaniel Dett Chorale. The season will continue with the world premiere of Opera Atelier's fully staged production of Debussy's masterpiece Pelléas et Mélisande, introducing the latest repertoire that both Opera Atelier and Tafelmusik Baroque Orchestra have ever presented. The cast includes tenor Antonin Rondepierre, soprano Megan Lindsay, soprano Measha Brueggergosman-Lee, and bass-baritone Philippe Sly, who is making his Opera Atelier debut, among others. The production will also showcase the full corps of the Artists of Atelier Ballet. 2025/26 Season Subscriptions can be purchased at OperaAtelier.com or by calling 416-703-3767 x 700. Single Tickets for The Magic Flute will be on sale September 3, 2025. Single Tickets for Pelléas et Mélisande will be on sale February 18, 2026. Previous Next

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

A talk with a professional artist about their career. 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

Where music, song and dance all contribute to an enjoyable plot on stage Back Chicago The Stratford Festival David Hou Joe Szekeres Simple Math Equation: “If Roxie Rocks Chicago, does ‘Chicago’ Rock The Stratford Festival?” You don’t have to look in the back of the textbook for that answer. ‘Chicago’ blows the roof off the Festival Theatre. It’s gonna sell out quickly so make sure you get your tickets while you can. Once I heard the rights were attained to produce the show for the Festival’s unique thrust stage theatre and what Donna Feore calls in her Director/Choreographer Note: “the rare opportunity to completely reimagine the production [since] ‘Chicago’ is a big show, and dance is not locked in time.”, I was curious how she would stage the production since for me the definitive versions in my experience were the New York cast with Bebe Neuwirth and Joel Grey plus the touring production at the Princess of Wales years ago. Both excellent. But a totally reimagined and re-staged ‘Chicago’? Yes. A thousand times, yes. Feore’s optimal staging of the plot with prizewinning, divine and to die for choreography work divinely and magnificently as every inch of the thrust Festival stage is utilized to maximum effect and capacity. There are musical moments where so much occurs, but it just reinforces Billy Flynn’s showstopper ‘Razzle Dazzle’ that life is a circus at times. This entire company is having one hell of a good time and their contagion infected the audience so quickly. It’s one time when I felt I didn’t care if I caught that boozy bug. It is the 1920s. Vaudevillian wannabe Roxie Hart (Chelsea Preston) has fatally shot her lover Fred Casely (Chad McFadden). Claiming he was a burglar, Roxie convinces her dull mechanic husband Amos (Steve Ross) to take the rap. When Amos finds out the truth, he turns Roxie in where she is remanded to the Cook County Jail to await her trial. It’s at the jail where Roxie meets Velma Kelly (Jennifer Rider-Shaw), a fading vaudevillian star who killed her husband and sister after discovering they committed adultery. Velma has slick defence lawyer Billy Flynn (Dan Chameroy) retained by prison matron Mama Morton (Sandra Caldwell) who offers to put Roxie in touch with him. Flynn agrees to take Roxie’s case as well after she persuades Amos to pay his substantial fee. Michael Gianfrancesco has re-created a jaw-droppingly realistic speakeasy set from the 1920s. Even amid the sense of disorder on stage after a night at the club, there is a sense of order present. A ghost lamp appears centre stage. Tables are placed throughout and some chairs are overturned. Some glass bottles in cartons are also found on stage. Gianfrancesco’s set is two level as there is a rounded railing out front from which actors can be placed. Dana Osborne’s Costume Designs are fantastic recreations of the 1920s from flapper dresses to flashy loud pin-striped suits and matching vests. Michael Walton’s Lighting Design and Peter McBoyle’s Sound Design all contribute gratifyingly to the flash and dazzle of the era. A huge shout of appreciation and gratitude to Mr. McBoyle as well for the fact I could hear every single lyric in each musical number. And the music! That gloriously sexy-sounding music under Franklin Brasz’s direction evokes that heightened and gritty acute sense of smell in picking up the stale stench of booze, billowing cigarette and wafting cigar smoke that jutted out from these seedy nightclubs. And those musical numbers! The first note of ‘All that Jazz’ and the roar of applause which was repeated for ‘Cell Block Tango’ (and what an inventive way to involve the male dancers in that number). Chameroy’s entrance in ‘All I Care About Is Love’ is executed in such perfect timing the audience once again roared with approval. So good. As Roxie Hart and Velma Kelly, Chelsea Preston and Jennifer Rider-Shaw initially may resemble kewpie-eyed bimbos out to make a fast buck in whatever way possible. No way! Preston and Rider-Shaw beautifully play Roxie and Velma not as vapid chorines but as intelligent and smart (and yes, sensitive, even though they both have committed murder) gals who work with Flynn to get what they want. And, as we all know with society’s fascination with celebrity behaviour, they get away with it and we love them even more for it. Plus, a bonus with Preston and Rider-Shaw. The pipes on these ladies. They can belt a tune, parallel harmoniously in song, and carry out a Feore dance with splash and aplomb. Underneath that “Sad Sack’ skin of Roxie’s dimwitted husband, Amos, Steve Ross radiates so much compassionate empathy (as R. Markus points out in a perfect diva Mary Sunshine reporter moment in their song ‘A Little Bit of Good’) that I wanted just to walk up there and give him a big bear hug right after his ‘Mister Cellophane’. Ross just inherently knew when to pause during the song both for comic and poignant effect. Such good work. Dan Chameroy is primo slick as defence lawyer Billy Flynn that he would make it appear as if being swindled would be just fine. His eleven o’clock ‘Razzle Dazzle’ number that life is sometimes just for the ornate show brought down the house once more. Beneath that smile of Sandra Caldwell’s Matron Mama Morton lies a deceptive individual who would sell her own mother to make a fast buck. I love the line “Ask any of the chickies in my pen/They’ll tell you I’m the biggest mother hen” from ‘When You’re Good to Mama’. Who really cares if Mama cares about these gals under her guard? She’s out to make a fast buck like all those individuals in Cook County to get themselves out of the prison, and they’re having a hell of a good time in the process. That’s all that counts to them. This five-star hot, torrid, athletic and kinetic ensemble tackles Feore’s choreography with great gusto and hearty aplomb. From what I could see from my seat, every dance move was also keenly connected with facial and eye contact that radiated passionate licentiousness. Feore’s choreography remains one of the highlights of the production, and it appeared to me this ensemble wanted to do justice to the work. Final Comments: If you have seen the New York/touring revival of ‘Chicago’ now playing in New York or on tour, you owe it as a treat to yourself to come to Stratford before the door of this speakeasy is closed. “Chicago is a winner. Dynamite from beginning to end. Flawless in performance.” Running Time: approximately two hours and 40 minutes with one intermission. As of the writing of this article, Covid protocols are in effect at the theatre. ‘Chicago’ runs to October 30 at the Festival Theatre, 55 Queen Street, Stratford. For tickets, www.stratfordfestival.ca or call 1-800-567-1600. Chicago, based on the play by Maurine Dallas Watkins with script adaptation by David Thompson Book by Fred Ebb and Bob Fosse Music by John Kander Lyrics by Fred Ebb Producer: Dave Auster Director and Choreographer: Donna Feore Music Director: Franklin Brasz Set Designer: Michael Gianfrancesco Costume Designer: Dana Osborne Lighting Designer: Michael Walton Sound Designer: Peter McBoyle The Company: Jennifer Rider-Shaw, Chelsea Preston, Chad McFadden, Steve Ross, Stephen Patterson, Bethany Kovarik, Amanda Lundgren, Heather Kosik, Bonnie Jordan, Celeste Catena, Sandra Caldwell, Dan Chameroy, R. Markus, Amanda De Freitas, Devon Michael Brown, Philip Seguin, Gabriel Antonacci, Robert Ball, Henry Firmston, Jordan Mah, Eric Abel, Jason Sermonia, Julius Sermonia Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back Dreamstage Live 'BROADWAY: STORIES & SONGS' (With Ted Sperling & Friends) Guest: Jason Danieley Website Joe Szekeres Wow! I am so grateful and appreciative to have had the opportunity to chat several weeks ago with both Ted and Jason before I saw tonight’s concert. You can find both of their profiles here in Our Theatre Voice. This evening was an artistic culmination for me to hear two professional artists collaborate and briefly reminisce about some of the moments they experienced in the world of performance. Most importantly, after fifteen months of lockdowns and bubbles, ‘Broadway: Stories & Songs’ just put a big ol’ smile on my face to listen to two incredibly talented guys entertain us tonight with some Broadway showtunes. I hadn’t heard of several titles, so I was pleased to be introduced to them for the first time. Messrs. Sperling and Danieley appeared naturally comfortable with each other as the cameras rolled for this near hour-long concert. For me, just to watch their personal demeanor towards each other showed they clearly held respect for each other’s talents. Ted and Jason have also been friends for over 25 years as Jason met his late wife, Broadway artist Marin Mazzie, through Ted so this bit of knowledge adds even more believability to their relationship. (May 28 and 29, Jason Danieley) Danieley wore a grey suit with white open collar shirt while Sperling wore a dark coloured suit with white open collar shirt. Good to see this as wearing a tie would have made things seem just a tad too formal (along with the fact that wearing said tie would not be useful in singing). For most of the concert, Sperling played the piano and offered back up vocals when necessary. Just watching Danieley ‘become’ the different characters in each of these songs was fascinating and inviting. I especially liked his Irish accent in the opening song ‘On the Streets of Dublin’ from A Man of No Importance. Danieley became the character in the song and, as he appeared to finish the number, I almost got the impression he was ready to say, ‘C’mon, let’s have a beer. I’m paying.” This opening song was a perfect ice breaker for the concert. I loved the tribute to ‘Sara Lee’. I don’t know if we have ‘Sara Lee’ dessert products here in Toronto. (I’ll have to look in the frozen section next time I go to the grocery store). These two attacked the song with great fun and ease, and at one point Mr. Danieley completed a pelvic thrust which made me laugh for a few seconds. At one moment, the mood became poignant as Mr. Sperling stepped back and allowed Jason to sing ‘We Will Always Walk Together’ which he sung at his late wife’s memorial service. Just watching Danieley engage in this vocal moment with a resilient emotional strength as he looked up and sang to his beloved wife was highly moving. He paused for a few seconds at the end, and I thought I saw a glisten in the corner of his eye. A truly human moment that was shared with all of us. ‘They Can’t Take that Away from Me’ fittingly concluded the event for both gentlemen. The pandemic may have stopped them momentarily in their love of performance, but Covid can’t and won’t take away that connection each of them made with me tonight through songs and stories. Jason Danieley’s concert will be re-broadcast again May 29, 2021, at 2 pm. EST. Dreamstage Live continues BROADWAY: STORIES & SONGS with artists Victoria Clark on June 4, 5 and Meghan Picerno and John Riddle on June 11 and 12. For further information on tickets and to learn more about DREAMSTAGE Live, visit https://dreamstage.live Photo of Jason Danieley, Ted Sperling and Ticket from Dreamstage Live website. Previous Next

A talk with a professional artist about their career. Back Mitchell Marcus Moving Forward Dahlia Katz Joe Szekeres Just hearing about all the accomplishments of Mitchell Marcus within the professional performing arts community makes him a mover, shaker and leader within the theatre industry. Recently named to Canada’s Top 40 Under 40 (2019), he is the founder and Artistic & Managing Director of The Musical Stage Company – Canada’s leading and largest not-for-profit musical theatre company. Over sixteen years, The Musical Stage Company (previously Acting Up Stage Company) productions have been recognized with 105 Dora Award nominations, 23 Dora Awards and 19 Toronto Theatre Critics’ Awards and programming partnerships have been built with Mirvish, the Elgin Winter Garden Theatre Centre, Canadian Stage, AGO, TIFF, Massey Hall, Obsidian Theatre Company, and the Regent Park School of Music amongst others. Outside of The Musical Stage Company, Mitchell was the Associate Producer for the inaugural six years of Luminato, producing over 100 productions for one-million attendees annually. Mitchell has twice been the Creative Producer for the Hilary Weston Writers’ Trust Prize as well as the producer of the Dora Awards. He organized four years of It’s Always Something, working with a team that raised over $500,000 annually for Gilda’s Club Greater Toronto. He is active on committees that service the arts community, serves as an advisor to the Metcalf Foundation for its Creative Strategies Incubator program, a member of Sheridan College’s Performing Arts Committee, a member of the Dora Eligibility Committee, and a member of the Advisory Committee of the Canadian Musical Theatre Writers Collective. Mitchell has held positions in the arts management departments at UofT and Ryerson University. Mitchell is the recipient of the 2017 The Leonard McHardy and John Harvey Award for Outstanding Leadership in Administration, a Harold Award, and was a finalist for the 2018 Roy Thomson Hall Award from the Toronto Arts Foundation recognizing contributions to Toronto’s musical life. I am grateful and thankful he took the time to participate in the conversation via email: 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? Without discounting all the sadness of illness, destruction, injustice and loss, I have loved watching and participating in a global demonstration of resilience. There are, of course, so many things we are no longer able to do, but it’s been astonishing how quickly we can pivot as a species, adjusting to working-from-home, moving our lifestyles to the beauty of our outdoors, and adapting our thirst for global adventure into one more local. More importantly than the resiliency and speed of adaptation, I’ve loved seeing how many of us have found silver linings in this new routine which has forced us to challenge our expectations of what we thought life would bring and return to a simpler, more true sense of self and aspiration. In that regard, while I am certainly feeling scared about the increase in COVID-cases and frustrated by the barrage of human injustice that makes headlines every day, I am actually feeling quite optimistic and content. It’s fascinating to witness a historic moment of change like the one we are in. And I’m hopeful that what we are learning and reflecting upon during this time is going to lead to something very special on the other end. Look at how much we are accomplishing and look how much change feels within reach. If we can do that during social distancing, imagine what we are capable of once we have the freedom of movement and connection once again. How have you been faring? How has your immediate family been doing during these last six months? I’m very proud of how my family has navigated this time so far. We’ve really stayed optimistic and made the most of each day: I absolutely loved being a part of my kids’ education during the Spring in a hands-on way; We used money from cancelled vacations to rent a farm near Orangeville for a month in July and organized family colour-war events and daily swim lessons; It’s the first time in my life that I have been home every night of the week for dinner and been able to tuck my kids into bed; And each weekend is now filled with lots of hiking and bike riding. I don’t mean to be painting an overly rosy picture – there have been many nights of deep worry and anxiety. But there has also been much joy in togetherness. Personally, I’ve been digging more into mindfulness during this time. I’ve been practicing meditation for nearly four years, but it’s gone into overdrive over the last six months. My nightstand is stacked to the ceiling with books on anti-racism and books on mindfulness/spirituality. I’ve loved getting to learn new things and to dive deep into the philosophical exploration of imagining what the universe is telling us in this moment and how to apply it to my life. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? The most difficult part of the last six months has been mourning the loss of live theatre and recognizing the immensely devastating impact it is having on independent artists. I feel enormously grateful and also enormously guilty for having a full-time job in the arts. I am deeply thankful for the existence of CERB and relieved that it will be extended in some form. Our team is doing everything we can think of to keep work flowing and money going out the door. But it’s very heavy to realize how many people in our industry, in our community, are struggling. At the end of the day, I often have to shut off all technology and curl up with one of those mindfulness books and a glass of wine and retreat into my own Zen place. But I also recognize the luxury of being able to shut out the pandemic and the privilege I’ve been afforded when doing so. The biggest challenge has been trying to stay in the present and not plan into the future. I am a planner by nature and my skill as a leader has been to keep our focus on multi-year strategic initiatives that make change. But it’s impossible to plan for a future we don’t yet understand. So I’ve had to work really, really hard to not get too far ahead and keep all of us at The Musical Stage Company focused on how we want to respond to the challenges and needs of today, abandoning past plans and paths that no longer feel relevant, and avoiding drawing too many conclusions for the future before we have a full understanding of what future we are planning for. But as someone who always likes to have the answer immediately, it’s been a real exercise in patience. 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? When we shut down, we were a few weeks away from the world premiere of KELLY v. KELLY by Britta Johnson and Sara Farb. We’ve been working with Britta and Sara since 2014 and we’ve been deep in development for KELLY v. KELLY for a couple of years, so this was a particularly painful project to not see materialize. It was also going to be SO good. I’m rarely confident about a production – especially a new work – but this show was in such great shape with a team that was firing on all cylinders. We also lost major milestones this season including UNCOVERED: DOLLY & ELVIS which was to play Koerner Hall in November, and the Canadian premiere of NATASHA, PIERRE & THE GREAT COMET OF 1812 that was to open at the Winter Garden Theatre in January. Without question, KELLY v. KELLY will see the light of day as soon as it is safe to do so. Thankfully we were able to postpone before we had spent too much of the money earmarked for the project. We put all the funding for it aside, not to be touched until it can be revived. So, it’s in the uniquely positive position of being ready for production with the funding to get it there. We’ll have to see about everything else. More than ever it’s important to me that the stories we tell are relevant and resonant for the moment in which they are being shared. The projects that were the right “why-this-project-why-now” in the old world may not be the right projects in the one that awaits us. That’s the funny thing about programming – you are often responding to an indescribable energy in the zeitgeist. If we want theatre to matter when we return, we need to make sure not to cling to what was and be hyper aware of what people need on the other side. Having said that, our commitment to new Canadian musicals is unwavering. We have run 17 workshops for new musicals since COVID hit and have no intention of slowing down. That is the joy of new material. The writers are naturally infusing today’s emotions and thoughts into the works. They are living, breathing stories being developed during a global pandemic. So even though none of them are about living during or after COVID-19, their ongoing evolution will ensure that they are necessary and healing in the world that awaits us. What have you been doing to keep yourself busy during this time? Working and raising kids! Honestly, it fills my days completely. Work has not really gotten much quieter even though we aren’t in production (turns out navigating global pandemic is more work than producing theatre). We produced 80 concerts this summer, we are in production for an UNCOVERED film, we are running workshops, our youth programs are going national, etc. By the time I’ve completed a day of Zoom meetings, cleared an inbox of emails, and spent some time with my kids, I’m ready for bed. But the weekends have been quieter than normal. There are no readings to attend or shows to see. And my kids’ programs have all shut down. So, I’ve loved the pace of my weekends. We’ve just been outdoors as much as possible, biking, hiking, and camping. 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? Here’s two of my favourite quotes from Pema Chödrön: “When there’s a big disappointment, we don’t know if that’s the end of the story. It may be just the beginning of a great adventure.” And “Rather than realizing that it takes death for there to be birth, we just fight against the fear of death.” I don’t mean to be cliché, answering your question with inspiring quotes, but I really believe this is the only way forward. Something has died. We have to take the time and space to grieve it. But we also have to open ourselves to the exciting possibility of reinvention and rebirth that comes after an ending. In that regard, I guess my advice for recent grads is to recognize that this death has levelled the playing field. None of us know the way forward, and the most senior arts leader doesn’t have any better strategies for the future than a recent theatre grad (who may in fact have more objectivity on what could be possible). We are all now pioneers building a more equitable, more sustainable, more relevant theatre. Seize this once in a lifetime chance to be a part of the rebirth by charting your own course and helping to mould the industry that awaits you. Do you see anything positive stemming from Covid 19? I think it has taught us to slow down. I think it has taught us not to take simple connection for granted. I think it has removed some of the allure of ruthless ambition and replaced it with a focus on empathy and equity. I hope these lessons stay with us. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? It absolutely will. Hopefully COVID itself will succumb to a vaccine and we won’t have to have the distancing and health measures in our lives forever. But I hope we will forever be impacted by what this time has taught us about equity and treatment of people. And I hope that audiences are so hungry to gather together again that they race to the theatre in unprecedented numbers! 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? For me, producing theatre has always been about serving and enriching an audience. It is about giving a willing group of people something that their souls needed that they didn’t realize was needed. Ultimately, the medium doesn’t matter as much as the power of the message and the unbridled attention of an audience. If this exchange is happening successfully on YouTube and via online streaming sites, may it live forever! I am skeptical however about how well this is working. There is a sense of ceremony when we gather in person and devote our entire energy to a story. I fear that we haven’t yet figured out how to permeate the digital fourth wall in the same way to achieve the same outcome. But this is definitely the ‘trial and error’ phase. I have no doubt that artists will successfully navigate this new medium and make it into a powerful mode of soul nourishment. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? My heart knows the power of hearing the exact right piece of music to capture a moment or emotion. It is like nothing else. And no pandemic can keep that magical experience from happening each time I witness it in a theatre, outdoors, or online. It will withstand the test of time. You can follow Mitchell on his social media handles: @mitchellmarcus and at Musical Stage Company: @musicalstagecom. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back Death and the King's Horseman by Wole Soyinka Onstage at the Tom Patterson Theatre, Stratford Festival Akosua Amo-Adem. Photo credit: David Hou Joe Szekeres 'Death and the King's Horseman' hits deep to the emotional core I had the opportunity to hear this play as part of Soulpepper’s ‘Around the World in 80 Plays’ series in June 2021 when the theatres were shut down for the pandemic. At that time, the audio version was also directed by Tawiah M’Carthy. Seeing it live for the first time, I noticed just how incredible of an epic spectacle it became for me but the play’s conclusion hits deep to my emotional core. I had forgotten ‘Horseman’ was based on actual events from Nigeria during World 2. Under colonial British rule, the village was trying to uphold its culture amid the struggle of the British who considered Elesin’s action horrific and awful. District Officer Simon Pilkings and his wife, Jane, epitomize the lack of cultural understanding. Given the fact that our country remains in mourning over the passing of Queen Elizabeth II, this play hit even harder for me. In the first act, we meet the King’s Horseman, Elesin Oba (Anthony Santiago). His Yoruba King has already passed away. Tradition states that the Horseman is to follow his King to death, and yes this means Elesin must kill himself. Elesin considers this act of suicide an honour to fulfil, and he plans to follow through. But before he does this, Elesin plans to marry the most beautiful girl in the village, have the wedding night and the consummation, then fulfil his promise to follow his King into the afterlife. Elesin knows he is most handsome and doesn’t hide this fact, but some of the women in the village take him to task for his actions. There is the Praise Singer, Olohun-iyo (Amaka Umeh) and Mother of the Market, Iyaloja (Akosua Amo-Adem). These women stand up to Elesin for his bravado. But to complicate things even further, Elesin selects as his bride a woman who was promised in marriage to the young son of Iyaloja. We then meet Simon and Jane Pilkings (Graham Abbey and Maev Beaty) who are preparing for a costume party and are quite disrespectful as they are wearing costumes which take on a completely different meaning for the Yoruba culture. Rather than removing the costumes out of respect, the Pilkings flagrantly disregard and continue to wear them. To me, this seems as if the British at this time were forcefully (perhaps violently?) robbing the people of their traditions and enforcing Christianity on them. Rachel Forbes’ set design works extremely well on the new Patterson stage. There is so much to take in at the marketplace setting at the top of the show I just sat for a few moments and looked. Sarah Uwadiae’s colourful costume designs are outstanding. I really liked Debashis Sinha’s opening soundtrack of voices in the marketplace as I knew I wasn’t in Stratford anymore but overseas in another place and time. The off-stage sound of the distant drumming perfectly resonated just enough to create interest as to what might come next once it ceased. I also loved hearing the incorporation of the music and the dancing in the marketplace which, once again, made me aware I was not in my home country. I was in another country and living vicariously through the times. What struck me about the audio story when I first heard it as part of Soulpepper’s series? It was poetic language and visually appealing imagery. I remember just closing my eyes as I wanted to hear the words being spoken last year. I didn’t have to do this today as the actors solidly captured the sounds for me. Tawiah M’Carthy’s direction remains unhesitating throughout the entire production. Not only do the actors continue to capture the poetic language and rhythmic free verse style (most noteworthy in the opening scene in the market, but also the cultural representation issues strongly remain at the forefront throughout the nearly three-hour running time. Anthony Santiago and Amaka Umeh are extraordinarily impressive in their respective performances as they both regally command the stage with passionate ardour. Graham Abbey and Maev Beaty mightily capture that distinct colonial aloofness in their scoffing of native belief as they mock how Sergeant Amusa (Ngabo Nabea) reacts to their wearing of the sacred clothing connected to death. Nabea resoundingly revealed his escalating frustration and anger over the times he was called back by the Pilkings. As Olunde (Elesin’s eldest son), Kwaku Adu-Poku sharply handles how he feels about the cultural issues between Nigeria and Britain. Olunde has dutifully returned home when he hears the King has died. Olunde has been studying medicine in England for four years, but is not happy about the state of England. I love the line when Jane Pilkings asks Olunde if he is upset by what they wear. No. Olunde is not upset but he tells her: “You have no respect for that which you do not understand.” A perfect comeback to this cultural representation of the era. Final Comments: ‘Death and the King’s Horseman’ is a long one clocking in at nearly three hours; nevertheless, the strength of this production lies in the detailed script to the eventual build to the tragic outcome in the second act that I had completely forgotten and was completely shocked when it does occur. Running time: approximately 2 hours and 50 minutes with one intermission. ‘Death and the King’s Horseman’ runs to October 29 at the Tom Patterson Theatre. For tickets, visit stratfordfestival.ca or call 1-800-567-1600. ‘Death and the King’s Horseman’ by Wole Soyinka Directed by Tawiah M’Carthy Set Designer: Rachel Forbes Costume Designer: Sarah Uwadiae Lighting Designer: Christopher Dennis Sound Designer: Debashis Sinha Cast: Amaka Umeh, Anthony Santiago, Akosua Amo-Adem, Graham Abbey, Maev Beaty, Ngabo Nabea, Pulga Muchochoma, Kwaku Adu-Poku, Josue Laboucane, Kevin Kruchkywich, Tyrone Savage, isi bhakhomen, Dejah Dixon-Green, Espoir Segbeaya, Celia Aloma Ijeoma Emesowum Bola Aiyeola, Norman Yeung, Matthew Kabwe, Andrea Rankin, Rachel Jones Onstage Musicians/Drummers: Amade Dedeu Garcia, Adekunle Olorundare (Kunle), Erik Samuel, Oluwakayode Sodunke Previous Next

A talk with a professional artist about their career. Back Andre Sills Looking Ahead David Cooper Joe Szekeres It was a couple of months before the pandemic hit where I first saw André Sills’ work in what I felt was a daring production of Shakespeare’s ‘Julius Caesar’ at Toronto’s Crow’s Theatre in 2020. I wanted to learn more about his work and was grateful when André participated in a profile series I was compiling at that time on how Equity artists were faring. You can read his profile here: https://bit.ly/3GTG7Dp. During a recent Zoom conversation, I asked him what he would like to say to the Covid/Omicron variant as we approach Year 3 of the pandemic: “Oh, God, I think we’ve had enough. I think we’ve all been traumatized enough. The big ol’ dream of trying to get back to normal? I’m just done with it.” Hopefully, according to the recent news reports, it looks as if the provincial government is done especially with premier Doug Ford reiterating what Sills said. Covid has not destroyed what Andre loves about the live performing arts. Although family time was very important to him as he helped his kids during homeschooling, Sills is glad they are back in school because kids being in person to learn makes all the difference. For Sills, the same thing exists for theatre. Audiences need to be in the seats and seeing the actors on stage with the artists feeling the audience there. It’s part of the experience. A resident artist of ARC (Actors Repertory Company), André is currently in rehearsals as Director with his cast preparing for a March 1 Canadian premiere opening of Branden Jacobs-Jenkins’s ‘Gloria’, an ARC production in association with Toronto’s Crow’s Theatre. Sills has always wanted to direct and had an interest in it for years, but the ‘actor-beast’ in him is always first. For Andre to direct a play, there would have to be something that inspires him so much that doesn’t have something for him in it. That play would have to give him the drive and challenge as if he was in it because that’s the type of theatre he likes to do. Plays that cost something of the actors and something to investigate within themselves is that challenge Sills craves. Sills then backtracks a bit to speak about ‘An Octaroon’ a play written by Jacobs-Jenkins at Shaw Festival. Feeling that experience to be on the inside of ‘An Octaroon’ was of prime importance and then trying to get a hold of the playwrights’ plays wasn’t an easy task. He finally got a copy of ‘Gloria’ but hadn’t read it until ARC was putting together a list of plays to produce. When he finally picked ‘Gloria’ up to read it, Andre felt there wasn’t necessarily anything for him in it, but he could direct it. He pitched it to ARC where everybody read it and loved it. Andre believes ‘Gloria’ is a good fit for ARC because it’s an ensemble piece that requires a strong cast to help tell the story together. The ARC website describes the plot of ‘Gloria’: An ambitious group of editorial assistants at a notorious Manhattan magazine office vie for a starry life of feature articles and book deals, all while the internet is completely upending their industry. When an ordinary humdrum workday becomes anything but, these aspiring journalists recognize an opportunity to seize a career-defining moment. Sills is fine with this play description, but he’s extremely careful about spoiling the plot for all audiences. ‘Gloria’ has been labelled as a satire. It’s the writing, the ‘echoes’, the questions, and the wit that drew Sills to this play and Jacobs-Jenkins’s dialogue is amazing especially from a recall of ‘An Octaroon’. Sills feels that we’re all living in a kind of satire right now. For him he compares ‘Gloria’ to putting up a mirror for ourselves and seeing ourselves through that mirror. Since we all want to get back to theatre, the one thing Andre is encountering right now is a lot of fear in how we take on theatre. He explains how we might be afraid of our audience and of offending them through Shakespeare and up to modern day stories. At the same time, the world isn’t afraid to offend us. So, putting the mirror up is showing ourselves on stage. There’s a line from ‘Gloria’ Sills remembers: “People don’t read magazines for the truth.” Hearing this from a playwright, Sills also hears that people don’t attend the theatre for the truth. It’s time to get back to the truth and stop beating around the bush so much. Jacobs-Jenkins isn’t writing anything to be grotesque in ‘Gloria’ or any of his plays. He has an intent. By working on ‘An Octaroon’ at Shaw and helping with ‘Everybody’ (by Jacobs-Jenkins) at Montréal’s National Theatre School, and then with the satire of ‘Gloria’, the intent has stayed the same in all three plays. There should be no fear in showing the world as it really is while challenging us to be better. I’ll list the cast at the end of this profile, but André continues to tell the artists to continue being bold and brave, and anything that the characters do that the artists might be afraid of, the acting partner needs it for their part to continue. André continues to tell the actors to trust the play as opposed to us judging it. For the journey of ‘Gloria’, the actors have to step into it and do it for their acting partner in order to see where the journey ends. Did the cast have to undergo any preparation before rehearsals began? Andre spoke about something he believes in when he prepares for a role himself. He calls it the building of a foundation. He added that ARC likes to have an ‘open room’ meaning it is a workshop week in November where there is a read through of the play where community collaborators and design team come in regarding themes of whatever the play is about. With reference to ‘Gloria’, a woman from Macleans and Chatelaine came in to explain and share what office life is like, and how people either take care of each other or they don’t within the office. Having this particular reference of what the office climate life was like was valuable to the cast. What’s next for André Sills once ‘Gloria’ is done? I’m hoping there is a Season 2 of ‘Private Idiots’ and was imploring there to be one. If you haven’t seen it, do a You Tube selection. For now ‘Private Idiots’ is on hold, but the aim is to find a way to take these two cops a step further by getting them out of their cars. After ‘Gloria’ opens, André heads to Stratford to step into rehearsals for ‘Richard III’ and ‘All’s Well that Ends Well’ this summer at the Festival where he looks forward to continuing telling the truth on stage. DETAILS: ‘Gloria’ an ARC production in association with Crow’s Theatre runs March 1 – 20 in the Guloien Theatre, 345 Carlaw Avenue, Toronto. For further information and to purchase tickets online, visit www.crowstheatre.com . The Cast: Deborah Drakeford, Carlos Gonzalez-Vio, Jonelle Gunderson, Savion Roach, athena kaitlin trinh, Nabil Traboulsi. Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'The Two Noble Kinsmen' by John Fletcher and William Shakespeare Presented by SHAKESPEARE BASH'd and now onstage at Theatre Centre Credit: Kyle Purcell Pictured l-r: Emilio Vieira and Michael Man Zoe Marin "By fleshing out the sexual repression of the original characters in Shakespeare and Fletcher’s ‘Two Noble Kinsmen’, SHAKESPEARE BASH’d makes a case for why this seldom-performed dramedy deserves a place in the popular Shakespeare canon." Unlike other Shakespeare productions that are begging for modernization, the plot of ‘Two Noble Kinsmen’ already feels straight out of an HBO young adult series. In short: Two sexually repressed bisexual men fight over a lesbian. To expand: In Athens, three widowed queens interrupt the wedding of Hippolyta and Duke Theseus to ask him to go to war against King Creon of Thebes for denying their husbands proper burials. Despite being against his cruel tyranny, the ‘two noble kinsmen,’ cousins Arcite and Palamon, fulfill their duty to protect the city of Thebes and fight on Creon’s side. However, after Theseus wins, the cousins are imprisoned. While imprisoned, the cousins catch sight of Hippolyta’s sister, Emilia, and immediately fall in love with her – inciting the rivalry that tears their relationship apart. Eventually, Arcite is released while Palamon escapes with help from the Jailer’s daughter who is in love with him. When the cousins meet again, they agree to fight to the death, with the winner marrying Emilia. Theseus catches them but ultimately revokes his death sentence. Instead, there is a tournament to decide which cousin marries Emilia and which gets executed. While there continues to be a series of complicated events in the second half of the play, in the end, one of them dies, and one of them marries Emilia. Mind you, at no point does Emilia express interest in either of them. And yet, she feels that it is her duty to marry one, just as Arcite and Palamon think it’s their duty to either marry Emilia or die. While the original text may have focused more on the ‘chivalric code’ of its source material (Chaucer’s ‘The Knight’s Tale’), this production really leans into its criticism of compulsory heterosexuality and toxic masculinity. Michael Man and Emilio Vieira’s portrayals of Arcite and Palamon, respectively, are as hilarious as they are heart-wrenching. Director James Wallis further showcases the different ways the two characters repress their feelings for each other through their physicality. Palamon is more prone to violence, moving in large gestures and speaking boldly, while Arcite is much more subdued. Arcite rarely initiates touch, but always leans into it when he can – whether that be when Palamon embraces him or when the two are dueling to the death. In these moments, we see how their chivalric sense of duty forces them to be violent or avoid intimacy when they very clearly want the opposite. At one point, we watch Arcite reach out to put his hand on Palamon’s shoulder but then decides against it at the last minute. These missed opportunities to be earnest remind us that we’re watching a Shakespearean tragedy, and these characters have no hope of happiness. As she explicitly states, the funniest and most tragic part about these two cousins fighting over Emilia (Kate Martin) is her absolute lack of interest in all men. She shows a clear indifference to both cousins throughout the play, and in the end, her marriage to Palamon is just as tragic as Arcite’s death. Throughout the play, the entire cast has great energy that never falters during the almost 3-hour running time. ‘Two Noble Kinsmen’ is performed on a thrust stage, which Wallis uses effectively, especially during the dances (Breanne Tice) and fight choreography (Jennifer Dzialoszynski). The show opens with a great movement sequence that serves as an overture, full of images alluding to moments the audience sees later. However, since the rest of the staging was more straightforward, I was left craving more movement. I also enjoyed the productions, metatheatricality with the actors entering as themselves and putting on costume pieces to become their characters. ‘Two Noble Kinsmen’ in itself portrays an unclear time period, historically taking place in Ancient Greece, with all the action and characters presenting medieval times. Therefore, rather than leaning into either, the costume design captures the inherent anachronism and metatheatricality through its mix of modern clothing and Elizabethan elements. I will admit that some costumes were much better than others. I particularly enjoyed the Jailer, the Jailer’s Daughter, and Pirithous because the elements mixed well together. On the other hand, I found myself distracted by anybody wearing a jogger or a long belt. I also think actor Kate Martin was not set up for success with that skirt so long she’d step on it anytime she had to change levels. Overall, I really enjoyed SHAKESPEARE BASH’s production of ‘Two Noble Kinsmen’ and felt that its portrayal of masculinity and sexuality makes the original text extremely relevant to a modern audience. The production runs until February 4 at the Theatre Centre Incubator (1115 Queen Street West). For tickets: https://theatrecentre.org/tickets/?eid=110137 or call 416-538-0988. ‘THE TWO NOBLE KINSMEN’ by John Fletcher and William Shakespeare Presented by SHAKESPEARE BASH’d Directed by James Wallis Stage Manager: Milena Fera Sound Designer: Matt Nish-Lapidus Fight Director: Jennifer Dzialoszynski Choreographer: Breanne Tice Lighting: Sruthi Suresan Jailer’s Daughter Songs: Hilary Adams Performers: Daniel Briere, Joshua Browne, Tristan Claxton, Jennifer Dzialoszynski, 郝邦宇 Steven Hao, Madelaine Hodges (賀美倫), Melanie Leon, Michael Man, Kate Martin, Julia Nish-Lapidus, Breanne Tice, Le Truong, Emilio Vieira, Jeff Yung 容海峯 Previous Next

A talk with a professional artist about their career. 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

Where we hope to help young people develop an intrest and a passion for a futrure in theatre. Back Pop! Pop! By Linda A. Carson, with Monica Dufault and Kim Selody Now onstage at Toronto's Young People's Theatre Lauren Garbutt Photography Joe Szekeres “A magical and mysterious under-the-sea world for the wee ones. Delightful” In this delightful 45-minute journey undersea, we meet two very different sea creatures, ‘Hide’ and ‘Seek.’ Adorable. They playfully explore this enchanting new sea world, with many surprises turning up along the way. There is no dialogue in the play - only sounds that make the young audience eager to pay attention, to see and hear what’s happening. Kelly Wolf’s circular set design incorporates many bright and vibrant colours to capture a young child’s interest. I especially liked the aqua-blue waterfall-like entrance upstage. There are so many colours to see and marvel at on this set. Alexa Fraser’s puppets each have their own unique and distinctive look. The plucky starfish is so darn cute. The manipulation of the shark by the actors as it swims by becomes momentarily mesmerizing to watch. The two actors slowly manipulate it as it goes by the front of the stage. Brad Trenaman’s lighting design uniquely captures the shadowy effects of light upon the water. I especially liked Joe Lapinski’s incorporation of synthesizer music and brief sounds that will most certainly appeal to children. Director Monica Dufault understands the attention span of young children. She swimmingly keeps the show’s pace moving along thanks to the charming performances of Kaylyn Valdez-Scott as ‘Hide’ and Katherine Cappellaci as ‘Seek.’ They are agile and flexible, moving around the stage with grace and dexterity. They listen to each other, watch, and respond naturally while never upstaging the other. Valdez-Scott hides in one of the objects onstage when we first see her, and I was impressed at how she could contort her physical stance to remain in the object. I reviewed this show with the young students from a local pre/nursery school in the audience today. Watching and hearing the children’s responses to the activities on stage was tremendously fun. Valdez-Scott and Cappellaci are very comfortable with young audience members. The two performers are entirely in tune with the kids and their attention spans. They knew to bring the puppets and the action down and centre right to get their attention quickly. Valdez-Scott and Cappellaci always appear energized and never flustered if the kids become loud in their response. I spoke to them quickly after the show, and they both said how much they wished the kids would have been a bit louder. Valdez-Scott and Cappellaci feed from that connection with the wee ones. What I respect about the performances at Young People’s Theatre is the commitment to reflecting the 7 Ancestral Teachings in each performance. The two lessons reflected were Humility and Honesty. I credit Dufault for incorporating these lessons subtly in Valdez-Scott and Cappellaci’s performances. They love it when the kids are in the audience. The show closes this weekend, and I strongly encourage parents to introduce their children to the wonders of the theatre in this 45-minute show format. A wonderful way to get kids interested in the theatre. Running time: approximately 45 minutes. The production runs until October 22 upstairs in the Ada Slaight Hall. For information, visit youngpeoplestheatre.org. POP! POP! A Carousel Players Production By Linda A. Carson, with Monica Dufault and Kim Selody Directed by Monica Dufault Set Designer: Kelly Wolf Lighting Designer: Brad Teneman Stage Manager: Sara Allison Performers: Katherine Cappellaci and Kaylyn Valdez-Scott Previous Next

A talk with a professional artist about their career. Back Michael Ross Albert Looking Ahead Megan Terriss Joe Szekeres Michael Ross Albert and I had recently connected through Instagram. I’m still having some issues with Instagram and how to use it. When I saw Michael’s name, I kept wondering where I had seen it before. And then it dawned on me. Just this past summer, Theatre on the Ridge had staged a reading of Albert’s ‘The Huns’ about the corporate world which was a really interesting production given the restrictions of Covid. I remember speaking to Carey Nicholson, Artistic Director of Theatre on the Ridge, after the show and told her that I really hope she might consider staging a full production of ‘The Huns’ when it’s safe for all of us to return. Michael Ross Albert is an award-winning Toronto-based playwright whose work has been performed across Canada, the United States, and the United Kingdom. He received an MFA in Playwriting from the Actors Studio Drama School and has been honoured to teach new play development as an instructor of record at the University of Waterloo. We conducted our interview via email. Thanks again, Michael: In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? Your immediate family? Thankfully, my immediate family and I have been keeping healthy, safe, and relatively sane. We’re all a little lonely, and a little bored, and some days are tougher than others. But that’s all. Considering the huge difficulties others are facing during this pandemic, I feel extremely fortunate. How have you been spending your time since the theatre industry has been locked up tight as a drum? During the first wave, I spent a lot of time doom-scrolling through the Internet and trying to find comfort in junk food, booze, and classic episodes of The Simpsons. But after a while, I realized those behaviours weren’t quite doing the trick, and I decided to completely change track. With so much out of our hands, I’ve tried to focus on things that I actually can control, which these days, is mostly just my daily habits. So, I became a person that goes to sleep early and wakes up before sunrise. I deactivated my Facebook profile, which was one of the best decisions I’ve made. I’ve turned off a lot of notifications. I’ve been limiting my comfort food and alcohol intake. I’ve been taking long (and I mean long) walks in nature. I’ve started meditating. I’m becoming that guy. And you know what? It’s been pretty helpful. I’ve also had the very good fortune of working on writing assignments that had tangible deadlines. The uncertainty facing our industry has cast a big, looming shadow over my writing desk, and my focus has been even more scattered than it usually is. But once I really got going, the act of writing was very pleasurable. And I’ve been meeting with the collaborators involved in these projects periodically throughout the year, where we’ve had great, daydream-y conversations about the future. Those process-oriented conversations gave all of us a really welcome distraction from, you know, all of this. The late Hal Prince described the theatre as an escape for him. Would you say that Covid has been an escape for you or would you describe this near year long absence from the theatre as something else? I’m not sure “escape” is the word I’d use. To a degree, I’ve found myself retreating inward more, which could be a kind of escape. And when I’m writing, I do sort of feeling like I’m absconding to a different world, a different set of people’s circumstances. But, overall, I think the pandemic’s been a magnifying glass. Which is, like, a real gift, eh? How many generations have really gotten this gift of time to examine everything? Over this past year, we’ve had the time to put our industry, our artistic practices, our creative habits, our personal relationships, our values, our priorities, our commitments to our communities under a magnifying glass, and I think that’s going to lead to a lot of positive change. Obviously, the disease spreads like wildfire; we’re all at risk of being infected, we’re all grieving, the majority of us are facing financial insecurity and serious anxiety. COVID’s not a good thing. But the conditions of the moment have forced people in all sectors, not just the arts, to really scrutinize everything, so that hopefully, we can all make significant improvements to our very flawed systems. I’ve interviewed a few artists several months ago who said that the theatre industry will probably be shut down and not go full head on until at least 2022. There may be pockets of outdoor theatre where safety protocols are in place. What are your comments about this? Do you think you and your colleagues/fellow artists will not return until 2022? We should be focusing on our health and safety. If that means the industry can’t come back in full force for a while, it is what it is. Artists have to be resilient because the industry has always been precarious at best. If anyone can deal with prolonged unemployment, it’s professional artists. We have to get creative; we have to make adjustments, we have to stay creatively nimble, and keep doing what we do, in whatever small ways we can. I do not envy artistic directors, or leaders of big cultural institutions, or folks running indie theatre companies right now. No one cannot predict the future, and theatre requires a ton of planning. With vaccinations underway, it does feel like there are reasonable grounds for hope that public indoor gatherings will be able to return (someday…), but we can’t really predict how long it will be before audiences feel safe returning to a theatre. Unfortunately, I think we have to wait and see. And in the meantime, artists have to find ways to stay sharp, stay connected to their community, and stay curious. The financial toll this will take on organizations is really frightening. And I think that, no matter when in-person performances can resume at full capacity, the cultural landscape will look very different for a little while. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? Honestly, I don’t know if my understanding of theatre has changed all that much over the past year. If anything, the theatre that I’ve seen during COVID, either online or outdoors, has reinforced some of my core beliefs about it. The work I’ve seen has really hammered home the fact that communal storytelling is an essential component of the human experience. That, whether they’re watching on Zoom or sitting in a lawn chair, an audience may be more willing to suspend their disbelief and go on the journey of the play if the stakes are high and the story is personal. This work has reinforced the idea that theatre should reveal a deeper truth about humanity while being extremely entertaining. And it’s proven beyond all doubt that theatre-makers are some of the most adaptable people on the planet. As to where theatre is going. For a while, I think plays may get even shorter than they currently are. We may only see small casts on stages for a while. Technical designs will probably become a lot simpler. Theatre companies may start regularly offering online ticketing options, which would be great. They might also prioritize accessibility, which would be even better. Ultimately, despite the difficulties of rebuilding, I think the theatre will come back stronger than it was before. And after a few more months of lockdown, I think we’ll all be craving live, in-person experiences. I know I am. The late Zoe Caldwell spoke about how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre? I don’t think artists should put themselves or others in the way of physical danger in order to do their work. Emotionally speaking, though, I think art is most relatable when it addresses deep, uncomfortable feelings that we all experience but have difficulty talking about. In order to create a piece of theatre that truly explores difficult emotions like guilt, shame, fear of death, an artist needs to find methods to safely access a “dangerous” part of themselves. This past year has certainly felt dangerous. I worry about vulnerable family members and friends. I worry that a stranger’s carelessness could seriously impact the life of someone I love. And I think this sense of our interconnectedness, the fact that we rely on so many people, even people outside our sphere of personal relationships, in order to not get sick and die will definitely influence my future work in the theatre. I’m not exactly sure how. But the stakes are life or death for everyone right now. And that’s definitely the key to excellent drama. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre? Oh yeah. Early on in the pandemic, we heard one piece of rhetoric over and over: “We’re all in the same boat.” But it’s clear that’s really not the case. As a dramatist, what I’m most interested in is the various perspectives of different characters, especially in the face of moral crisis. COVID-19 has shone a spotlight on individual circumstances, big decisions, heroic acts of selflessness, and flagrant disregard for other people’s safety. I’m endlessly fascinated with why people behave the way they do when faced with the extraordinary, and that fascination has only grown during the pandemic. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? You know, I am curious about human behaviour and why people act the way they do under pressure, and COVID has given me plenty to ponder about in that regard. But I think what I’m most curious about right now is… What story will we need to hear, after all this is said and done? What will we-- artists and audiences-- need from the theatre, in order to help the collective healing process? And how do we make sure we carry all these important reflections from the past year into our artistic practices, and into our regular routines when the pace of normal life resumes? For further information and connection to Michael, please visit his website: www.michaelrossalbert.com or his Twitter handle: @michaelralbert. Previous Next

A talk with a professional artist about their career. Back Gerard Gauci - Resident Set Designer for Opera Atelier "I'm not sure where AI technology will go in scenic design, but eventually it will have some role on stage for future productions." Bruce Zinger Joe Szekeres From Gerard’s website and our Zoom conversation: “Gerard Gauci is the Resident Set Designer for Toronto’s Opera Atelier. Educated at the Ontario College of Art and Design, he graduated with Honours in 1982. He was in the Communication and Design Department. Gerard wanted to work in the applied arts, and he studied to become an illustrator. The theatre has always been at the back of his mind. His work encompasses art, theatre, and museum design. He has worked with Atelier since its first fully staged production in 1985. He has designed the company’s complete repertoire, spanning Monteverdi to von Weber. His work for the stage has been seen across Canada, throughout the United States and Europe. Gauci’s sets have been presented by Houston Grand Opera, The Glimmerglass Festival in New York State, and the Opéra Versailles.” During our conversation, Gerard mentioned that his designs are all done by hand and rarely uses a computer. Ever since I’ve had the opportunity to attend some of Atelier’s productions, I’ve been highly impressed with Gauci’s designs. How did Gerard connect with Marshall Pynkoski and Jeannette Lajeunesse-Zingg from Toronto’s Opéra Atelier? While working as an illustrator, he was commissioned to do a magazine cover for the monthly CBC Radio Guide (the TV Guide for Canadian radio). There was always an illustrated cover, and Gerard was asked to produce one about theatre. He’s always been interested in the fine arts and decorative arts of the eighteenth century, particularly in France and Italy. Gerard created a published cover that featured a Baroque dancer in a kind of allegorical costume set on a stage. Marshall and Jeannette subscribed to this monthly Radio Guide, saw the cover, and found it interesting. They tore it off and stuck it on the fridge door. Jeannette happened to be working with some photographers, and one of them said she and Marshall should meet this ‘guy’ who’s interested in all this Baroque stuff “you’re interested in.” Through one connection leading to another, Gauci received a phone call from them and wanted to meet one day. He did. Marshall and Jeannette asked if Gerard would design some props for “The Choice of Hercules,” a production they were doing in the theatre at the Royal Ontario Museum theatre. Gerard agreed and enjoyed the experience. Marshall and Jeannette then continued to ask Gerard to work on set designs. Thus, his connection with the two of them began, and a new chapter opened: “Thirty-five years later, I’m still here.” Where does Gerard see the world of opera and theatre’s trajectory over the next five years? He paused for a moment. First, he said that’s a good question as the industry is still in recovery from Covid. Many of the artists whom I’ve interviewed have also agreed with this, along with the fact everyone wants to establish once again where they were before 2020. He then added: “Technology is becoming a bigger and bigger factor on the stage itself. In terms of scenic design, projection is a huge part of what one now sees on the stage. There’s talk of exploring AI scenically on stage. I’m not sure where that will go, but eventually, it will have some role on stage for certain kinds of productions.” Gauci can’t speak as a director. In terms of set design, the world of printing is changing everything. For his entire history with Opera Atelier, Gerard has everything painted on stage: backdrops, set, and flats. He has a team of painters who do all this work. Gerard creates a small-scale rendering, and the painters reproduce it at a large scale on canvas with scenic paint. This is all changing now dramatically. In the early days, one couldn’t print anything at that scale. Today, if something is 25 feet by 25 feet, it can be sent out and printed. Gerard foresees that printing will probably overtake the world of scenic painting. Atelier did a production in Italy several years ago where all the drops would be printed in Germany. Gerard had to send scans of paintings. He called this both technological and concerning because he had no idea what the quality would be like coming from a printing press instead of the hands of a team of painters. Gerard was astonished when he saw the quality of the work: “These were drops that were 60 feet X 25 feet. They were enormous. The quality was superb, and it looked exactly like my painting. When you have someone physically paint it, there’s a kind of translation that has to happen because their hand is not the same as my hand. It doesn’t look exactly like me. What I had printed looks exactly like me and done in a fraction of the time and cost fraction of what it would cost to have something painted by a team of painters.” Gauci concurs something is lost because there’s an ineffable quality about a painting versus a print. It’s not the same thing. Printed versions usually have a bit of sheen, whereas scenic paint is designed to be very flat and not reflect light but absorb it. This kind of technology in the theatre has revolutionized the world of scenic art and will continue to do so. Unfortunately, as Gerard sees it, the world of scenic painting becomes less and less of a profession. It has been used less and less over the years because scenic designers have been thinking digitally for an entire generation. Why should people continue to see the opera? The pandemic proved to everyone the value of live theatre. Everyone watched online offerings when everything shut down, yet Gerard found that experience unsatisfying. He couldn’t be engaged with that screen in the way he was engaged in the theatre. When everything ‘returned,’ Gerard said he rushed back like everyone. He saw some shows – in his words, they were fine, but they weren’t great productions. The experience of being back in the theatre reminded him of how irreplaceable it is. As audience members, we participate in that production because there is an energy exchange between the performers and the audience. Then, there is the added exchange of energy among audience members. It’s a human resonance. There’s some life-affirming about the experience of being in the theatre. Gerard added something that many artists I’ve profiled have intimated the same thought: “I found I was moved far more in the theatre than I was looking at the screen.” For Gerard, opera strives to combine all the arts. The exciting thing about Baroque opera? It was seen as a synthesis of the arts – scenic, orchestral, vocal, and balletic. Emotions were big. It allowed spectators to participate in the opera. It’s about life, but it’s bigger than life. He also added: “It was an age of invention in the theatre. The Italians were the great genius of scenic design. They could create very magical effects that would happen before the eyes of spectators. Seeing these changes on stage was an exhilarating experience for an audience.” Gerard admires Marshall and Jeannette's commitment and tenacity. It takes incredible energy and determination to run any theatre company, even if for a very short period to keep it running and lively for almost forty years is an amazing achievement. They are high-energy people and have never wavered in their commitment to the company and its vision. Marshall and Jeannette’s energy is infectious, and most of all, it’s fun. For Gerard, these qualities are scarce, and he has always admired them for these qualities. As we concluded our Zoom conversation, I asked Gerard where he sees himself within the next proverbial five years: “Oh, gosh. That’s a good question. Throughout my career, I’ve worn three different hats – a theatre designer, a painter and a museum exhibition designer. I just like to keep going. I love juggling all of these things because ultimately one thing influences the other. There’s a nice relationship between these three things.” Gerard still loves painting. He has always been interested in curation and decorative arts of museums. The theatre has been his life for so long. Opera Atelier is not going anywhere so he hopes he will continue designing sets for the company. His final words: He’s just going to continue going on. To learn more about Gerard Gauci as artist, visit his webpage: https://www.gerardgauci.com/ To learn more about Opéra Atelier: https://www.operaatelier.com/ Previous Next