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

Dramas encompass the human response to a created life situation on the stage. Back 'among men' World Premiere by David Yee Factory Theatre Dahlia Katz Joe Szekeres Masterful storytelling and performance in Factory Theatre’s opening night world premiere of David Yee’s ‘among men’. To see mastery of the above-mentioned crafts intelligently adapted into a soulful production that left me wordless for a few minutes at the conclusion was exhilarating. It took me over an hour on the train ride home just thinking, remembering, and pondering how truly moved an audience member can be when a play is handled with such minute and detailed finesse in many technical components. The world premiere of David Yee’s ‘among men’ at Factory Theatre did just that. His richly charged script of striking poetic images and real human emotions remains with me as I write this article today. Directed with a consummate vision of grace, humour, and compassion by outgoing Artistic Director Nina Lee Aquino coupled with passionate performances by Ryan Hollyman as poet Al Purdy and Carlos Gonzalez-Vio as Milton Acorn made the world of Canadian poetry become a personal living and breathing entity for me. I think it’s obvious I’m going to tell you to get to see this. It is 1959, Ameliasburgh, Prince Edward County, Ontario. Al Purdy and Milton Acorn are finishing an A-frame cabin on Roblin Lake. Many superficial scripted elements at times hinder the progress in completion of the A-frame which provides for some of the wonderful humour of the piece. Pay careful attention as Hollyman at one point tries to fix the cabin flooring. It’s a comical tour de force to watch. While trying to finish the cabin and through their discussion on the state of Canadian poetry in the coming modern era, we see Al and Milt speak about many of the issues related to writing in general and to poetry. Early in the play, Al anxiously waits for a letter regarding his sending a play to the CBC while later Milt has received an invitation to attend a conference in Kingston. An initial thought to begin. Playwright David Yee succinctly captured the humanity behind Purdy and Acorn. During my undergraduate years many moons ago, for some reason (possibly my naivete), I used to place poets and authors in the same category as performers. For me, these individuals were to be highly regarded because there was something extraordinary about these artists and the lives they lead. Thankfully, playwright Yee rightly nixes that idea. Pay attention all undergraduates who may place artists on a pedestal of high regard and adulation because we’re all flesh and blood flawed human individuals underneath. Director Aquino smartly never allowed the men’s imperfections to venture over the top. Respectively, Ryan Hollyman and Carlos Gonzalez-Vio viscerally reveal Al Purdy and Milton Acorn as two uniquely distinct true to life men who sometimes get rather graphic in their talk with each other as Gonzalez-Vio so aptly demonstrates at the top of the show. As Purdy, Hollyman superbly listens intently to this sexual rambling before flinging a nasty zinger back to Gonzalez-Vio which resulted in uproarious laughter from the audience. Rest assured though this production is not just mere flinging one-line insults back and forth a la Neil Simon’s Oscar and Felix and thank goodness for that. What made this opening night production so memorable for me is the fact both Hollyman and Gonzalez-Vio demonstrated a master class in focused listening to each other, hearing each other, and then responding in a genuine believability. These two gentlemen are naturally, fully, and completely grounded in their characters and made me believe every single uttered word in what was said and what was not said in those blissful moments of silence between them. Another touching element of this production was the definitive care taken by Aquino and Messrs. Hollyman and Gonzalez-Vio to show that, yes, grown men are humans who can and do experience traumatically emotional life impacts just as much as women. There is quite a heartfelt moment of male friendship in true master class performance downstage centre between the two that, for me, tugged at my heart strings as a hush filled silence of respect enveloped the auditorium. I truly did feel that synchronistic chemistry between the two performers at that moment. Joanna Yu’s stunning two level Set Design of the A-frame cabin is a marvel to behold. It is a work in progress resplendent in the odour of sweat, cigar stench that Gonzalez-Vio smokes and the drinks after drinks of whiskey and badly brewed coffee the two men consume. When I sat down in my seat, I didn’t open my notebook right away to write notes as I just wanted simply to revel in looking at this mammoth creation which Aquino noted in her audience address before the show began. The set is angled which provided perfect sightlines from my seat. There is a wood burning stove which amply is utilized throughout the play. Just slightly off-centre stage right is a table with bottles and other props of newspapers and stuff haphazardly thrown around. Up stage left balled up papers can be found in a corner haphazardly thrown there. A well-worn easy chair which probably should have been thrown out years ago is angled and placed right behind the table. There is a well-worn rug placed underneath the easy chair which probably should have been thrown out as well but adds character to the fact the cabin is that proverbial work in continuation. On stages right and left, props are hanging from strings which become part of the action. Yu’s costumes appropriately reflect the differing characters. Gonzalez-Vio’s Acorn wears a red lumber jack looking shirt with work dirty work pants. Hollyman’s Purdy wears what appears to be grey looking dress slacks, dress shoes and a white pinned striped show from what I could see. Michelle Ramsay’s Lighting Design warmly enclosed the playing space of the cabin akin to a natural light setting. I liked Christopher Stanton’s selection of aural newscasts that I heard during the preshow sounds as the audience entered. At one point I thought I heard elder Trudeau Pierre speak. From what I can recall, these newscasts of the sixties began to focus on Canada’s emergence on the world stage in key areas of culture. The song ‘Lonely Boy’ took on a new meaning for me as I left the auditorium. Final Comments: Nina-Lee Aquino concludes his tenure as Factory’s Artistic Director. There’s a line from the play I scribbled down in my book in the dark hoping I would be able to read it later: “A poem feels unfinished even when it is.” ‘among men’ doesn’t feel unfinished when it concludes. Yee’s script says what needs to be said. Instead, I’ll remember the line: “I remember it. I remember the good ones. ” Aquino, Hollyman, Gonzalez-Vio and the entire creative team conclusively and unquestionably reflect what needs to be said while performing a good one. Get to see this. Running time: approximately 100 minutes with no intermission. Production runs to May 15 at the Factory Theatre, 125 Bathurst Street, Toronto. For tickets, visit www.factorytheatre.ca or call the Box Office (416) 504-9971. ‘among men’ by David Yee Directed by Nina Lee Aquino Set and costumes designed by Joanna Yu Lighting by Michelle Ramsay Sound design and composer, Christopher Stanton Cast: Gonzalez-Vio, Ryan Hollyman Previous Next

Where we hope to help young people develop an intrest and a passion for a futrure in theatre. Back The Darkest Dark Now on stage at Toronto's Young People's Theatre Credit: Dahlia Katz. Pictured: Ziska Louis as Chris Joe Szekeres “A VOICE CHOICE, MUST SEE. A whimsical performance chock full of Canadian heart. This remount of THE DARKEST DARK blasts off on an imaginative journey of the wonder of childhood. The charming story embodies the essence of youthful Canadian dreams, hopes, and ambitions (with some good old fashioned magic, too.) Young People’s Theatre has gloriously remounted Colonel Chris Hadfield’s story ‘The Darkest Dark.’ It last played at YPT in 2023 and ‘twas a terrific show for families then. It remains so. There have been a few cast changes this time around. I’m giving this opening night performance of ‘The Darkest Dark’ a VOICE CHOICE, must-see tag. For one, Jim Millan’s skillful direction keeps the production moving smoothly. My interest in the plot never wavered. The delightful reactions of the young children sitting around me clearly indicate they haven’t lost interest either. Without giving away too much, there’s a moment when an object comes flying onto the stage, and the kids’ reactions are priceless to hear. Why has it gone up a notch to a VOICE CHOICE, MUST SEE tag this time? Millan and this splendid cast capture the joys of fervent childhood imagination I overlooked last time. The audience is told it’s okay to dream big even if you have some fears. If you always believe in yourself, you can face those fears head-on. It’s the summer of 1969 at the Hadfield cottage on Stag Island. Apollo 11 is about to land on the moon. Nine-year-old space-loving Chris (Ziska Louis) is a precocious young lad who dreams of becoming an astronaut. He excitedly awaits the televised event of the Apollo moon landing. Something changes at bedtime. Chris is afraid of the dark. His mother and father (Lisa Ryder and Ron Pederson) are at their wits’ end trying to help their son overcome his fear. Chris’s older sister, sixteen-year-old Cindy (Evelyn Wiebe), periodically teases her little brother about his fear and threatens to tell his friends Herbie and Jane (Anthony Perpuse and Hannah Forest Briand) about Chris’s fear of the dark. Cindy is hesitant to do so. Chris has picked up on his older sister’s feelings and interest in Keith (Shaquille Pottinger), a hippie hired to teach Chris, Herbie and Cindy how to canoe safely. Anna Treusch’s set and Bonnie Beecher’s lighting designs are charming reminders of a giant three-dimensional replica of a storybook setting. Treusch has also selected appropriate bright colour pastels and a checkered look from the 1960s for costumes. Daniele Guevara’s authentic projection designs of tree branches and water fronds swaying in the breeze become almost hypnotic. Pictures, drawings, and news clippings of information about the Apollo 11 moon landing are also effective in these designs. Deanna H. Choi’s selection of song recordings from the late 60s made me smile because I hummed along quietly to some of them. I’m also a sucker and pushover for live magic tricks on stage. The actors seem comfortable mastering the various feats with David Ben's consultancy. As co-writers, Jim Millan and Ian MacIntyre have crafted a genuine human story that resonates not only with young people in the audience but also with adults. Even adults may experience fears regarding the unknown, and it’s perfectly normal if that occurs. It’s essential to recognize that feeling scared about the unknown is acceptable. Even more crucial is embracing that concern and positively directing that energy. The estimable ensemble cast remains the reason for seeing the show. Hannah Forest Briand and Anthony Perpuse charmingly capture the carefree, youthful innocence of Chris’s friends Jane and Herbie. Watching them become part of Chris’s fears about the dark in his dreams is also magical. Evelyn Wiebe’s Cindy remains sassy and bold as Chris’s know-it-all sixteen-year-old sister. Wiebe is clearly enjoying her juvenile flirtations with hippie boy Keith. Shaquille Pottinger is perfect in voice, stature, and appearance as the spaced-out object of Cindy's affection. Ron Pederson and Lisa Ryder become believable, harried-looking parents whose patience and tolerance are continually tested by a demanding daughter and son. The business Ryder has with the bell in trying to calm her son before his bed is still hilarious. Pederson’s CBC news reporter still made me laugh out loud for his Brylcreem, slicked back hair (young people may have to GOOGLE that product) and pin-striped suit. In his first appearance as the newscaster, Pederson brings out an object with him (don’t wanna spoil it here) that still makes me smile as I write this. Ziska Louis is a winning, precocious Chris. It is a delight to watch Louis again bring this childlike innocence back to life with passion and sensitivity. Louis adeptly uses his voice and is quite convincing in his task. Please get tickets for this. If you’re looking for something to do with the kids over the March Break, ‘The Darkest Dark’ is the perfect opportunity to introduce them to the world of the theatre. With Family Day approaching, what a gift for all of you. Please go. Running time: approximately 70 minutes with no interval/intermission. ‘The Darkest Dark’ runs until March 16 on the Ada Sleight Stage at Young People’s Theatre, 165 Front Street East, Toronto. For tickets: (416) 862-2222 or youngpeoplestheatre.org. YOUNG PEOPLE’S THEATRE presents Chris Hadfield’s THE DARKEST DARK Adapted for the Stage by Jim Millan and Ian MacIntyre Director: Jim Millan Magic Consultant: David Ben Set and Costume Designer: Anna Treusch Lighting Designer: Bonnie Beecher Sound Designer and Composer: Deanna H. Choi Video Designer: Daniele Guevara Stage Manager: Laura Baxter Performers: Hannah Forest Briand, Ziska Louis, Ron Pederson, Anthony Perpuse, Shaquille Pottinger, Lisa Ryder, Evelyn Wiebe. Previous Next

A talk with a professional artist about their career. Back Jillian Keiley The Self Isolated Artist John Arano. Joe Szekeres Jillian Keiley was the former Artistic Director of the English Theatre of Ottawa’s National Arts Centre who has led an illustrious career in the theatre. She is an award-winning director from St. John’s, Newfoundland, and founder of Artistic Fraud of Newfoundland. Jillian has directed and taught across Canada and internationally. She assumed her role as the Artistic Director of Ottawa’s National Arts Centre, English Theatre, in 2012, and her productions there have included A Christmas Carol, Twelfth Night, Oil and Water and Alice through the Looking Glass. Thank you, Jillian, for participating in this series as On Stage appreciates you taking the time in your busy schedule: We’re over the four-month mark now with most places entering Stage 3. How have you been faring during this time? How has your immediate family been doing during this time? Through a series of unlikely circumstances, I ended up in Newfoundland, where I’m from, at the very beginning of the pandemic and I haven’t left since. I live on a farm when I am here, and I get to spend time with old friends and my family, so I consider myself really lucky. The first few months were hard on my daughter, but now she is able to spend time with a few friends, so we are ok. Thanks for asking! As a performer, what has been the most difficult and challenging for you professionally and personally? I’m not a performer but as a someone who works very closely with performers I am really worried about my colleagues. We are losing some extremely valuable colleagues right now and it’s such a loss. We are working on making opportunities for audiences to re-engage in live performing arts again in a really serious way – and I hope we have at least a few more COVID Friendly works on the way in the very near future. I recognize how lucky I am to have a contract that keeps me deeply engaged and employed right now. I hope I am using this time to help make things a bit brighter for some other artists. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? We were loading in for a beautiful production of ‘Copenhagen’ when it all came down around us. I’m sorry about that, it was a challenging, strangely beautiful version of the show, that surprised me in its emotional content. Everything is ready to go if we are ever able to remount it. I hope we can. What have you been doing to keep yourself busy during this time? At work we have been reinventing what we imagine theatre to be. Challenging our internal systems of white supremacy, reading, learning. All of that is deeply personal work, and work on behalf of the institution. Outside of that and the also large job of being a mother, I learned how to make good snowballs (the coconut and cocoa kind) and powerballs (the prune and mixed nut kind) and peanut butter balls (the oats and peanut butter kind) and I learned how to do a herring bone braids and fancy buns for my hair which is good because I can’t find a hairdresser who’ll take a new client. Otherwise I spend a lot of every day trying to do things in the theatre and undo things in the theatre. It’s been a greater labour than I’ve experienced in a long time, probably ever. I’m never bored. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? I’d suggest to them that they go make something. Somehow. And keep making the things. And then when someone has money sometime, they will say, “Hey that young person –they make things! Go ask them!” I find myself a lot of the time, seeking out people who are doing cool things that cost little in materials but were ingenious theatrical acts. Sometimes it is in theatres, sometimes it is posted to the internet. People who have contracts and grants to award eventually do find out who the people are who are doing things in towns and cities and communities. The people who are shining, especially shining despite these hard circumstances are so valuable. When I was younger we had no money to advertise this one show, but I knew someone who had an in at the hospital laundry, and I knew that they had these bags and bags of torn sheets going to the garbage on the regular. So to advertise the show, I got about 20 friend who pulled their shirts down and their pants up and made a giant toga parade using this sewn together band of old hospital sheets with the name of the show painted on it. It certainly brought a lot of attention to the show! I don’t recommend doing anything with hospital sheets these days but… .I’m always personally on the lookout for people who are willing to go the extra mile. Do you see anything positive stemming from Covid 19? I think the wakeup call of Black Lives Matter and addressing white supremacy in the arts is a tidal shift that will never let us return to where we were before. It’s a very positive shift. I hope we can see real change and I hope I am allowed to be some part of that change. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I don’t love it. I believe theatre has ritual around it, and I believe that there is a deeper spiritual aspect to it that disappears online. But I have appreciated the educational opportunities of watching shows online. I have tuned in to shows from theatres I haven’t been to before, and that’s interesting. But I am really, really looking forward to being with people experiencing some art and going through the spiritual, ritualistic aspect of theatre again. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? I love the creativity and resilience of performers. We have performers still doing their things on line, in cars, in drive ins, on roof tops, over the radio, in parking lots, in theatres with unprofitable configurations in the audience, for one person at a time, for pairs, for plants. Storytellers, mythmakers, meaning and metaphor purveyors- are simply amazing. You just can’t keep them down. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton here are the ten questions he used to ask his guests: 1. What is your favourite word? Yes (and here’s how) 2. What is your least favourite word? No (and here’s why) 3. What turns you on? Good puppetry. 4. What turns you off? Men who talk over women who are already talking. 5. What sound or noise do you love? My kid laughing. 6. What sound or noise bothers you? Harleys with holes in the muffler. 7. What is your favourite curse word? Gentle Jesus What is your least favourite curse word? Bullshit 8. Other than your own, what other career profession could you see yourself doing? I would like to go into palliative care, or Funeral planning. I’m a fairly upbeat person, but I feel like the dying aspect of living is not done well in our society and I think I could help. I used to do something like it years ago, and I felt useful. 9. What career choice could you not see yourself doing? A Butcher 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You used up 98% of it, girl! That’s pretty good!” Previous Next

A talk with a professional artist about their career. Back Dylan Trowbridge Looking Ahead Tim Leyes Joe Szekeres In the early stages of the pandemic in 2020, my discussions with most Canadian, American, and European artists led me to understand just how their professional lives have become forever changed and dramatically altered. In all honesty, I’m still wondering how this pivot back to the indoor live theatre will look for them and their colleagues as necessary worldwide social movements have spotlighted the need for change. I first came across Dylan Trowbridge’s name in the early stages of GhostLight. All of the co-founders of GhostLight wanted to create a space to keep the theatre community active, inspired and connected while the industry was shut down. During the last few days, theatre news from Broadway indicates the theatres in Manhattan will be open this fall. Still no word about the indoor Toronto and Ontario theatres. Yes, there are pockets of outdoor theatre and I for one am pleased to hear this news, yet still Canadians wait when we can all return indoors. You’ll see from Dylan’s responses he has tried his best to remain positive and to keep moving forward. From the University of Toronto website: “[he] is a Toronto-based actor, director and teacher who began his career at the Shaw Festival where he played the title role in Christopher Newton’s production of Peter Pan. Other Shaw Festival credits include leading roles in The Lord of the Flies, The Matchmaker, Widowers' Houses, The Coronation Voyage and Rutherford and Son. Dylan made his West End debut in 2009, playing Neil Kellerman in Dirty Dancing at London’s Aldwych Theatre. He also spent two seasons at the Stratford Festival, appearing in Mary Stuart, Measure for Measure, Titus Andronicus and The Grapes of Wrath. Additional theatre credits include: Tribes, Julius Caesar (Canadian Stage), Taking Care of Baby (Critics Pick Award for Best Supporting Actor), the English language premier of Wajdi Mouawad’s Tideline (Factory Theatre) and Tiny Dynamite (Theatre Smash). Dylan is a founding member of Theatrefront, with whom he co-wrote and performed in Return (The Sarajevo Project), earning a Dora nomination for best new play. Film and television credits include The Handmaid’s Tale, Anne with an E, V Wars, Impulse, American Hangman, Dark Matter, Private Eyes, Alias Grace, Orphan Black, Bomb Girls and Hemlock Grove. As a director, Dylan’s productions of The Harrowing of Brimstone McReedy and Space Opera Zero! for Toronto’s Eldritch Theatre have earned multiple Dora nominations, and one win. Other recent directing credits include Herringbone and The Yalta Game (Talk is Free Theatre) and Every Brilliant Thing starring Gavin Crawford (Festival Players). Dylan is the Artistic Associate of Theatrefront, the Associate Artistic Director of The Festival Players of Prince Edward County and the Co-Founder/Co-Creative director of GhostLight, Canada’s online platform for mentorship in the theatre (ghostlight.ca).” We conducted our conversation via email as Dylan is an extremely busy family man. Thank you for taking the time to add to the conversation, Dylan: The doors to Toronto indoor live theatre have been shut for over a year now with no possible date of re-opening soon. How have you and your immediate family been faring during this time? Thanks for asking this, Joe. While this has been a profoundly challenging time, I have tried my best to seek silver linings where I can. I’ve got two amazing kids, and I have spent a lot more time with them over the last year than I would otherwise have been able. When everything shut down last March, I took the opportunity to teach my youngest son how to read. We had a great time with it, and we never would have been able to do that under normal circumstances. We established some fun family traditions during the pandemic: Thursday night campouts in the living room (or on the balcony in the summer). Takeout and old episodes of ‘Survivor’ on Friday nights. Because there are four of us and a dog packed into a condo, I have been fortunate to avoid the massive challenges of isolation that so many people have had to deal with over the last year. We’ve tried to make it fun however we could. About indoor live theatre shut for over a year, there is a void for sure. More than anything I have missed the social interactions, the ridiculous jokes and meeting new people. I miss the event of theatre. The anticipation when the lights go dark. The thrill of audience and artists sharing a space. How have you been spending your time since the theatre industry has been locked up tight as a drum? I’ve tried to keep busy! A few days before all the theatres shut down, Graham Abbey and I had opened a production of ‘The Winter’s Tale’ at U of T. We’d had such an inspiring experience working with these students, and we were discussing the possibility of creating more training and mentorship opportunities in the near future. Then when March 13th hit, and, like everyone else, all our immediate theatre plans evaporated. Graham called me and we began a conversation about building an online platform for theatrical mentorship. We wanted to create a space that would keep the theatre community active, inspired, and connected while the industry was shut down. Through that conversation we laid the groundwork for what would become GhostLight (www.ghostlight.ca ) Alongside co-founders Stephen Barnard, E.B Smith and Adrianna Prosser, we spent the next several weeks developing this platform, recruiting mentors and creating our launch event Friday Night at the GhostLight (featuring Margaret Atwood, Adrienne Clarkson, Torquil Campbell, Colin Mochrie). In May we launched our first series of free classes lead by some of the great theatre artists in this country, and we continued to do so throughout 2020—offering 19 classes to over 300 students. Then, in September, Graham and I returned to U of T to teach Advanced Performance: Mainstage Drama. In that class we created two digital theatre pieces: an adaptation of A Midsummer Night’s Dream and Rosamund Small’s play ‘Tomorrow Love’. It was a great opportunity to explore the possibilities that exist when creating theatre online. I also shot a couple of Film and TV projects: ‘Marry Me this Christmas’ for the Bounce Network and ‘Titans’ for HBO Max. In April I directed a new play workshop for Alberta Theatre Projects (a company I have long admired), and a “First Day Read” for Talk is Free Theatre. I also work with Festival Players of Prince Edward County (https://www.festivalplayers.ca ) as associate AD. We are busy planning an exciting season of outdoor theatre, music, dance and comedy for July and August. The late Hal Prince described theatre as an escape for him. Has covid been an escape for me or would you describe this year long absence from theatre as something else? I think he must have meant that theatre is a great escape from ordinary life, and that I can understand and relate to. Theatre allows us to live in wonder and to transcend the ordinary This year-long absence from theatre has not been an escape for me though. It definitely has caused me to reflect and re-evaluate my life and my work in a healthy way. As actors and theatre artists, so much of our identity is wrapped up in our creative lives. This year forced me to cultivate an identity outside of those parameters. I have learned that while I love being an actor, I don’t need to base my sense of worth upon it. It’s also taught me to keep an open mind about what theatre is, and what it can be. The popular opinion (and I totally understand it) is that theatre is defined by live assembly in a physical space shared by actors and audience. But this year has taught me to challenge that. We are storytellers. When the traditional parameters of our story telling are taken away from us, how do we adapt? I have been profoundly moved by digital theatre. I have been wowed by digital visuals in online plays. I have laughed heartily. I have witnessed beautiful, genuine connection between actors over Zoom. I have witnessed student actors deepen their understanding of the craft in an online classroom. So, while it hasn’t been an escape, it has been enlightening, transformative and satisfying. 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? My understanding of this virus and the various vaccines is limited, so anything I say here is complete speculation. My instinct is that it will be at least a year before people are attending theatre in a way that resembles to what we are used to and accustomed. Once we get everyone vaccinated, it will take some time for audiences to gain the confidence to gather in large groups again. My hope is, in the meantime, theatre-makers will be inspired to get creative with their approach to alternative strategies. I started my career doing outdoor theatre in Montreal. There is a magic to it when it’s done well. And it can attract non-traditional audiences. I think we will also see companies getting innovative with hybrid models of theatre: a live performance in a real theatre with a tiny audience and live streamed to a greater audience in their homes. I’m curious about how this challenge can create new models of theatre. The advent of Zoom theatre has opened up performance possibilities that transcend geography. While I don’t expect we will return to ‘normal’ in 2021, I am confident that this obstacle will lead to innovative approaches that could transform the way we create and attend theatre. I think theatre historians will look back on 2020-2021 and expound on on its vital transitional moment in the way we create theatre. The most important thing in all this? All levels of government must prioritize supporting arts organizations. As things stand, there is no scenario that will allow us to generate the ticket revenue sufficient to meet our costs. If we want a thriving performing arts sector on the other side of this pandemic, it is vital that we keep companies afloat. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? What our industry has endured over the last 14 months will forever change the way we create theatre, and the way audiences experience it. The most important moment we have experienced as a result of Covid is the reckoning that took place, and continues to take place, at arts institutions across this country. The closure of theatres created an opportunity for theatre artists to shine a spotlight on the systemic inequity and racism that has been taking place in our theatres and cultural institutions. I believe that a positive, permanent transformation has begun to take place. I anticipate that we will continue to see healthy, innovative leadership models evolve because of this, and that will affect everything from programming, to process, to casting and hiring practices. With regards to how we will create theatre in a post-pandemic world, my hope is theatre artists will be inspired to devise work that celebrates what makes the medium unique: liveness, gathering, collaboration and imagination. Great theatre can be like a party or a concert. It should be an event. Unpredictable. Dangerous. Exhilarating. I expect that there will be a greater urgency to the work we do and a hunger in the audiences that experience it. Have you felt danger during this time of Covid and do you believe it will influence your work? In 2006 I created a play with actors from Bosnia called ‘Return: The Sarajevo Project’. These artists grew up during the war in Bosnia and experienced legitimate, tangible threats to their lives every single day for several years; it affected everything. Their work was raw, spontaneous, and unpredictable and I learned a great deal from being on stage with them. I have not experienced that kind of sustained and palpable danger. Covid has been frustrating, stressful, and inconvenient. It has posed a threat to my livelihood and my ability to pursue my dreams. But it would be inauthentic to suggest that I have a deeper understanding of danger that I will bring to my work as a result of this. The word I keep coming back to is “urgency.” I will create theatre with more urgency when this is over. I’ll make up for lost time. I’ll relish the opportunities to collaborate with great artists in a shared space in front of an audience. I’ll enjoy it more. I’ll play more. And I won’t take one second of it for granted. Has this time of Covid made you sensitive to our world and has it made an impact on your life in such a way that you will bring it back to the theatre? In 2019 I suffered a serious concussion while rehearsing a play. I was unable to act on stage for the entire year. Then I lost a very close friend to a tragic accident. And then Covid hit. These three events permanently altered the way I see the world. Life and health feel much more fragile now. Everything we experience is raw material for the work we do. I hope and expect that these challenging events will have a positive impact on my work as an actor and director. Once 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? Covid has intensified my desire to do three things that I have been unable to do: traveling, creating theatre and socializing. I want to meet new people and see new places. I think that our work requires us to feed our imaginations by seeking out a multitude of perspectives and pursuing new experiences. That’s what I plan to do as soon as I am able to do so. Follow Dylan on Instagram: @dylantrowbridgeyyz Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back Come from Away Now on stage at Toronto's Royal Alexandra Theatre Credit: Matthew Murphy. Pictured: The Toronto company Joe Szekeres VOICE CHOICE “A fuller, richer sound in vocals and music indelibly marked with subtly controlled and believable performances of emotional, deep intensity. This ‘Come from Away’ hits right to the core of human kindness within each of us.” Rejoice Canadians! ‘Come from Away’ is back and sounds even more glorious. The vocals and music have a fuller, richer sound. The emotional intensities of the individual performances are subtly and skillfully controlled and genuinely believable. Whether that’s from four years plus of Covid (that continues rearing its variants) or real-life experiences we’ve each gone through, there’s an inherent sense this opening night standing ovation production has further grown and morphed into a story that still tugs at the heartstrings. It’s joyous. This ‘Come from Away’ makes one proud to be Canadian. Husband and wife Irene Sankoff and David Hein’s relevant book, beautiful music, clever lyrics, and inspirational messages continue to speak volumes about human purpose and value when terrible adversity strikes. This Toronto production, now scheduled for performances until April 2025, may extend into next summer. I certainly hope it does. The story deals with the 38 planes diverted to Gander, Newfoundland, on that fateful morning of September 11, 2001. For five days following, the people of Gander and surrounding towns took the 7000 stranded individuals and cared for them the best way they could. Sankoff and Hein interviewed the residents who assisted. From there came poignant, sad, amusing, troublesome and heartwarming stories and memories. Beowulf Borritt’s excellent scenic design continues to reflect that East Coast ‘kitchen party’ feel we’ve all come to love. Howell Binkley’s lighting magically focuses attention where necessary to heighten tension. I also appreciate Gareth Owen’s sound design. He’s maintained the appropriate balance between the actors and the band so that the lyrics can be heard. Music Director Bob Foster, Music Supervisor Ian Eisendrath and Kelly Devine’s Musical Staging are some of the production's highlights. The melodies touch the heartstrings. I still love the sharpness of the ‘chairography’ as chairs are easily moved from point to point. There are moments when the roof is blown off the Alexandra Theatre with the numbers “Welcome to The Rock” and “Screech In” as the movement/choreography is sharply delineated. There’s always a clear and developed sense of purpose and reason. The pacing never lags or drags. I wanted to "Stop the World" as characters Nick and Diane sang in the show. Why? The musical numbers felt like believable extensions of the picture and the moment. I didn't want to leave this East Coast sense of belonging within the 100-minute running time without an interval. I cared about each of the characters and what was happening to them. Most of the original Canadian cast has returned to play several roles. There are a few new additions to the cast and standbys. Cailyn Stadnik now plays Captain Beverley Bass, and David Silvestri plays the Gander mayor. Several of the standbys are also new to the production. Christopher Ashley’s direction remains solid. His vision remains astute in wanting all audiences to know and remember the horror of that September day without showing any of the gratuitous elements. Instead, Ashley recognizes these characters as humans affected by a terrible event. Instead of focusing on the day's terror and aftermath, the audience becomes emotionally invested in what happens to them. I surely did. The actors are wonderful. They play several roles, but I will focus on certain ones. Cailyn Stadnik delivers compelling work whenever she appears as American Airlines pilot Captain Beverley Bass. Her performance of 'Me and The Sky', depicting how Bass grew to love the aviation industry, is heartwarming and impactful after the song. David Silvestri's portrayal of the Gander mayor is commanding, as he ensures the town comes together to help the stranded passengers. He also adds humour in his brief roles as mayors of the surrounding towns. The moment when Silvestri, as the Gander mayor, acknowledges his actions after five days when he returns home leaves a powerful impression. James Kall and Barbara Fulton deliver poignant performances as Nick and Diane, who meet and begin falling in love. You can’t help but root for them, especially during the ‘Screech In’ number, when they become honorary Newfoundlanders. Lisa Horner delivers a powerful performance as Beulah, a sassy, wise-cracking, assertive, kind-hearted schoolteacher at the local Academy. Saccha Dennis's portrayal of Hannah, a mother searching for her firefighter son in New York, is moving, especially when she sings "I Am Here." Hannah's persistent messages on her son's answering machine, portrayed by Dennis, are heart-wrenching. Kyle Brown's portrayal of Bob brings much-needed humour to the show, especially during a scene where the Gander mayor instructs him to gather all the barbecues in town for a cookout. Cory O’Brien effectively captures that East Coast lifestyle as Oz, the police officer when he writes a warning ticket with a code that brings the audience to laughter. Steffi DiDomenicantonio portrays Rogers TV reporter Janice Mosher, while Kristen Peace plays SPCA volunteer Bonnie. What's particularly striking about their performances is the determination of these women to make a positive impact in their chosen roles without needing validation from others. DiDomenicantonio skillfully captures the humour of being new to report on the day the world stood still, while Peace's portrayal of Bonnie is direct and decisive. Peace's Bonnie fearlessly disregards authority to check on the well-being of the animals in the plane's cargo hold. Near the play's conclusion, Peace captivates the audience as she emotionally speaks to the animals before they are returned to their original destinations. Jeff Madden and Ali Momen are same-sex couple, and boss and secretary Kevin T. and Kevin J. Madden’s Kevin is the more adventuresome. At the same time, Momen’s Kevin wants to keep quiet and not draw attention to themselves in a town that might not understand who they are as people. Kevin T and Kevin J’s relationship is unduly put to the test while stranded. Madden and Momen play off each other very well while never turning their characters into stereotypes. Final Thought: The loss in the passing of a parent, work colleagues and friends has made many messages of ‘Come from Away’ still relevant today for me. An ever-greater message for me is the moment Jeff Madden (as a bus driver) tells Kyle Brown and Saccha Dennis (as foreigners in a strange land) from Philippians 4:6: ‘Be anxious for nothing’. A message I will strongly keep in my mind and heart as I fight another battle with treatable cancer yet again. ‘Joyous. Uplifting. It’s worth a visit to ‘Come from Away.’ Running time: approximately 100 minutes with no interval/intermission. As of this article ‘Come from Away’ runs until April 6, 2025 at the Royal Alexandra Theatre, 260 King Street West, Toronto. I have a feeling it will run longer. For tickets: mirvish.com or call 1-800-461-3333. DAVID AND HANNAH MIRVISH AND THE NATIONAL ARTS CENTRE ENGLISH THEATRE present COME FROM AWAY Book, Music and Lyrics by Irene Sankoff and David Hein Directed by Christopher Ashley Music Director: Bob Foster Musical Staging: Kelly Devine Music Supervision: Ian Eisendrath Scenic Design: Beowulf Boritt Costume Design: Toni-Leslie James Lighting Design: Howell Binkley Sound Design: Gareth Oen Production Stage Manager: Lisa Humber Music Director: Bob Foster Performers: Kyle Brown, Saccha Dennis Steffi DiDomenicantonio, Barbara Fulton, Lisa Horner, James Kall, Jeff Madden, Ali Momen, Cory O’Brien, Kristen Peace, David Silvestri, Cailyn Stadnik, Clint Butler, Kate Etienne, Barbara Johnston, Jawon Mapp, Sarah Nairne, Aaron Walpole. Previous Next

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

Where we deconstruct a piece step by step. Back Fall for Dance North ARISE: 2022 Signature Programme Toronto's Meridian Hall Front Street Erica Cheah Guest Writer Geoffrey Coulter, actor, director, arts educator Dance, dance, and more dance! But not just dance, a multimedia feast for the senses. That’s what’s on full display at Toronto’s Meridian Hall until Oct. 8. Fall For Dance North is Toronto’s Premier International Dance Festival. Back live for its eighth season (the first since 2019) FFDN has curated a 2-and-a-half-hour show packed with an eclectic, international buffet of dance, film, and live music. The brainchild of Artistic Director, Ilter Ibrahimof, FFDN offers mixed bills that include performances by large-scale local and international companies for a supremely affordable ticket price of, get this, $15!! Unbelievable! The aim of FFDN is the “whet Toronto’s dance appetite and inspire audiences to seek out more dance throughout the year”. Well, after attending the other night, I’m hungry for more! The show brought five distinct offerings to the stage, most world or Canadian premiers – an enthralling tap number with live music, a comedic short dance film, a Hawaiian ancestral dance, another short film accompanied by a scintillating 13-piece string ensemble and an evocative show-stopping piece by students of the National Ballet School! Every piece was set on a bare stage with nothing but props/instruments and simple lighting to frame the performances. Act one started with the world premiere of Canadian choreographer Dianne Montgomery’s ‘Softly Losing, Softly Gaining’. The six-member troupe, accompanied on stage by musicians Bryden Baird on trumpet and Drew Jurecka on violin, gave an energetic, nuanced and highly stylized 30-minute routine. This cast dressed in bright shirts, pants and suits (Cori Giannotta, David Lafleur, Jonathan Morin, Veronica Simpson, Kai Somerville and Tarra Tresham) was mesmerizing. With impressionistic-style projections by Todd Kowalski and warm hues by lighting designer, Siobhan Sleath, these happy hoofers were synchronized and precise with wonderful shading in their crisp and clean tap sounds. I was often so caught up in their dance story and conversations, I forgot they were tapping. I couldn’t stop smiling! Next up was a silly 15-minute dance film called, “…Savannah?”, directed, choreographed, and starring Zui Gomez, co-starring Alicia Delgado, first presented as part of FFDN’s inaugural short dance film series, 8-Count. While stylistically shot in one-take in an empty loft apartment, the duo seemed to just be kicking around and having high-energy fun but without much point or purpose. If anything, the film served as a much-needed “filler” for the backstage crew to set up the next performance. The curtain rose again to reveal the 28-member company of Hawaii’s Kuma Hula of Kamehameha High School and Ka Leo O Laka/Ka Hikina O Ka La performing “Kau Hea A Hiiaka”. This Canadian premiere by choreographer Kaleo Trinidad featured Hawaiian ancestral costumes (designed by Trinidad), drums and powerful traditional meles (songs), supported by a video projection with a conservationist message – nature in the Pacific Isles is being destroyed by pollution. Like the ancient ancestors, we need to be the curators of our planet’s rebirth. I found the storytelling in these tribal dances – especially the drumming sticks - fascinating. The group moved with military precision and had powerful choral work. However, many of the beats were repetitive and hypnotic and caused more than a few heads near me to nod off. Kudos to the impeccable organization of stage manager Janelle Rainville for having props, instruments and cast members glide on and off the stage so magically. Act 2 started with yet another world premiere of dance film, “Zipangu” (Marco Polo’s word for Japan), directed and choreographed by Indigenous artist Michael Greyeyes, with live music provided by Ensemble Soundstreams. In the film, we see a semi-nude single dancer (Ceinwen Gobert), painted gold, representing a waking mythical Japanese Goddess. Her modernistic dance stylings with wild gyrations and sharp, staccato movements evoke transformation, a portrait of earth itself. Below the screen in stark lighting was a sensational 13-piece string ensemble (violin, cello, double bass) playing a haunting, bellicose original score by Claude Vivier under the nuanced direction of conductor David Fallis. These talented musicians had an impeccably balanced sound. Close your eyes and you could hear the power of a full orchestra. I was connecting more with them than the rather monotonous visuals on the screen above. The program ended sensationally with 146 professional young students of our own National Ballet School brilliantly performing choreographer Jera Wolfe’s inspiring and explorative piece, “Arise”. This 30-minute lyrical-ballet routine featured highly disciplined 12–19-year-olds pouring their very souls into thrilling storytelling and exploring how, according to the playbill notes, “collaboration and support for one another enable us to rise up and face challenges in our lives.” Dressed in simple grey T-shirts and shorts designed by Robyn Clarke, these brilliant young artists moulded their bodies into exquisite shapes and moving waves with exquisite principal dancers in pas de deux and pas de trois silently landing their jumps with ease. The seamless fluidity of movement, precision, focus, athleticism, and flawless technique had me and the entire audience transfixed. Lighting designer Simon Rossiter’s use of dim lighting on the ensemble while bathing principals in warm side glows, perfectly enhanced the movement. I honestly can’t remember the last time I was so emotionally invested in such beautiful theatre. Hats off to the genius of choreographer Wolfe for his stunning use of the expansive Meridian stage. Moving and placing 146 bodies into intricate formations in any space is no easy feat. I also can’t imagine how stage manager Jennifer Lee managed to corral all those kids into first positions! Brava! This number alone was worth the already-low price of admission. I had never heard of Fall for Dance North prior to last week. After witnessing this celebration of their eighth season, I regret missing their first seven! I can’t wait for next year’s festival. Previous Next

A talk with a professional artist about their career. Back Jacoba Knaapen Executive Director of TAPA (Toronto Alliance for the Performing Arts) Sean Howard Joe Szekeres I know of TAPA and its vision as the voice of theatre, dance, and opera in Toronto. I also know the Dora Mavor Moore Awards (known as the Doras) are presented by TAPA as they acknowledge and recognize outstanding Toronto theatre in 50 categories over 7 Divisions in General Theatre, Independent Theatre, Musical Theatre, Theatre for Young Audiences, Dance, Opera and Touring. The awards in each division are voted on by a jury of eight to twelve individuals drawn from the professional performing arts community. What I was not fully aware of regarding TAPA was the tremendous advocacy of the arts AND the extensive programs it offers. I’ve only just begun to examine TAPA’s website and plan to spend time in perusal to learn more. I was also pleased TAPA’s Executive Director, Jacoba Knaapen, was available for an interview for this profile series. She is a tireless arts leader who, throughout this pandemic, has, as well, spearheaded numerous campaigns to fight for the interests of the performing arts community she serves. The most current one is petitioning the provincial government to allow theatres to rehearse in advance for outdoor performances and record digital content in their spaces (as film and tv are allowed to do) PRIOR to the stated Stage 2 opening (likely in July) so that the outdoor shows & streamed content will be able to go on. In addition to Executive Director at TAPA, and, as part of her role there, Jacoba is the Producer of the Dora Awards, and thus is the Producer for the Dora Mavor Moore Ancillary Awards which will take place virtually on June 16, 2021 at 10am on the TAPA YouTube channel. I will include the link for this presentation at the end of Jacoba’s profile. The Ancillary Awards are not based on a specific performance season but acknowledge a recipient’s whole career - and encompass administrative as well as artistic roles. The awards that will be handed out are Leonard McHardy and John Harvey Award for Outstanding Leadership in Administration (LMJH), the Victor C. Polley Protégé Award, the Pauline McGibbon Award, the John Hirsch Director’s Award and the Barbara Hamilton Memorial Award. Given her extremely busy schedule as you will see from her first answer, Jacoba kindly answered questions via email. Thank you so much for your time, Jacoba, and for allowing us to hear your voice on these important issues as the arts community emerges slowly from this worldwide pandemic: It’s a harsh reality that Covid 19 has changed all of us. Please describe how it has changed your understanding personally of the world you once knew and how your perceptions and experience have changed and transformed. COVID 19 has changed everything and the awakening to systemic racism has changed everything. Although it has been a time of heartbreak and pain, it has also created a new future time. A time of possibilities that seemed impossible before. That gives me hope. Personally, I have never worked harder and longer days in my life. I hear and read about folks baking bread, finding new hobbies, reading books, looking for ways to fill their time. That has not been my reality and for me there have not been enough hours in the day. The advocacy work at TAPA has been relentless and all-consuming. Due to the COVID-19 pandemic circumstances, our ongoing efforts have expanded beyond TAPA’s usual municipal focus and included provincial work. Our entire existence seems to be all about advocacy. I feel privileged to be working and I am certainly not complaining, but these are indeed unusual and unprecedented times, and I am just now starting to carve out time for myself, which was originally prompted when my mom suddenly fell ill and I had to stop everything to take care of her. Thankfully she is well and on track to recovery, but it was a real wake-up call for me to climb into self-care territory. Of course (like everyone else) I am working remotely from a home office, and the large majority of communications have shifted to online, and I spend more hours on ZOOM than I ever could have imagined. The level of online exhaustion is high, and I miss in-person conversations and meetings. I have new folks on my team who were hired during the pandemic who I have not yet even met in person! As a professional Arts administrator, how has your understanding of the arts industry of theatre, dance and opera been altered and changed professionally? I think the professional theatre, dance and opera community in Toronto is extraordinary. There have been many shows that have been lost – that perhaps will never get the chance to be workshopped or presented on stage. The impact on individual artists and their careers is cruel, and acutely felt. Producers, managing directors, marketers, publicists, technical staff, bookkeepers – they have all been forced to pivot so many times that they have become expert alternate scenario planners. It remains to be seen what will happen when audiences return to our currently-shuttered spaces (when it is safe to do so, of course) – how will that experience have changed for folks sitting together in a dark theatre? As a professional arts administrator, what are you missing the most about the industry? I miss many things. I miss seeing my team on a daily basis and being able to ‘jam ideas’ together, and on a very human level, sharing food together with them. I miss strategizing and sitting in person with the committee volunteers who are a critical part of the engine at TAPA. I am mostly missing seeing the community at live theatre performances, as well as dance and opera. The feeling of being with other people together in a theatre is impossible to replicate virtually. Although I have enjoyed the digital content being created, in fact some of it has been personally inspiring, it is still not ‘live performance’ to me. The magic of live, in person, is the best! As a professional arts administrator, what will you never take for granted ever again? Kindness. We cannot understand what is really happening behind those little ZOOM squares. The difficulties and personal stress individuals are experiencing is not apparent. Please describe one element you hope has changed regarding the professional arts industry and community. I don’t think we can fully know what the future looks like for our sector until we come back. But I do hope that we emerge as a community that is able to work equitably and with fairness. No one is interested in returning to an institutional status quo that didn’t work in the first place. I hope that we can come out of this with a sense of universal humanity that will give our artists and art-makers wings to take risks in their artistic exploration that was not previously possible. And I believe that perhaps, as never before, the arts have become valued. I hope that the realization that arts and culture is an essential part of the overall mental health of a society will change attitudes toward financial support for the arts and the way that artists are paid. I hope that this new realization will end the cycle of poverty that so many artists face and their value will be recognized monetarily. Toronto is a ridiculously expensive place to live and work on an artist’s salary. Universal Basic Income! As a professional arts administrator, what is it about your work that you would like members of the industry, the community, and future audiences to remember about you and your work? I hope that folks will remember that TAPA has done its best to listen and to adapt, and to respond to the evolving membership needs. I work with a very small, albeit hard-working team who are committed to serving the diverse needs of a membership that ranges from theatre to dance to opera. I am also fortunate to have an exceptional Board of Directors. Their collective wisdom is my compass. I hope that folks will remember that always for me it has been driven by the love of theatre. To learn more about TAPA (Toronto Alliance for the Performing Arts), please visit www.tapa.ca . Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Fisherman's Friends, The Musical' Now onstage at Toronto's Royal Alexandra Theatre Pamela Raith Joe Szekeres A story of real, humble, and hardworking people from Cornwall, England, ‘Fisherman’s Friends, The Musical’ is directed with a dedicated conviction of heart and told by an energetically enthusiastic and spirited company of performers. A tremendous joy in song emanates from the stage with blissful purity in sound. Who would have thought a group of lifelong friends who started singing together at school would end up on the Glastonbury stage? For we North Americans, to be invited to sing there remains a prestigious honour as it is one of the most recognized worldwide music festivals. What a sense of pride that must have been instilled not only in the artists but also in the town of Port Isaac, north of Cornwall, England. Its residents would have fondly recalled that time when these men, the ‘Fisherman’s Friends’, stepped out on The Platt to sing a few sea shanty songs to raise a few quid for the lifeboat. That sense same of accomplishment and honour that must have been felt then was evident to me on the opening night of ‘Fisherman’s Fiends, The Musical’ at Toronto’s Royal Alexandra Theatre. Directed with a dedicated conviction of tremendous heart by James Grieve, this uber-enthusiastic cast of energetically dynamic performers stole my heart with their clever witty repartee solidly bantered back and forth. It takes a few minutes to get used to hearing the dialect but that’s what makes ‘Fisherman’s Friends’ so uniquely worth the visit to learn more about this ‘buoy band’ and, what Director James Grieve writes in his Director’s Programme Note: “[to follow] a story about the universality of music and the power of singing to bring people together. To uplift and enthral…to link families and communities through history.” Musical Directors James Findlay and James William-Pattison incorporate thrilling acapella songs that became euphoric to my ears. I love the sound of acapella music when it’s done right and well. It took all my effort not to close my eyes and simply listen to the beautiful harmonies momentarily since I want to remain as objective as I possibly can in letting readers know what I thought of the production. The group is discovered by Danny (Jason Langley) a music manager on a trip from London. Once he hears this group sing, Danny is stoked to ensure their vocal sound is heard outside of this small port fishing village and manages with a bit of ‘fudging’ to get the boys to sing in London for his manager, Leah (Fia Houston-Hamilton) who doesn’t hold a lot of confidence in Danny. She has heard the group sing and respects them for it, but recognizes they are not for her. Danny also becomes interested in Alwyn (Parisa Shahmir) who works at the local pub where the Friends sing on the weekend. There are amusing moments in Amanda Whittington’s book. The group ends up in London after Danny ‘fudges’ a bit on telling the truth to get the boys to come to London. The boys end up singing and mixing with the locals in a gay bar and not realizing that life outside Port Isaac is so different from what they know it to be. Lucy Osborne’s set design is two levels and functions well on the Royal Alexandra stage. The friends sing in a bar owned by Rowan (Dan Buckley). The bar is losing money so the friends sing there on weekends to help raise some much-needed cash. The band plays on the second level with a lively percussionist at the drums. Set pieces roll in and out with much ease to mark them in place for various scenes. Osborne’s costume designs are also what one might expect from a sea shanty town – boots, overcoats, slickers, and turtlenecks. Johanna Town’s lighting design magically transports from scene to scene and nicely sets in underscoring the emotional mood. Matt Cole’s dynamic choreography reminds me of the same foot-stomping and boot-kicking work of Kelly Devine’s in ‘Come from Away’. Some terrific song renditions along the way: ‘John Kanaka’ ‘(What Shall We Do With The) Drunken Sailor’ and ‘Blow the Man Down’. There are some solid performances as well. Parisa Shahmir’s Alwyn’s two solo numbers angelically explode from the roof of the Royal Alexandra. I can’t remember their titles and that’s where the programme comes in handy. However, when I looked at it, only the song titles are there and not the names of the character or the singers. I hope this can be rectified in future to include the names either of the artists or the characters. Throughout the story, we learn Jason Langley’s Danny was let go from his job as a record producer because he has substance abuse issues. As Danny, Langley remains dynamically vigorous throughout. There are a couple of moments where I wondered if Langley purposefully played Danny as if he was high and then came to the bar. What is redeeming about Danny is knowing he will overcome these substance abuse issues and make amends. I found the ending where he purchases the bar uplifting both in soul and spirit. The death of one of the characters becomes a stark reminder of how precious life truly is and how important it is to leave a positive mark somewhere in our world first and foremost. Final comments: Passionate storytelling in song, ‘Fisherman’s Friends, The Musical’ becomes a veritable feast for the ears. Many working-class themes are presented as part of the story and in song: debt, motherhood and friendship are only three. I felt as if I was transported to another world for a few hours and heartily enjoyed the sea-faring voyage. I hope future audiences will also partake in the journey. Running time: approximately two hours and 30 minutes with one intermission. ‘Fisherman’s Friends, The Musical’ runs until January 15 at Toronto’s Royal Alexandra Theatre, 260 King Street West. For tickets call 1-800-461-3333 or visit mirvish.com. FISHERMAN’S FRIENDS, THE MUSICAL A David Mirvish, ROYO, Flying Fish Productions Island Records and Mighty Village Production Book by Amanda Whittington Music as Performed by Fisherman’s Friends Based on a screenplay by Nick Moorcroft, Meg Leonard, Piers Ashworth Choreography by Matt Cole Musical Director: James Findlay & James William-Pattison Musical Supervisor and Arrangements: David White Directed by James Grieve Artists: James Gaddas, Jason Langley, Parisa Shahmir, Robert Duncan, Susan Penhaligon, Anton Stephans, Dan Buckley (plus others listed in the programme.) Previous Next

A talk with a professional artist about their career. Back Sky Gilbert Moving Forward Joe Szekeres Controversial and complex, artist, educator, filmmaker, director, and writer Sky Gilbert has undoubtedly influenced the Canadian theatre scene. Although I haven’t had a chance to see any of his plays at this time (but am hoping to catch some soon), I have heard from others and read online Gilbert’s literary works from novels to scripts become often raw, quite funny and intensely vocal. I’ve been wanting to profile Sky, his voice, and his work for some time but wasn’t sure how to get in touch with him. A workshop production he is directing will premiere shortly, and it was fortuitous he was available to chat with me via email since he is busy in preparation. Gilbert holds an Honours bachelor’s degree in fine arts from York University, and master’s and Ph. D degrees from the University of Toronto. He has been teaching in the School of English and Theatre Studies for 24 years at Guelph. He is now a full professor and will retire in a couple of weeks. He was co-founder and Artistic Director of Toronto’s Buddies in Bad Times Theatre for 18 years. Given that we're returning to live theatre, albeit slowly, Sky feels terrified because in his words: “I’ve seen so much bad stuff…I am wanting to be shocked, angered, challenged, stimulated, not to have all my views and attitudes to life affirmed. I go to theatre to NOT be confirmed as a good person but to question myself.” I must applaud Sky for his honesty and candour here. He believes politics is killing theatre in Toronto and this means bad theatre. The theatre he sees assumes that the audience has the same ideas they do and confirms them over and over, so it is pessimistic for him. Given his frank observation regarding the state of theatre in Toronto now, I asked Sky where he sees the industry headed over the next five years. He gently corrected me by saying that he doesn’t see theatre as an industry but as an art. For him, art is so overrun by commercialism, meaning the digital megaplex. Art has been whittled down to a message that it has to be a ‘good’ one and judged on that and that alarms Sky because he says: “artists are self-censoring because they think that they have to deliver an approved message.” So, have we as an audience forgotten what art is? Sky believes so and that’s what he’s afraid of right now. How does he view art? “Art comes from the unconscious; it is unscientific, and it is a lie. It is an irrational connection with the irrational. It doesn’t mean things — things -- that can be put into words as much as provide an experience.” I received a release recently that details Gilbert’s upcoming workshop presentation ‘Kink Observed’: “Kink Observed explores what ‘kinky’ sex — and sex itself — means to gay men, (and hopefully, ultimately to us all) by considering these questions: “why do we push ourselves to the limit, sexually?” and secondly “can an audience watch a representation of ‘kinky sex' without demonizing the players? It will challenge recent misleading and myopic representations of gay sexuality by putting three gay men onstage who place their sexuality directly in your face.” For Sky, he had written audiences don’t see much gay male sexuality in Toronto plays. Instead, we see gay men adopting children and acting like straight people. But even though there was AIDS there are still bathhouses, and sex in washrooms and parks, and there is a culture of HIV-positive men who have a lot of sex, no longer with condoms. Because men can hook up easily online, our sex lives have become less visible — unless it is demonized in things like the horror of the Bruce McArthur murders — or of course in the recent very popular Jeffrey Dahmer TV Show. People just seem to love gay serial killers, but they are a little bit wary of looking at the real sex lives of real gay men who are not murderers. Would audiences perhaps push back at this workshop presentation of ‘Kink Observed’ or are they open to discussion and seeing the material? Again, Sky had written the portrayal of gay male sexuality should not be controversial in 2022. He reminds us there is porn on the internet and that we should also look at what the kids are watching! People have their heads in the sand and it’s time to become aware. The workshop (billed as provoking and immersive theatre experience) offers audiences an opportunity to view gay male sexuality performed live and up close. ‘Kink Observed’ comes from the real-life experiences of the gay men who are actors in the play and, in that way, it is a very honest and revealing account of what real gay life is like today. Of course, it is fiction, it is a play, and the gay men are using their lives as fodder for art and poetry — they are not just ‘being themselves' or repeating their real-life experiences. But there is a brutal and I think important honesty here, that needs to be seen. Sky is hoping the production will get a Canada Council grant to pursue the workshop further to a full-length production. He speaks glowingly about the artists who are involved in the production. He has known Ryan Cunningham as a friend but only recently started working with him. He didn’t know why that occurred but it’s great that it has. Ryan is a producer and former artistic director of Native Earth. Gilbert discovered recent theatre school graduate Ray Jacildo for his production of ‘Who’s Afraid of Titus? in the summer and says he was AMAZING. Brandon Nicoletti is a filmmaker whom Gilbert auditioned for this project and feels he has a lot of insight and brings a great deal of honesty to the work. While they all had fun creating the improvised scenes in the summer. Sky writes they are working on: “the kink demonstrations’ where the audience will get to see some real kink stuff happen and even participation — however slightly — in the goings on! Hopefully, it will be a rare and interesting experience!” THE DETAILS ABOUT 'KINK OBSERVED' WHAT: ‘Kink Observed’, a collective creation directed by Sky Gilbert and devised (with Sky) by Ryan Cunningham, Ray Jacildo and Brandon Nicoletti, who also perform in the production. Live music is by Lyon Smith, props by Trixie and Beaver, and costume consultation by Marty Rotman. WHERE: Deanne Taylor Theatre, 10 Busy Street Toronto DATES: Nov 25, 2022 at 08:00 pm - 09:30 pm (Fri) Nov 26, 2022 at 02:30 pm - 04:00 pm (Sat) Nov 26, 2022 at 08:00 pm - 09:30 pm (Sat) Nov 27, 2022 at 02:30 pm - 04:00 pm (Sun) Nov 27, 2022 at 08:00 pm - 09:30 pm (Sun) For more information: https://www.eventbrite.com/e/kink-observed-tickets-450934365827 Previous Next

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

A talk with a professional artist about their career. Back Keith Barker, Artistic Director of Native Earth Performing Arts Looking Ahead getting captured Joe Szekeres The engagement comes in recognizing that it’s not about the queerness at all – it’s about the artistry in the work. When I went through a press release and saw that Native Earth Performing Arts would be one of the ten members of a newly established coalition launching our country’s first ever National Queer and Trans Playwrighting Unit, I was pleased to be invited and interview Keith Barker, Native Earth’s Artistic Director. I wanted to profile Barker earlier in the Professional Artist Pandemic Profile Series I’ve compiled for the last two years so I’m grateful for this opportunity. More about this coalition shortly and Native Earth’s involvement. Throughout this series I do like to have a quick check in with the artist to see how he has fared during the pandemic. Barker is thankful no one in his immediate family had Covid and that everyone was safe. His family felt no differently in addressing how the disease affected their lives and mental health, concerns we’ve all felt at one point. Does Barker believe Covid has altered the trajectory of the Canadian performing arts scene? Absolutely he does as it has led to modifications and re-examinations of so many items and issues within the professional theatre community, especially First Nations. For one, contingency plans have had to be put in place moving forward if the Indigenous performing arts community wants to ensure its voices continue to be heard even if its artists become ill with Covid. We talked about the use of understudies in Indigenous productions. Additionally, Barker also spoke of the fact that Native Earth will continue to offer a hybrid model in offering productions to be seen live and virtually. He recognizes that people are at limits in watching online theatre as its resources are limited compared to those of film and television who have fared stronger during these last two years. However, digital presentations have allowed Native Earth to share their stories in rural and remote communities so future budgeting will have to ensure this opportunity can continue along with live performances. The focus of Barker’s profile was this newly established consortium for the National Queer and Trans Playwrighting Unit and his professional involvement. The following theatre groups are liaised: Zee Zee Theatre (Vancouver), the frank Theatre (Vancouver), Gwaandak Theatre (Whitehorse), Theatre Outré (Lethbridge), Persephone Theatre (Saskatoon), Theatre Projects Manitoba (Winnipeg), Buddies in Bad Times Theatre (Toronto), Native Earth Performing Arts (Toronto), Imago Theatre (Montréal), and Neptune Theatre (Halifax). For those who are interested in applying: “2SLGBTQ+ emerging and mid-career theatre makers from across Canada are invited to submit applications by July 5, 2022. The selection process will see five artists announced in September 2022 to participate in a 10-month process, during which they will receive living wage compensation and one-on-one mentorship as they write a new work. The developed plays will be performed live and streamed online in September of 2023.” This massively important undertaking holds gigantic implications for the Queer and Trans voice in the country. First Nations artists have also experienced similar implications in solidifying their voices to be heard as well and, as a First Nations artist himself, Barker foresees similar positive and challenging elements moving forward in the Queer and Trans community: “It’s an opportunity to humanize all our experiences as Canadian citizens. There has been a noticeable lack both with Indigenous work and with the Queer and Trans artist voices across Canada that needed to be heard. Thanks to the work of Canada Council and federal grant money, artistic groups were asked how they are going to reflect their individual communities with a specific focus on the Indigenous and the Queer/Trans voice.” One challenging element regarding this consortium for Keith: “Post Covid, theatres have struggled financially. Additionally, audiences have also struggled as they have been locked up for a long time and may have become entrenched and only want to see comedies or something that make them laugh. I get that, we all want to laugh since we’ve all experienced one of the most awful times in our lives… But I’m confident in that as artists and theatre companies slate both fun and new and really good stories we’ve never heard before out there along with new voices, we will begin to cultivate audiences with challenging work and that is sure to start some great conversation. Artists are doing good work out there. If audiences are hesitant to respond, that’s the start of a conversation too.” I’ve seen some really good stories from the Indigenous perspective since I’ve been reviewing so I fully concur with Barker as there is good stuff out there. I’ve been fully engaged when I’ve seen these productions, have asked questions and have learned in the process. As artists and audiences emerge from Covid, are they simply at a survival stage for this next while in listening and hearing the Queer and Trans voices? Keith believes we (including himself) are now at a crossroads where we have to begin that important conversation with the community. Look at what has transpired regarding our grappling with Residential Schools. We’ve moved beyond the recognition of Residential Schools and are now at the beginning of engagement with the issue. The same exists in that we’ve moved simply beyond just appreciating that the queer and trans voices exist. We are now at the beginning of engagement with their voices. Changes begin in small acts. Keith then shared one personal element from his youth. When he was growing up, he was afraid of gay people until his best friend came out to him. He learned long ago that it didn’t matter to him if his best friend was gay. Keith ignored that label and saw the person of his best friend from years ago. He then shared something from former Senator the Honourable Murray Sinclair regarding the Residential Schools issue. It took one hundred and fifty years to get into this mess and it’s going to take one hundred and fifty years to get out of it. The same exists in engaging Queer and Trans voices and their stories. It’s not merely just a matter of survival for these individuals. They have every right to have their voices heard and their stories told. Barker stated that queer and trans stories are as good and worthy as other stories being told in theatres across this country. It’s going to take time to engage with queer and trans artists as we live with them in this country. There are Queer and Trans Canadian artists whom audiences may know and not know. Native Earth was started by two spirited artists. The engagement comes in recognizing that it’s not about the queerness at all – it’s about the artistry in the work. Keith concluded our conversation by saying it takes time to change. It’s a matter of playing the long game as instant gratification does not and cannot occur. Thank you so much, Keith, for the conversation. To learn more information and/or apply to the National Queer and Trans Playwright Unit, visit: zeezeetheatre.ca Previous Next

A talk with a professional artist about their career. Back Carey Nicholson Self Isolated Artist --- Joe Szekeres I’ve known Carey Nicholson for over ten years. As an actor, director, adjudicator and teacher of the arts, she has been engaged in performing arts for over thirty-five years. Carey began her love affair of the arts with community theatre in St. Catharines, Ontario. She moved to Toronto to pursue professional dance studies with Lois Smith, O.C. at George Brown College and becoming a faculty member at the School of the Toronto Dance Theatre for fifteen years before moving to Durham Region. Carey has been involved with community and professional theatre companies ranging from work as producer, director, choreographer, set and costume designer in Durham and York Regions. Carey is Artistic Director of ‘Theatre on the Ridge’, a not for profit, professional, collaborative company in which committed artists can produce high quality work in a broader scope of theatre and storytelling in Durham Region, just outside of Toronto. Theatre on the Ridge is unique to the Durham Region in that it uses theatre as a tool to engage, to shift complacency and to provide growth to its participants into the world and human nature whether they be from the professional or non-professional/amateur circle. This summer 2020’s season by Theatre on the Ridge includes Drew Hayden Taylor’s ‘Cottagers and Indians’, Edmond Rostand’s ‘Cyrano de Bergerac’, a remount of TOTR’s successful production of Yasmina Reza’s ‘God of Carnage’ and Beverley Cooper’s ‘Innocence Lost: A Play About Steven Truscott’ all staged in Port Perry, Ontario (50 kilometers east of Toronto). Recently, I had a chance to interview Carey via telephone: How are you and your family doing during this time of worldwide upheaval? Have your lives been changed or transformed on account of Covid? Our lives haven’t changed dramatically on the outside with no real shifts. Like everyone, we’re shifting inwardly. My husband, Andy, and I live in a rural area so social distancing has not been a problem. My family unit (which also includes my mother) has been involved in a regular routine. We’re doing more walks, eating healthier and we are more mindful of what we practice daily. We’re being reminded that we don’t need as much as we thought. I’m also baking more which, while being personally stress reducing, makes everyone happy. What have you been doing to keep yourself busy during this tumultuous time? I run the company (Theatre on the Ridge) from my home. I am an optimist and keep working at a moderated level. With too many unknowns during this tumultuous time, it is a perfect opportunity for me to complete ongoing and needed maintenance and planning for the company compared to the active stage of rehearsals and performances. I’ve also been doing a lot of ‘webinaring’ to stay connected to the cultural and tourism sectors. This current crisis will pass at some point, and I’m trying to keep myself ahead of that curve when it does. In your estimation/opinion, will the value and place of the performing arts in the professional and non-professional communities change as a result of COVID-19? I can only hope. As much as one doesn’t want this crisis to last long as it takes time to instill new habits, it will. It has been said that new habits can become installed in three weeks, so maybe performing arts will become a new habit for more people. Even though the performing arts is considered a ‘non-essential’ industry, it’s amazing how essential we have become to the communities. In our world, it appears that value is often measured quantitatively, not qualitatively, in tangible numbers and dollars. The success and value of the arts cannot be measured simply in finite dollars or numerical data. We do need to make some money along the way, but there’s also an intrinsic value of the arts in a community and other more experiential rewards for active participation within theatre. I’m hopeful that the sheer volume of arts activities during this crisis will weigh past any emergency response funding and influence future funding and support. Once life returns to its normalcy or a sense of a ‘new’ normal, explain how and why you think it’s important for audiences to venture out to see these four productions this summer in Port Perry. My first thought is that people should get out to see any theatre this summer. We’re going to need that after being shut inside for this length of time we are now experiencing. We’re going to need that live experience connection because, as humans, we need to share something together. Even the internet, Skype and Zoom are having trouble keeping up as we try to provide ourselves that human connection. We need to be in the same place, sharing the same experience and breathing the same air at the same time. Forward is the only direction we can go. Let’s just keep going forward as much as we can. Your upcoming 2020 summer season looks exciting. You have selected four plays that will offer opportunities for actors and audiences to learn more about the world and human nature. At this time, in your role as Artistic Director, are you planning to go ahead as scheduled? Have you been preparing in the event modifications may have to be made? We’re prepared for anything that could happen, but realistically some things are out of our control. I’ve had informal conversations with some of the artists involved this summer. We‘ve had structured brainstorming sessions regarding what a ‘reimagined’ summer season could look like, should that occur. There are a number of possible doors and it’s difficult to decide which unlocked door to open as we do have limitations. It’s not the performance dates that pose the challenge; instead, it’s the fact we don’t own and control our own space as the theatre is in a municipal building. As we also know, the current provincial law states that we are not allowed to get more than five people together to rehearse. Moving forward is the only way to go and, yes, we are holding our breath as we do so. We’re continually focusing on many ideas of how to deliver as much as we can regarding our performance and educational goals for the company while serving our emerging artists’ goals and our audience. As Dory, the fish, says, “Just keep swimming.” Many artists and some companies have been switching to online and/or live streaming their work in order to share it with audiences during this time of COVID-19. Given how our world is changing daily, has Theatre on the Ridge given any thought to live streaming any of its summer productions if necessary? We’ve looked at and considered live streaming if the need arises; however, there are technical logistics involved. For example, how would the performance rights be affected if the production was streamed. I’m also carefully watching how the other professional companies are handling this idea. Thankfully, the technology is there should the need arise. We wouldn’t have had this opportunity to stream our productions online twenty years ago. Theatre on the Ridge wants to keep connecting to our audiences and communities for growth and development, so online performance or live streaming is an important opportunity to discover how we can continue to serve and expand our audiences. Why do you and your artists love to perform? Tony Nappo says it well in his profile. I like his distinction between acting and performing. Our artists act and we love to create and communicate. It’s comparable to building a machine, piece by piece, where we plug it in at the end once it’s constructed and assembled for the live performance, and the light goes on for everyone. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he asked his guests at the conclusion of his interviews: What is your favourite word? Is it alright if I use a phrase instead? Under ‘normal’ circumstances I would have used the word ‘curiosity’. For the time being under this pandemic, I’m now using ‘tenacity with grace’ as I have to trust the universe ultimately knows what it’s doing. What is your least favourite word? Can’t (Note: Carey said this word with uproarious laughter) What turns you on? New ideas and possibilities from a theatrical sense and on a lot of levels. What turns you off? Working from pre-determined outcomes. I’m very processed driven. I like to stay open that I might arrive somewhere different from where I thought I would be. What sound or noise do you love? Words hanging in the air on stage which develop weight and shape. These hanging words are those wonderful rare moments that become a hologram in space. What sound or noise bothers you? Sound for sound’s sake. I dislike extraneous noise. Don’t clutter with sounds that aren’t needed. I compare this to skilled painters who don’t waste their brushstrokes on a canvas. What is your favourite curse word? Fuck – it is extremely effective when used appropriately and accordingly. I love the consonant sounds in the word. Other than your own at this time, what other profession would you have liked to have attempted? I’ve been a dancer and choreographer, basketry artist, B and B operator and gallery owner. I’ve done what I’ve wanted to do. With theatre, I am home. What profession would you not like to attempt? Anything where you rely on numbers or tangible outcomes to let you know you’ve succeeded. I like to measure value and success on how you’ve been of use to the community and to others. Helping others on their own journey through theatre is something that touches me. If Heaven exists, what would you like to hear as you approach the Pearly Gates? “Well done. If you’re not too busy, we’ve a rehearsal down the hall if you care to join us.” To learn more about Theatre on the Ridge, visit www.theatreontheridge.ca . Previous Next

A talk with a professional artist about their career. Back Kelli Fox Looking Ahead David Cooper Joe Szekeres Although it was an early morning 9 am interview with Kelli Fox in Vancouver, B.C. (and noon hour for me in Toronto), she had me laughing so much during our 40 minutes. It was heartening to hear how she is conscious of the good fortune she has had within her 35 year career, but you’ll see from some of her responses she (like many artists) have had their love of live theatre come to a crashing halt. On her personal web page (which I will include at the conclusion of her profile), Kelli speaks of how her work is always centered on language. And that language was glorious to hear when I had seen her production of ‘Between Riverside and Crazy’ which she had directed at Coal Mine Theatre and her appearance in ‘Sweat’ for Canadian Stage. Kelli has worked for 13 seasons at The Shaw Festival and 3 seasons at The Stratford Festival. She is the recipient of the Gina Wilkinson Prize in 2016 established to recognize women’s transitioning to directing in mid-career. Once again, make sure you access Kelli’s website to see samples of her work over her 35 year career. We conducted our conversation via Zoom. Thanks again, Kelli, for taking the time and for adding your voice to the conversation: 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. Wow! It’s so complex! I’ve been ruminating a lot on the fact that, before this happened, I was feeling incredibly burned out. The last couple of projects that I did, I felt like I approached not as prepared as I wanted to be because I was just tired. I was longing for an opportunity to plant myself somewhere and not pack a bag for a few months. All of that was in my head. And then this (Covid) happened, and I thought, “Oh, my God, what have I brought upon us all? What have I wielded into being?” It’s been frustrating and scary and lonely, really. But I’m also trying to embrace the fact that I needed this rest. I needed to spend every night in the same bed for a year. And get a bit of breath and a routine happening in my life. And now, a year in, and I’ve also been resistant, and I know a lot of people have been doing some incredible work online; people are keeping theatre companies alive, keeping themselves present in the virtual world. I’m so impressed and have such admiration of people who have been able to do it. And I just felt like I could barely keep up with the old way of doing things. I can’t start re-inventing the wheel right now. I’m too tired, too burned out. And it’s not my world. I don’t understand it and don’t know how to operate in it. And then this winter I was invited to take part in a reading of a play ‘An Acorn’ by Caridad Svich through Impel Theatre in Toronto and organized by a young woman whom I know is just remarkable. They invited me to take part in this, and I had said. “Sure, of course” as it wouldn’t require very much of me other than to show up on the Zoom webinar and read the play. And the play spoke to me on such a kind of fundamental level, and for the first time in a year I felt like just being present with these other artists and reading these words, I felt nourished. I felt remembered what it was to be an actor again. I’m now in very early stages of trying to figure out if I can work in this media. The other thing that is beginning to come clear now is that when we do come out the other side of this pandemic, what the world looks like then is going to include this digital theatre work. It’s not going to go away. It’s going to get folded into our practice. So, I might as well start to get comfortable on how to work with it and what to do. 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, that’s the sad part for me. I come from a city (Vancouver) where theatre has not ever, in my experience, been really centered in the cultural life of the city. That’s why I moved to Toronto 25 years ago because I remember the first year I moved out to Toronto, within the first couple of years. I saw the influence of theatre in the city. A friend of mine, Corrine Koslo, was in a show at Tarragon. I called her up and said I’m attending the Sunday Pay What You Can and I’ll see you after the show. She told me, “Just so you know, the show was ‘Memory of Water’, it’s selling really, really well and when we do these Sunday performances the box office opens at noon, and you have to be in line by 11:30 am at the latest because the line starts to go around the block.” I showed up at 11 am and the line was already going around the block and the people at the front of the line had lawn chairs and thermoses. I thought, “I’m in a city where people care about this art form.” These aren’t theatre artists who are lined up, these are theatre lovers and theatre goers. I was so enthralled that it made me fall in love with Toronto. What’s making me sad now, a year in and it’s a complete erasure of the industry. We don’t hear a lot about it. Not that I’m dissing any of these people who are also just trying to survive during this difficult time. We hear a lot about the restaurant industry, we hear a lot about sports and the teams, and how they and the athletes are going to be able to carry on. It doesn’t seem to matter what steps people take to try make things safe in theatre. Even the film industry is somehow able to get an opening to move forward. It doesn’t seem to matter what the theatre does, nobody cares enough whether it survives to put a real political cultural will behind it. That makes me sad if I think about it too hard. As a professional artist, what are you missing the most about the live theatre industry? Ooooo…..I miss, strangely enough, I miss sitting in an audience. I sometimes think back to previews of ‘Riverside’ at Coal Mine Theatre and sitting in that cramped little space with 70 other people, shoulder to shoulder, and feeling and breathing with other people. And in that space, it wasn’t the blood and sweat of the actors, it was the audience too engaged in that. I miss that jamming in of humans together into a shared experience. I would call ‘Between Riverside’ my first mainstage directing project even though Coal Mine is an indie company, it’s one with a lot of profile. I knew this was one people were going to see, and I was nervous. I was just so in love with the entire cast of ‘Riverside’. (At this point, Kelli named each of them with a big heartfelt smile) 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? Just the privilege of being a working theatre artist. I think I’ve thought I understood what that meant. I know I’ve said to many people over the years I’m conscious of my good fortune, and that I’m one of the few that gets to make a living at this. I would never guess that 35 years in that a whole year would pass and I wouldn’t work at all. I’m not making a living at this. I’m in fact now going to have to start thinking about some alternative way to get some income because I can’t. I’m not going to hold out much longer. And that’s been a bit of a shock to me as to how much I had taken for granted even as I thought I was being consciously aware and grateful of my good fortune. Describe one element you hope has changed concerning the live theatre industry. Well, this was already started to happen before the pandemic: “The keys to the gates are in different hands” and that’s going to change what it all looks like and how it all operates. And I think that’s a good thing as it’s been a long time coming. I don’t really know what to expect when that happens when we all do show up to work together again. It’s not gonna be the same old guard putting us back on the same track to do the same kind of thing. It’s going to be different. And people like me are not going to be running that show so, I’ll see what the party looks like and who’s invited to it and what kind of work gets done. It’s a conversation too, and that’s partly what I love working live is that it makes the conversation interactive. It feels like real questions get posed and people walk away with real and live conversations in their heads about what they’ve seen and heard. Those are going to be different. I’m being a little bit cagey about how I’m wording this because I don’t want to get in to a too much detailed conversation about what we’re seeing. But what I’m seeing is a lot of change, and a lot of change at the gatekeeper level, and I think it’s good. I hesitate to talk about it too much because I don’t want to invest myself too much into a particular either-or form of outcome. I want to see what happens. Even if you have no problem with what was going on at Soulpepper before Weyni Mengesha (Artistic Director), just the fact she comes with a completely different perspective and completely different set of curiosities and interests and wants to focus on different areas that would never have occurred under previous artistic leadership, that to me is incredibly valuable. We need that. I’m so delighted that more and more of that is happening. Explain what specifically you believe you must still accomplish within the industry. Ooooooo….. what must I still accomplish within the industry? (Note: I stumped Kelli for a few seconds as I could see she was really thinking) Apart from in the late 80s when I visited the Shaw Festival and saw the work and had a deliberate conscious idea that I need to work there, to work with that company. I want to be in that milieu. And I worked really hard to accomplish that specific goal. And I was really pleased it worked out. I had a great time there. But apart from that, I’ve never really made a plan. I got very lucky when I started to direct because I had enough of a track record as an actor that people went okay, sure, let’s see what you do with this show. As things started to work out, people started to ask and that worked out. I asked Gina Wilkinson how she made that transition. And she said, “I just wanted to. And people let me.” I thought that sounded great and good for Gina. And in turn that’s exactly what happened to me. 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. (Kelly let out an Uuuugghh)… I want to be surrounded by humanity and share in a live experience together. That’s mostly what I want. But God, I hope we don’t get a whole tsunami of Covid themed plays. I see a lot of stuff on Twitter, and these are conversations I try not to get involved in too much, about I hope we don’t see that. Or when we get back to the theatre, people are saying we’re going to do meaningful work, meaningful work, and the company’s program is ‘Sound of Music’ or ‘Singing in the Rain’. We just need to bring an audience back. And is an audience going to be a post World War 2 audience? We just want to see dance and a comedy. We don’t want to deal with death and destruction. We’ve had enough. We’ve been through a collective trauma, and it would make perfect sense for people to say, “Just do a tap dance. Please.” I would empathize with an audience that wants music and laughter, and artists that want to work in that capacity. I just want to be in a room with people and share a laugh. That said, there’s going to be the need to have a conversation about what audiences want to see. The important thing to me is that we get to a place where we’re comfortable. This is what worries about me about how long it’s going to take because we need to get to a place where people feel good about walking into The Coal Mine Store Front space and sitting shoulder to shoulder with 80 other bodies, and not feel concerned about that. That’s where we need to get back first before we get back to the theatre. I feel that’s going to be a long time. We need to be patient with each other and take a little space, breathe, smile and have that conversation. As an artist, what specifically is it about your work that you want future audiences to remember about you? Wow!! I think what would be most important to me is if people thought of me as somebody who centered the work over herself as an artist. I think I’ve always tried. Obviously, I walk into the room with an ego, and all actors enter the room with an ego, and you can’t deny that. But I think, I’ve always consciously tried to say if I’m having an issue, is the issue I’m having about my ego or is it a problem I need to solve in the work. I never wanted to be too concerned about what people thought of Kelli after they saw a play in which Kelli played a racist. I never wanted people to walk out of a theatre after ‘Sweat’ worrying about what they thought of me as a human being. I want them to look at Tracy as a human being. To learn more about Kelli, visit her website: www.kellifox.ca . You can also follow Kelli on Twitter: @KelliFox14 /Instagram: @nelsonsdotter Previous Next

Dramas encompass the human response to a created life situation on the stage. Back 'Macbeth - A Tale Told by an Idiot' Adapted and Performed by Eric Woolfe Produced by Eldritch Theatre and now onstage at Red Sandcastle Theatre Courtesy of Eldritch Theatre Facebook page Dave Rabjohn Should a classic tale of evil and violence be the subject of parody and buffoonery? A new and unique production unfolds this week at the always alarming and provocative Eldritch Theatre at the Red Sandcastle Theatre in Toronto. Shakespeare’s bloody and shocking “Macbeth” is the perfect vehicle for this theatre always awash in horror, magic, trickery and ghastly puppetry. “Macbeth – A Tale Told by an Idiot” is adapted and performed by the multi-talented Eric Woolfe whose talents do include the design of the former mentioned abhorrent puppets. Should a classic tale of evil and violence be the subject of parody and buffoonery? – that question would advance a range of opinions. But Woolfe’s self-deprecating tone and his ability to balance elevated soliloquys with momentary satirical quips gave us entertaining insights to Shakespeare’s work. Melanie McNeill’s set design fleshes out the macabre from the beginning. A motif of mysticism is described through bloody babies, Ouija boards, ugly skulls and torn tartan. Eric Woolfe is, at times, cartoonish as part Uncle Fester and part Curly. With his puppets, he tells the well-known story of three brooding witches who manipulate the ambitious Macbeth and send him head long into the demise of murder, treachery and bloody infanticide. The pasty, fat-faced Macduff becomes the avenger. The murdered friend Banquo is portrayed as a naïve teddy bear along with a mini-bear as son Fleance. The three witches are cleverly portrayed as almost one three level puppet – a nod to the theory that the witches and Macbeth are actually one entity. They stir up the original prophecy of the crown and then muddy the waters with promises that become hollow. Lady Macbeth’s puppet is dark and brackish – her original strength quickly oozing. Woolfe’s theatrical capacity includes brilliant voice work. He plays Macbeth but also voices the variety of puppet characters. Macduff’s thick brogue and the whining of the witches are highlights among others. As mentioned, there is a veneer of puerilism throughout as Woolfe finds momentary humour in the otherwise ugly revulsion of Macbeth’s acts. The only moment of comic relief in the original play – the porter’s speech – is thoroughly sent up. Shakespeare purists might scoff, but Woolf did do justice to many of the famous soliloquys with superb renderings. Woolfe inserts fun with parlour style card and coin tricks which appear somewhat tawdry. Having said that, his use of coin tricks that leap off the face of his dead wife while he is performing the ‘Tomorrow’ speech was an eerie reminder of how Woolfe finds that balance between the risible and Shakespeare’s majestic solemnity. Although I found no mention of who was responsible for the brilliant soundscape and sound effects, the work should be acknowledged. Especially when paired with puppetry, the sound effects enrich the performance. Highlights include the comic snoring of the drunken guards and the ominous sound of the hacking down of Birnham wood. The earlier mentioned purists may revolt, but Shakespeare’s brilliance has been interpreted in thousands of ways over the centuries. This rendering was both entertaining and thoughtful. “Macbeth – A Tale Told by an Idiot” by William Shakespeare. Adaptation by Eric Woolfe Performer: Eric Woolfe Director: Dylan Trowbridge Set and costume design: Melanie McNeill Lighting: Gareth Crew Performance runs through – February 24, 2024. Tickets: www.eldritchtheatre.ca Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Natasha, Pierre & The Great Comet of 1812' A Crow's Theatre and The Musical Stage Company Co-production now onstage at Crow's, 345 Carlaw Avenue. Credit: Dahlia Katz. Pictured: Evan Buliung as Pierre Joe Szekeres VOICE CHOICE "Wondrous, theatrical, lavish storytelling that never lets up on its emotional impact! Such heaven! A theatre experience I will never, ever forget." A sung-through musical of seventy pages of Tolstoy’s ‘War and Peace’ sounds heavenly in the Guloien Theatre at Crow’s. According to the billing on Crow’s website, the musical score “mixes indie rock, pop, folk, electronic dance, and classic Broadway music.” Such heaven. It’s a theatre experience I will never, ever forget. I may have to download the album to hear the score again. My suggestion - do whatever you can to get tickets. Now. The Crow’s and Musical Stage Company production has been extended to February 4. It’s Moscow, 1812, the upper-class echelon of society. Getting to know the ten characters will take a few minutes. ‘Natasha, Pierre & The Gret Comet of 1812’ is a story about the pangs of love, deceit, friendship, forgiveness, and familial bonds. The House Programme contains the Family Tree and how each character is connected. It would be a good idea to peruse it beforehand. At the top of the show, these characters are cleverly introduced via the opening song with a humorous comment about the names from Russian literature. Pierre (Evan Buliung) is a sad, sullen, and unhappily married man to Hélène (Divine Brown), who is unfaithful to her husband. Pierre feels as if he is wasting his life. He is a close friend to Andrey (Marcus Nance), who is off fighting in the war. Andrey is engaged to Natasha (Hailey Gillis), Sonya’s (Camille Eanga-Selenge) cousin. Sonya and Natasha have arrived in Moscow to wait for Andrey to return from war. The ladies visit Natasha’s godmother, Marya (Louise Pitre). Natasha has yet to meet Andrey’s sister, Mary (Heeyun Park 박희윤) and their father, Bolkonsky (Marcus Nance in a dual role) and has planned to meet them during this time, which ends disastrously between everyone involved. Natasha goes to the opera with Marya and Sonya and meets Pierre’s brother-in-law, Anatole (George Krissa), a handsome womanizer and ultimately ends up in an affair with him. (Let’s not forget Natasha is engaged to Andrey.) Natasha and Anatole’s affair has a dismal effect as each character has a stake of involvement. Several subplots all stem from this storyline of the affair. Co-designers Julie Fox and Joshua Quinlan have created a jaw-dropping marvellous set design of three levels. Every inch of the Guloien is used to its maximum potential, and I tried to take in as much as possible pre-show. The actors enter and exit from all sides. Ross Kerr-Wilson has paid minute and careful attention to detail, from the gorgeous-looking red drapery to the glass decanter and drinking goblets on the piano. To the right of where I sat, it looked as if there was an altar with open religious books printed in what I thought might have been the Russian language. Kimberly Purtell’s lighting design subtly underscores the moment's emotional intensity, especially in those heightened conflicts between the characters. For the most part, Ryan Borshuk’s sound design remains solid, as I could hear the lyrics in several of librettist Dave Malloy’s stirring ballads and duets. Listening to the lyrics in some ensemble numbers is still challenging because of the slightly uneven sound balance between the orchestra and singers. Still, the harmonies resound gloriously throughout the theatre. ‘Natasha…’ remains a truly spectacular moment in the theatre. Chris Abraham and Ryan deSouza direct with a regal style and elegant flair. Ray Hogg’s fluid and electric choreography becomes a wondrous, staged accomplishment. The energetic and vibrant movement of the show never lets up. The first act nicely sets up the story; however, it is the second act where the pacing takes off. The second half dazzled and riveted me, leaving me bereft of emotion for a few moments at the curtain call. The formidable ensemble cast is one of the main reasons to see the show. They remain committed to telling a story of passion, intrigue, and deception with a compelling and convicted truth. The show remains genuinely engrossing, and I didn’t realize the time passed. Each time Evan Buliung sang, I felt tears welling. His performance as the oppressed, spiritually lifeless Pierre remains solidly gut-wrenching throughout. His watching of The Great Comet in a silhouetted tableau stillness becomes striking and hopeful at the end. As Natasha, Hailey Gillis is initially charming and lovely when the audience first meets her. However, her deception to begin her affair with Anatole removes her from that childlike, dutiful innocence to a scorned woman who will ultimately and heartfully feel her error in her choice. Gillis never veers into histrionics as Natasha’s world comes crashing around her. George Krissa is the quintessential hunky and shirtless Anatole whose suavity and bravado seduces Gillis’s Natasha. Krissa smiles, flirts, and breaks the fourth wall to do the same with some female audience members sitting in the front row. His ‘bad boy’ Anatole is one to be remembered at his worst, especially in the final moments with Pierre at the end of Act Two. Marcus Nance believably creates two exciting and different characterizations in a dual role as Andrey and his old father, Bolkonsky. At the end of the second act, his Andrey may seem cold-hearted in responding to Natasha. However, at least Nance made me feel that Andrey’s reaction and motivation are valid because he has been wronged. Louise Pitre gifts a sense of grace as the strong, remarkable, and matronly Marya. As Sonya, Camille Eanga-Selenge's reaction to the letter Natasha has written in breaking off her engagement is another heart-wrenching moment in singing she ‘misses her friend’ (Natasha). Sonya’s song in the second act becomes a fervent wish that she loves Natasha and only wants the best for her cousin, even though it may mean the two of them may never save their close friendship. I left the theatre and rode in the car on the way home, not saying a word for a few minutes. Final Comments: Confession again. This English major never read ‘War and Peace.’ Seeing this outstanding production makes me want to tackle the classic sometime soon. Will I? That remains to be seen. But I did tackle ‘Les Misérables’ after seeing the musical years ago. There might be hope. At least this musical adaptation has given me a taste of Tolstoy’s text. Get tickets for this, please. Running time: 2 hours and 30 minutes with one interval/intermission. ‘Natasha, Pierre & The Great Comet of 1812’ runs until March 24, 2024, in the Guloien Theatre at Streetcar Crowsnest, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com or call the Box Office (647) 341-7390 ex. 1010. NATASHA, PIERRE & THE GREAT COMET OF 1812 by Dave Malloy Co-presented by Crow’s Theatre and The Musical Stage Company Directed by Chris Abraham Choreography by Ray Hogg Music Direction by Ryan deSouza Composer, Librettist, Orchestrator: Dave Malloy Co-Set Designers: Julie Fox and Joshua Quinlan Costume Designer: Ming Wong Lighting Designer: Kimberly Purtell Sound Designer: Ryan Borshuk Stage Manager: Sarah Miller Assistant Director: Paolo Santalucia Assistant Choreographer: Tyler Pearse Orchestra Members: Ryan deSouza, Aleh Remezau, Colleen Cook, Alex Grant, Clara Nguyen-Tran, Rachel O’Brien, David Atkinson Performers: Divine Brown, Evan Buliung, Rita Dottor, Camille Eanga-Selenge, Donna Garner, Hailey Gillis, George Krissa, Lawrence Libor, Marcus Nance, Heeyun Park박희윤, Andrew Penner, Louise Pitre, Brendan Wall Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back Jesus Christ Superstar Now on stage in the Springer Theatre at the Thousand Islands Playhouse, 185 South Street, Gananoque Credit: Randy deKleine-Stimpson. Pictured in foreground: Nico Solarte as Judas. In background: Michael Cox as Jesus and Melissa MacKenzie as Mary Magdalene. Joe Szekeres “A co-production with Thousand Islands Playhouse and Western Canada Theatre that understands Jesus Christ as counter-cultural in the past and present. Some fascinating and clever directorial choices create visually beautiful pictures and emotional moments.” The 1000 Islands Playhouse bills its co-production with Western Canada Theatre as an “explosive, dynamic telling of the last week of Jesus’ life, full of iconic music, exhilarating dance, and stirring performances. [Superstar is a ‘quintessential rock musical] story of passion and betrayal following the exuberant faith of Jesus’ followers, the betrayal of Judas, and the devastating finale.” Loosely based on the Four Gospels of the Passion of Jesus Christ (Michael Cox) in his last week of life, much of the plot of ‘Superstar’ centers on the brooding disciple Judas (Nico Solarte), who becomes dissatisfied with how Jesus steers his disciples. (ADDENDUM: I have received word from Artistic Director Brett Christopher the sound issues have been fixed and that the artists can be heard. Wonderful news.) There’s good stuff happening on the Springer stage in telling this iconic Catholic-Christian story, both vocally and in performance delivery. There are moments when Andrew Lloyd Webber’s haunting music and Tim Rice’s poignant lyrics convey a direct message. When this happens, it becomes electrifying as I can feel the hair on my arms and the back of my neck stand right up. Music Director Clare Wyatt captures the vocal intensity nicely in the moving rendition of 'Gethsemane.' 'Judas's Death' becomes mesmerizing as the technical elements of sound, design, and actor performance all come together to highlight the wayward disciple's final complete understanding of Christ's influence and the perils of his going against it. This co-production effectively showcases Christ's enduring influence as counter-cultural, both in the past and present. It's truly electrifying when it occurs. The intimate stage at Springer Theatre is well-suited to Robert Sondergaard's scaffold set design, featuring three significant exits and entrances that are used to purposeful advantage. Unlike in a large auditorium where scaffolding might obstruct the view, the audience can easily see the characters' facial expressions as they enter. There is no need for teleprompters to watch the action. Sondergaard's lighting shades are often sharply focused, incorporating shadows and darkened areas to underscore a scene's mood. This is particularly noticeable in the second act, during the scenes in the Garden of Gethsemane and the 39 Lashes when the soldiers carry out their commanded actions towards Jesus. Stephanie Kong has done her homework in costume designs and made confident choices. Michael Cox's blue shirt symbolizes international peace, which is quite fitting. Nico Solarte's dark-coloured costumes depict a brooding young man. The earth-tone colours worn by the ensemble members are also a good choice. The apostles are portrayed as working-class, ordinary men, and their costumes of subtle tears and gentle rips reflect that, another good choice. Nicol Spinola's choreography is executed with precision. There is thoughtful consideration behind the ensemble's movements when the lyrics are heard. The staging of Christ attempting to heal the lepers remains captivating. Director James MacDonald sculpts a clear and clever vision that brings Christ to the people, not the other way around (as Christians are called to do). MacDonald uses effective stage techniques to show the audience where they are in the story. For example, during the Last Supper, ensemble members hold a white linen tablecloth to give the illusion of a table being present when it is not. The '39 Lashes' remains visually breathtaking. I put my pen away in my notebook and watched with simultaneous fascination and repulsion. The energetic and lively ensemble enters from the back of the house at the top of Act One for ‘What’s The Buzz.’ That’s a solid choice because the audience can’t help but not get involved in the euphoria. That also occurs in ‘Hosanna.’ Rob Torr's Pilate is a standout in the show. Torr sings with clear restraint, and his strong intensity and physical presence show that he should not be provoked. Oliver Castillo delivers a playful and campy King Herod. Melissa MacKenzie remains a comforting Mary Magdalene, despite her true nature. However, there are moments in MacKenzie's vocal delivery where she over-emphasizes the vibrato of her voice. It becomes distracting and takes away from the impact of the lyrics. Nico Solarte delivers a rock-star standout performance as Judas. His passionate portrayal of despair and anger truly shines. Michael Cox also impresses with his portrayal of The Christ, exuding subdued regality and charming charisma. The final image of ‘The Crucifixion’ is indelibly etched, with Cox divinely capturing the full implication of the Biblical reference: “It is finished. Father, into your hands, I commend my spirit.” The conclusion of the production is convincingly uplifting, and as a practicing Catholic, it resonates deeply in my heart, reminding me that death is not the end. A Final Thought: In his Director’s Programme Note, MacDonald writes how ‘Superstar’s’ messages of love, forgiveness, acceptance and peace are at the heart of the story. Yet these messages can also be pulled apart by those threatened by them or seek to use them to their own ends. This co-production beautifully highlights MacDonald's former thought. I hope the Playhouse has reached out to all local Christian/Catholic parishes to invite parishioners to share in a story that still needs to be experienced in our troubled world. Running time: approximately 2 hours and 30 minutes with one interval/intermission. ‘Jesus Christ Superstar’ runs until October 27 at the Springer Theatre, 185 South Street, Gananoque. For tickets, visit 1000islandsplayhouse.com or call (613) 382-7020. THE THOUSAND ISLANDS PLAYHOUSE, in co-production with WESTERN CANADA THEATRE, presents JESUS CHRIST SUPERSTAR Music by Andrew Lloyd Webber and Lyrics by Tim Rice Director: James MacDonald Music Director: Clare Wyatt Choreographer: Nicol Spinola Set/Lighting Designer: Robert Sondergaard Costume Designer: Stephanie Kong Sound Designer: Steve Marsh Stage Manager: Laurel Oneil Band: Clare Wyatt, Michael Capon, Sean Donaldson, Alex Panneton, Winston Vinh Performers: Michael Cox, Nico Solarte, Oliver Castillo, Melissa MacKenzie, Alex Wierzbicki, Lauren Bowler, William Lincoln, David Michael Moote, Rob Torr, Jillian Mitsuko Cooper, Ryan Maschke. Previous Next

A talk with a professional artist about their career. Back Colm and Donna Feore Moving Forward Ann Baggley Joe Szekeres To the 115 Canadian and American professional theatre artists whom I’ve profiled over the last six months: thank you so much for sharing your stories and your thoughts with all of us. On a personal note, it is the arts to which I have turned during these sometimes very trying six months of the pandemic to keep me focused and going in knowing the end will be in sight. I passionately believe with all my heart and being the end of this pandemic is in sight. When is anyone’s guess? Live theatre will be back, and it will be a pleasure to return and watch all professional artists grace the stage again with those roles, those ‘dream’ roles, you so very much want to play. Who knows what format theatre will take as we slowly emerge from all this? But that is the exciting part in anticipation of wondering how the theatres will tackle this new challenge. When the decision was made in October to conclude the ‘Moving Forward’ series November 30, I struggled trying to decide who to ask as there were so many other artists out there with whom I so very much wanted to contact but time restraints didn’t allow me – at least for now. But who? I came upon a trailer of ‘Bon Cop, Bad Cop’ a few weeks ago online, and I just knew right then that I wanted to ask Donna and Colm Feore for an interview. I just sensed they as well were the right choice to conclude this series. And so, I contacted the Stratford Festival to ask for a contact to get in touch with the Feores. And I was equally humbled and elated when Donna got in touch with me to say she and Colm would be delighted to participate and to conclude the series. Donna is an extraordinary director and choreographer of many shows at the Festival. I’ve seen Colm in many wonderful productions at the Festival as well along with many television and film roles. Thank you/Merci, Donna and Colm for the interview via email. Until we all see each other again: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? DONNA: It is very troubling to see the numbers climb so high again in November. It is a stark wake up call that Covid has gone nowhere and we are completely dependant on behaviours of our society to keep everyone safe. Hand washing, distancing and mask wearing continue to be the smartest action we can do at the moment. I am optimistic we will come out the other side of this pandemic. The recent news of vaccines is very encouraging! COLM: I am feeling optimistic and defeated by turns. On the one hand, I believe we will be back when circumstances allow and that we can stay ready for that moment; on the other, the sum of what we’ve lost is huge and I am trying to reconcile that loss with the need to keep moving forward. When we emerge from this pandemic period I think we will keep what we have learned about best practices and have a new, and I hope, appreciation of the value of what we do, both our audiences and ourselves. How have you been faring? How has your immediate family been doing during these last eight months? DONNA: I think there are good days and there are fewer good days for me. I miss the social and physical contact with people. I have however been given a huge gift of time to see friends that I have lost contact with over these last years with busy schedules. My immediate family is doing well. We had our daughter home for almost 6 months as she is a professional volleyball player, and her sport was shut down. Our son just graduated law school, so he was home for an extended period of time before he started articling. Our oldest son and his wife work form home in TO but we found we had more time with them. I believe we would have never had this time with our adult children without this pandemic and I will be profoundly grateful for it forever. COLM: I began the shutdown committed to keep working on what I was doing when we stopped. When it became clear we were not coming back, I grieved for the work done but began to think about the new perspective the shutdown offered. Our business is precarious. If you are lucky enough to do it and keep doing it, you keep going, almost afraid to stop. When you are forced to stop you start to reflect. We had some of our family with us to share our time and even though it was weird we cherished it. These moments showed us what is really important. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? COLM: Well, professionally this has been catastrophic. And, like my wife and I, many of our colleagues and friend are two artists households. The threat is existential. We’ve relied on each other to reach out and encourage, philosophize, laugh and cry about the situation. And it helps. I’ve got a lot of balanced advice from other artists about how to cope with the stresses of these days. Some offer wisdom, some books, some recipes, some exercise ideas. All useful, all welcome. DONNA: I miss my creative teams most of all. I realize now that it has been taken away, just how much I love and cherish our time together. The laughter, the brilliant ideas, the collaboration. It is a loss both professionally and personally because we are a close group and have worked together for a long time. It just always was so great to be together. I miss them all so much. We have stayed in touch a fair amount these last months. It is an important bond that a pandemic can’t destroy. I worry for the artists, especially the artists that are alone. I feel terrible for the younger generation of artist that is just beginning, but I am especially sad for the actors and creative artists that are mid career and on the cusp of huge breakthroughs. It is painful to see them having to put everything on hold and rethink knowing how incredibly talented they all are. 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? DONNA: At the Stratford Festival I was directing and choreographing a version of “Chicago’ that I had been given the permission to completely reimagine. There are 15 production numbers in the show, and we were one day away from the sitzprobe for ‘Chicago’. The sitzprobe is the first time the company gets to hear our orchestra play the score, and the singers get to sing the songs with the orchestra. It is a magical day ALWAYS, no matter the show but this one felt incredibly special. ‘Chicago’ has a magnificent score and to hear our brilliant musicians play it was going to be off the charts! It was heartbreaking to have to stop dead and, when we went in to collect our belongings, the rehearsal room was set up for the sitzprobe. I will never forget that feeling of sadness when I walked in the room and saw that. I feel extremely optimistic that it will be produced in the future, so we just have to be patient. I was also directing and choreographing a new musical of ‘Here’s What It Takes’ written by Steven Page and Daniel MacIvor. We had been developing the show for over 2 years and we were in production on week 3 when we stopped. It was another blow to not see the show produced and it was going to be in the beautiful new Tom Patterson Theatre. I am very hopeful that it too will have a life in the future. I also have two shows that are in pre-Broadway tryout phase. Both of those shows are new works, and both have dates set for fall of 2021 and early 2022. COLM: I was rehearsing ‘Richard III’ which was scheduled to open the new Tom Patterson Theatre as an echo of the production with Alec Guinness which opened the festival in 1953. We were well on our way and I had been preparing for many months before we started so when we stopped and then realized we weren’t coming back, it was a shock. I continue to work on the play, but I don’t see us returning to it until at least 2022. What have you been doing to keep yourself busy during this time? DONNA: Lots of hiking!! I am the creative producer on a new project for the National Arts Centre Orchestra. It is a 4-part television show that features some of our most gifted artists both in the worlds of music and the visual arts in Canada. I am excited and look forward to an announcement of the project in the very near future. I have been working on both shows being produced in the USA with the writers throughout the pandemic. They are both brand new musicals, so we have taken this time to continue working on the score and the script. It has been wonderful to have the time in a more relaxed environment to really dig in. I have cleaned out my house and continue to do so. I cannot believe how much stuff we have accumulated and kept over the years! It feels good to purge and do the stuff around the house that I have said I would do for the last 10 years! I have connected with friends that I have not seen or talked to in far too long. That has been such a positive part of Covid for me. We have some close friends in Stratford that have been in our bubble this whole time, so we feel lucky here. We also are extremely fortunate to have an amazing family that we are so grateful for. COLM: Well, once the biggest question of our day became “what’s for dinner?”, I knew I’d have a purpose. I love cooking and having time to try stuff out has been great. I’ve had a chance to read more and more widely. We’ve also begun to just start fixing things up around the house that our work allowed us to ignore for so long. And perhaps the best thing is that we had a couple of our adult children isolated with us while they studied for various things. It was a great pleasure getting to know them better. 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? DONNA: To be honest, everyday is a new day of discovery of what interests me and how I enjoy spending my time. Live theatre will be back. It will be different, but it will be back. I guess I would say to keep trying to work on your skills. Keep exploring new skills and get curious about other things. These are opportunities that you might otherwise not have had without this enforced pause in our industry. Colm has always been interested in so many other things other than acting and I admire his ability to allow curiosity to take him down some really exciting paths. I am trying to do that more and I highly recommend that a young actor and creative artist coming out of theatre school allow that curiosity into their being. It is a scary time for so many artists. Our industry was uncertain enough financially, so this added stress is a lot for many to bear. I hope and wish that people are finding a way through it. COLM: I am certain that public performance will return and that the lessons of the pandemic will change how it works. I think that the best way to ride out this crisis is to continue working on your craft. It’s about staying ready and being flexible. And no matter what you are doing to make a living, never stop the imaginative work of the actor. I was taught that every class was an acting class, that there was always something to be learned from living. Nothing is wasted. That said, I know that for the perennially unemployed this has gone from a dry spell to a desert, but we must trust that what we offer the world is desperately needed and, as soon as we possibly can, we’ll be back. Do you see anything positive stemming from Covid 19? DONNA: That’s hard because there has been so much suffering and continues to be for so many. I do however feel that Covid has given time for all us to reflect on our choices, our actions, and our evaluation of the future. I have talked a lot about family and friend time which has been such a positive. I have also seen so many artists create a new path for themselves that is so impressive! It is amazing to see the talent that has come out of these artists. Our community in Stratford has been hit hard both in the theatre, the retail, restaurant and hospitality industry. I have watched a community get behind each other and support each other so much. People who are hard hit themselves reaching out and helping others. It has made me love this city of Stratford even more. COLM: In the face of such global suffering I find it hard to see much positive though perhaps, the time for isolated reflection has been of use. We’ve had time to question our choices, and I know that moving forward our choices will reflect the experience of Covid. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? COLM: No question that Covid will transform the performing arts locally, nationally, and globally. We are going to have to learn to live with it, or something like it, forever. The lessons of science will allow us to come back together, but I think it will take some time to figure out how. The one ray of hope I have is a fundamental belief in the deep desire humans have for community. We need to share our stories, our songs, ourselves, it’s part of what makes us human. DONNA: Yes, it will. There is a hard reality for all the performing arts in North America. It will be a long climb for the arts to get back to a healthy financial position again. I do think we have all taken for granted that we will always be able to do what we love in our industry. Our worries were our next jobs. When the anchor was thrown overboard in our speedboat, and our industry literally stopped around the entire world, it proved that it can all be taken away instantly. I know I will never take it for granted ever again. 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? DONNA: I think it has been particularly good for some artists to be able to continue showcasing their work and teaching on You Tube and other platforms. I am interested in content that is developed strictly for a digital platform. I think it is something that can live alongside the live event in the future. We live in a huge country geographically and being able to digitally reach communities that do not have the means to come to a live event whether it be theatre, dance, opera or symphony is crucial to the future of the arts and their relevance. COLM: I’m happy to see artists taking advantage of whatever medium is available to get their work out there. In a few short years there have been profound changes in how people get their entertainment. If an artist can connect with their audience via You Tube etc then why not? I will always love the live experience with both players and audience in the same space and if that space must be virtual, bring it on. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? DONNA: Our creativity remains in us all. That won’t go anywhere. It is where it needs to be right now, whatever that looks like. COLM: I have been incredibly lucky to have worked on a few projects while under Covid protocols and restrictions, and what it couldn’t kill was my gratitude for, and delight in, the work. Acting is a crazy business at the best of times but working under these peculiar conditions made me appreciate how much I enjoy it. Not retiring just yet!! (Editor’s Note: and I’m pleased you’re not just yet) Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Uncovered - U2 and The Rolling Stones' Now performing at Koerner Hall and produced by Musical Stage Company Credit: Dahlia Katz Photography. Pictured: Kelly Holiff Dave Rabjohn "Go, see this show - see it!" Nostalgia and fierce talent are on full display at the opening of Musical Stage Company’s cleverly named ‘Uncovered – U2 and The Rolling Stones.’ Part of the ‘Uncovered’ series, this stunning night of music features sixteen highlights from the careers of the two rock giants. Performed in Toronto’s exquisite Koerner Hall, it also features eight of the city’s most accomplished singers with an equally talented band of diverse musicians lead by Kevin Wong. A narrative, of sorts, wove through the evening with singers quoting from the main personalities – Jagger, Richards, Bono, the Edge. What gave the work credence was that no one was trying to play a character or do impersonations. This allowed the music to take over and take over it did. Inventive arrangements by Wong elevated the experience even further. Highlights: As the opening number, an infectious ‘19th Nervous Breakdown’ by most of the ensemble, pinned the audience to their seats. ‘I Still Haven’t Found what I’m Looking For’ was regal by Lydia Persaud whose voice is pure. Andrew Penner brought eerie force with hard core versions of ‘Paint it Black’ and ‘Sunday Bloody Sunday.’ Nostalgia reigned with wild guitar solos and head banging vocals. Some very inventive acoustic guitar work displayed his great versatility. ‘Moonlight Mile’ afforded some beautiful harmony from Hailey Gillis, Kelly Holiff, and Enya Watson. A very soulful ‘Wild Horses’ became a beautiful duet from Hailey Gillis and Lydia Persaud. A breathy and sincere ‘You Can’t Always Get What You Want’ came from a riveting solo by Kelly Holiff. She also won the audience with an engaging ‘Beautiful Day.’ Two More: Kevin Wong left his role as bandleader, strode to the microphone and delivered a powerful ‘Ruby Tuesday.’ Memorable. The ever-popular Toronto fixture, Jackie Richardson, ended the first act with her signature bluesy vocals in ‘Satisfaction.’ Near the end of Act 2, she delivered a rousing ‘Where the Streets Have No Name.’ The audience stormed to its feet. What do these two rock icons have in common? The narrative suggested their anthem-like songs that we have all sung, seen or heard. The personal relationships among band members are infamous, but somehow enduring. Their movement from rebellion to accomplished artists is clear. The pairing of these two oeuvres seems random, but somehow the songs burnish one another. This is a tribute to the clever research of the Musical Stage Company. As mentioned, the clever arrangements by Kevin Wong brightened the performance. At some junctures, lyrics that were formerly shadowy, seemed to lift from the page and became clear and newly resonant. Special note: After the performance, I managed to ask the artistic director, Ray Hogg, about an instrumental piece that opened the second act. Some parts of it were recognizable and others less clear. He credited the drummer, Jamie Drake, for mashing together a number of U2/Stones songs that were not used in the main event. Pure magic. Go see this show - see it! Then go home, dust off some old vinyl and enjoy even more. ‘Uncovered – U2 and the Rolling Sones’ Musical Stage Company Music supervision – Kevin Wong Performers: Colin Asuncion, Hailey Gillis, Kelly Holiff, Andrew Penner, Lydia Persaud, Jackie Richardson, Shaemus Swets, Enya Watson. Staging – Kaylee Harwood Lighting designer - Logan Raju Cracknell Performances through – October 25, 2024. Tickets – musicalstagecompany.com Previous Next

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

A talk with a professional artist about their career. Back Evan Buliung Looking Ahead Pierre Gautreau Joe Szekeres In chatting with artist Evan Buliung (graduate of George Brown Theatre School and the first Stratford Festival Conservatory Program), I felt like I was having a cup of coffee with an old college buddy whom I hadn’t seen in years, but I knew what he was doing up to that point. We laughed so much during our conversation that, yes, sometimes the language did turn a tad ‘colourful’ on both our parts; that was okay because Evan made me feel quite comfortable around him. We also played a game of six degrees of separation when we discovered that Evan had chummed around in his younger years with the son of my first cousin who lives in Brantford. Another point of interest, he and artist, Lisa Horner (who appears in the Toronto production of ‘Come from Away’) are the only actors in history who have played all of the Mirvish theatres. I had seen Evan in a tremendously moving production of ‘Fun Home’ with the Mirvish Series at the Panasonic Theatre several years ago. Evan also appeared in ‘Dear Evan Hansen’ at the Princess of Wales. I was so sorry to have missed that production because I heard it was extraordinary. Evan has also appeared at the Stratford Festival for 12 seasons. Evan believes the world of live theatre will come back. It’ll just be different and that’s probably a good thing because theatre was getting, in Evan’s words, “fucking stale”. I also went off script and asked Evan what he would be doing if he wasn’t an actor and artist. He told me he probably would have been a soldier. He was in army cadets when he was younger and was fascinated with war, even though he was a sensitive kid and probably would have quit the war. As he looked back on that time, Evan now believes he was looking for some kind of discipline. We conducted our conversation via Zoom. Thank you so much for your time, Evan: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. It’s been, I hate to say it, actually been one of the best times of my life – allowing for introspection and some more work that needed to be done for myself personally. I don’t mind isolation, so it doesn’t really bear into my soul. I know a lot of people struggle with it, and I get that. I’ve been preparing for it my whole life. I say that from a very privileged standpoint that I’m not in a financial hole. I find it quite profound and quite a time to be alive. Things could always be worse, and that’s the Sagittarius in me, the eternal optimist. My parents are okay, they’re in Brantford. The numbers aren’t really high there. My brother and his wife and their kids, they have a lot and it’s a struggle for them, they’re busy. I don’t have kids so I’m not in that arena. Thanks for asking. They seem to be doing alright. Knock on wood. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? I’ve always been one that I like to vary my craft and learn new things. Years ago, I stepped into film and tv pretty heavily and I’ve been doing that ever since and more dabble in theatre now. Someone once said to me, “Theatre is a young man’s game.” And I get it. Some of those seasons doing three shows…The last season I was there I performed in ‘Guys and Dolls’ and ‘Romeo & Juliet’ thinking “Yah, I can do this” and forgetting I was 40. By the end of the season, I was exhausted. It’s a lot of work. “Guys and Dolls” is massive. So, I’ve been doing other things to be honest. A wise man said to me years ago, “What’s going to happen if you walk out the door, get hit by a bus, and can’t act anymore?” Because I was. I was identifying myself with my job which is a bit tricky, but we have that ingrained in us as actors. I hope Stratford is able to pull off their outdoor projects this summer. They’ve selected good works and they’ve got great people on board. Those people deserve to work, and I hope things go well for Antoni [Cimolino] (Artistic Director) because he’s put so much fucking work into that place with blood, sweat and tears and the new Tom Patterson Theatre that should have been open for all of us. What a feeling of being kicked in the nuts that so much work has gone in especially to open that brand new theatre along with the work and nothing came of it. (I then asked Evan about the appropriateness of some titles of Stratford productions in a patriarchal world)… It’s funny, well, it’s not funny, when we were performing ‘Guys and Dolls’ in the middle of the summer is when the Harvey Weinstein story broke. I remember walking out the stage and feeling, “Ugh”. It just hit me…“Why do we do it?” I even thought that before. I asked Donne [Feore, director of the production] in the audition why are you doing this show? Now, mind you, it’s a fantastic show. The stuff with the other two is some of the funniest writing in musical theatre, and the music, obviously, is gorgeous. It’s tough to answer this question. I’ve felt this coming on for about ten years. In all of classical theatre, I can’t see this being sustainable in the direction that we’re going in terms of equality. Unless we figure out a way to do it that we have to address the patriarchal nature of the classics. It’s just the way it is and clearly white favoured…yah, it was just a matter of time before it happened. I don’t know what’s going to happen in the future. I’m not an Artistic Director so they will have a lot to consider. After Antoni’s term is completed, hopefully, it will be a woman who will assume the role of Artistic Director. The Festival needs female energy behind the lens, especially in light of some of the patriarchal nature of some of these plays, and I think it would really help. As a professional artist, what are you missing the most about the live theatre industry? God, I miss the people more than anything, they’re really good people. Opening nights are fun. (Evan laughs and then says) I don’t know if theatre misses me, so I don’t really miss it. There’s new voices and new stories to be told, and that’s great. I’ll be part of it, but I don’t need to be centralized in it. I’m really enjoying doing film. I’m taking a lot of classes and working on that skill. I’m taking classes with a great teacher in Los Angeles. If I’m taking film and tv classes, I thought GO TO THE SOURCE. And I’m learning shit here that I wouldn’t learn in Canada. That’s their game, so why not go right to the source…at times, it’s terrifying and fucked, but really good and really exciting. If you don’t keep learning, what’s the point? I don’t miss ‘The Crucible’. I don’t need to see ‘The Crucible’ ever again (he says with a laugh). I don’t need to see ‘Long Day’s Journey into Night’ ever again. I get it, I get what it’s for, and I’ve performed in it. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? That’s a really good question. I won’t take the people, the experience, for granted. I don’t know if I ever did. As we all know times moves very quickly and it tends to double as each day goes by. I certainly won’t take for granted the responsibility I have to the next generation to mentor or teach or be of service to them, to be the person that I wanted when I was that age. It’s hard because the younger people can do it themselves. It’s finding that balance. Describe one element you hope has changed concerning the live theatre industry. Well, so much has changed, I don’t think it needs my help. (Evan says with laughter. And then I re-phrase the question with one element Evan is glad that has changed concerning live theatre)… I’m glad that first and foremost, behaviour in rehearsal halls. And the treatment of other artists. I was never really a whipping boy but there were, sometimes I was but I was able to laugh it off and deflect it, but some people weren’t as lucky. So I’m grateful that’s being addressed, and I don’t think people can get away with that behaviour as much as well as like teaching in theatre schools. In theatre schools there’s no need to tear someone apart in order to make them a good actor. That’s just bad teaching because you don’t need to rip the person apart and rebuild them in some sort of structure that makes them an actor. There are other and better ways to get around and not do that destructive behaviour in teaching. Explain what specifically you believe you must still accomplish within the industry. Well, in the past number of years, I’ve really enjoyed teaching Shakespeare. I teach it with Cathy MacKinnon who’s the head of Voice at Stratford and we teach at colleges, and we also taught at Etobicoke School of the Arts, and the Conservatory at Stratford. I love teaching that. I love giving back what was given to me, and I love seeing people go, “Oooohhhh!” because once you get the keys to Shakespeare it’s like (and Evan makes a kaboom sound), “Holy Fuck!” and you get inside the language and come in underneath it and make it a part of me. Then you can actually sound like [Stratford veterans] Tom Rooney or Tom McCamus or Stephen Ouimette speaking Shakespeare as opposed to someone who doesn’t sound like these fucking guys. There’s a way in for everyone and I keep saying to Cathy this is our tagline: “Give me an afternoon and I’ll make you a Shakespearean actor guaranteed.” Now, that being said, it takes about ten years to become a good Shakespearean actor. Teaching is my next foray. I still would love to play MacBeth some day, and Lear and those old fuddy duddies…. I tell you, this pandemic is giving me a whole new perspective on King Lear. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I’d rather shoot myself (with a good laugh) than go to a Covid themed play. God, we’ve all been here. What the fuck do I need that for? This is the last thing I want. Maybe, but who’s gonna go see it? What the fuck are you gonna tell? I don’t know. I can think of a fresher hell than go to a Covid play. Let’s move on. As an artist, what specifically is it about your work that you want future audiences to remember about you? Oh, wow! Jesus. Well, I mean I think what I’ve discovered is that my work has been a journey in actualizing my emotions. Coming from generations of alcoholism and different forms of dysfunction within the family unit, I haven’t had a drink in 15 years, but it’s always gone parallel with my profession is mental health and discovering these feelings that I wasn’t able to discover as a child through no one’s fault. I would hope that, for instance, when I was in Mirvish’s ‘Fun Home’ I had some people say you’re not homosexual so how could you play that. That’s not what it’s about. To me, the play is about shame and living with deep rooted shame regardless of its shame-based living. I’m hoping when audiences see this that this is somebody working through the states of being in their work that mirrors life. Our responsibility is to hold the mirror up to nature, no more no less. If an audience can resonate with that, which a lot of people did especially in ‘Fun Home’, if we can have an effect on an audience as those three girls did at the end of ‘Fun Home’, then that’s successful. Otherwise, what’s the point of doing it? I remember Peter Hutt said that to me years ago when I was younger. He said, “I don’t know why that guy doing it in this business; I know why that guy is in this business.” And he looked at me and said, “I have no idea why you’re doing this.” And it made so much sense to me. Because truly I was never in it for anything other than trying to figure out my life. And it just seemed like a really good way to do it. Previous Next

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

A talk with a professional artist about their career. Back Sabryn Rock Moving Forward Kristina Ruddick Joe Szekeres The first time I saw Sabryn perform was with Jeremy Smith’s wonderful summer Bard’s Bus tour of Driftwood Theatre. During those summers, Sabryn performed in ‘Romeo and Juliet’, ‘King Lear’ and ‘The Comedy of Errors’. I remember watching these three performances and thinking Sabryn is destined for even more phenomenal roles on future professional stages in Toronto and across Canada. And she has given exceptional performances over these last few years including ‘The Royale’ at Soulpepper for which she received the Toronto Theatre Critics Award for Best Supporting Performance in a Play. Selected Film and Television: Two Sentence Horror Stories, Departure, The Expanse, Holly Hobbie, Carter, Taken, People of Earth, Black Mirror, The Girlfriend Experience. Selected theatre: Rose, Caught (Theatre Passe Muraille), Once on this Island (Acting Upstage/ Obsidian) as well as Caroline, or Change Romeo and Juliet, Three Musketeers, The Merchant of Venice (Stratford), Ruined (Obsidian/Nightwood). Sabryn has been nominated for several Dora Awards. As a director she’s directed shows and workshops for Summerworks, Shakespeare in Action, Obsidian and the Musical Stage Company. She recently directed Contractions, an experimental play/film hybrid over zoom for the Studio180 At Home series. Sabryn also loves to read (especially out loud) and has now narrated seven audiobooks. She is a graduate of the National Theatre School of Canada, the Birmingham Conservatory for Classical Theatre at the Stratford Festival and the Actors' Conservatory at the Canadian Film Centre. We conducted our interview via email as she is one busy lady. Thank you so much, Sabryn, for taking the time: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? I’m feeling very disappointed and yet not at all surprised that the numbers are surging. I have a lot of anxiety and insecurity about what the future will hold. But I have to say, being a freelance artist who often lives paycheque to paycheque prepared me well for the whole ‘not knowing’ aspect of all this. I just wish the circumstances weren’t so dire and serious for so many. We will absolutely emerge to some new way of living- it’ll be what it is for that time and place and life will continue on…how that will look I have no idea. I think (and hope) people will be a lot more cautious about illness, handwashing and mask-wearing in the vulnerable seasons forevermore and generally more conscious about the safety and wellbeing of folks. Also for me, personal space and physical boundaries shifting in a big way! I, myself, have enjoyed the distance and the lack of expectation that I have to hug everyone or shake everyone’s hands all the time (especially strangers or acquaintances I don’t know well); that’s a surprising perk to all this for me because I find often in our industry, people assume everyone is comfortable letting them into their personal, intimate space for touch. I will say though that I am fortunate to have a husband and cats who I can hug all I want when I feel like it. Some people aren’t that lucky right now and I totally understand that- the deprivation of physical touch can be harmful for so many. How have you been faring? How has your immediate family been doing during these last eight months? I count myself very, very blessed-I can’t say that enough. I am faring just fine all things considered. I know that speaks to my privilege as I have been able to keep working, have a comfortable home and a partner who hasn’t lost work at all this year. Another odd perk was getting to spend so much time with my husband during the first lockdown- getting to take the time to eat lunch together everyday was a simple yet profound joy we wouldn’t have been afforded otherwise. It’s really made us value one another in a new way. It has been difficult not being able to see my folks consistently who are in Saskatchewan, especially now that the holidays are around the corner and choosing to stay put to keep us all safe. They’re lucky that they’re in a very spacious place that isn’t as dense but numbers are crawling up there too, so…I just keep begging my parents to stay home and pray they’ll keep safe and healthy so we can be reunited soon. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Honestly, seeing all my peers struggling and not knowing how to help besides reaching out and checking in on people. The theatre companies, the freelancers, the people who rely on contract work not being able to have a consistent livelihood or have any concrete plan for the future has been really tough to witness. Also, not knowing when we’ll be able to gather in a theatre again to watch or put on a play for an eager audience of patrons is unnerving. And yet, and I’m unsure if it’s ignorance or naivete, but I seem to have adopted the “everything will be okay” mentality and am trusting that professionally my career will be where it needs to be when it can be there. I just hope that the many theatre companies and creative people who are taking huge financial hits right now are able to pull through and pivot in ways that can sustain 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 was one of the few who didn’t have any concrete plans for 2020. I had made a conscious effort to lay off theatre for the year and focus on screen and voice and I was very lucky in that regard because all my friends and colleagues were losing work. It just felt like I was in the same position as I would’ve been anyways: having no idea what jobs would be coming or when I’d work again; with the huge caveat that lockdown definitely hindered any or all opportunities for actually being on set or a studio for a large portion of this year...but I was fortunate to have been working almost right up until March so was able to coast for a few months without worrying much about my financial situation. And thank goodness for CERB! I did have a workshop of a new play in development I’m directing that we had to postpone for a few months and settled on doing a three day zoom workshop instead. It was useful for many reasons as far as hearing the play with actors and dramaturgy etc. but we were also hoping to do some physical exploration at this stage and that just wasn’t possible over zoom. The production is tentatively slated for fall 2021 but only time will tell if that’ll happen so all we can do is wait and see and come up with a contingency plan in case we have to postpone which at this point, is looking very likely. What have you been doing to keep yourself busy during this time? Lots of reading, cooking, cleaning for those first three months and then I got really tired of being cooped up and feeling like I couldn’t find a satisfying creative outlet. I actually completed The Artist’s Way for the first time ever in the summer which was such a huge help. Even just writing everyday shifted my mental health in a big way. The artist dates I went on and the creative tasks reinvigorated me and my creative spirit which I so desperately needed. Once things started opening up later in the summer, I was very lucky to have booked some work again on set and in the studio as well as a few directing gigs for virtual theatre including a zoom production of Contractions with Studio 180 which was another elixir I needed. Getting to collaborate with other artists and using my director brain after months of creative atrophy was the burst of a new energy I needed. It was such a joy and privilege to have those opportunities and although zoom can be challenging at the best of times, the constraints forced some really creative problem solving which I also didn’t realize how much I missed. I also started doing some virtual teaching at Randolph College in the fall as well as some outreach work with Studio 180 and both been a nice side gigs that are safe to do from home. Teaching is something I’ve regularly done to supplement my income prior to Covid and I truly love it. The shift to zoom has been surprisingly easy if not a bit exhausting on the eyes, although I really can’t imagine doing theatre school training-most of which is so physical- over a computer. These students are so dedicated! 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? For my fellow performers and colleagues, be sure to keep engaging in creative outlets and lean on your supports. Reach out to mentors, past collaborators or friends if you need connection or want to create something. I think a lot of people are eager to collaborate right now- I have friends sending scripts for feedback or brainstorming virtual projects just because they need the outlet and I think that’s a great way to cope. For some, they’re not in a position to do that right now so I would say making sure to do something that’s good for your mental and physical health and wellbeing everyday. Meditating, long walks with a great podcast, calling an old friend, baking something for a pal just because..anything that makes you feel happy, calm and engaged. Also, therapy has been a huge help for me. As far as helpful resources and options since it’s difficult to find a therapist in these times, I know Equity launched LifeWorks earlier this year to support members https://www.caea.com/News#LifeWorks-June-29. For ACTRA members there’s a new Expanded Access- Mental Wellness Support Benefit I was just reading about that sounds promising. Info available here: https://www.afbs.ca/fraternal-benefits#additional-benefitsI For recent theatre school grads I would say: stay positive and optimistic, stay ready, keep reading plays and pushing yourself to learn and engage as much as possible. Take a virtual class. Write those emails to casting directors, artistic directors, people in the community you admire…propose virtual coffees. The hustle to get your name out there has always been hard but now it’s even more of a challenge so it’s time to think outside the box and stay on top of it. Stream those online readings and productions which there are no shortage of internationally but also here at home there’s lots on offer with shows streaming online with Acts of Faith at Factory Theatre, Contractions with Studio 180 (shameless plug J), Musical Stage Company’s Uncovered just to name a few. Look for inspiration everywhere as you might be surprised where you might find it. Write everyday if you can- it helps so much. Do you see anything positive stemming from Covid 19? As far as theatre goes, I think this time off has forced many organizations and companies to recalibrate; to look at how things are run and re-examine structure and operations that have oppressed so many for decades. The BLM movement and the protests in the summer shone a light on so many systemic issues within the world but in our community, it really inspired many to voice their experiences with the #inthedressingroom campaign. Reading the many tweets and posts, I didn’t find any of these stories particularly surprising unfortunately as I’ve both experienced firsthand or heard of all the micro and macroaggressions towards artists of colour over my career. I think a lot of people are taking this time to stop and reflect on how they can better advocate for and foster, support, and protect BIPOC artists so that when we meet again in a physical space, there are some tangible practices put in place to change the trajectory forever. I also think that having all this extra time at home, many are realizing that the six day work week isn’t necessary and that we can likely accomplish just as much in five days- arguably maybe more with TWO days off: one to do groceries/laundry/spend time with family and one to actually accomplish the work. I know I definitely do not miss only having one day off a week. I myself, have found that this lockdown time has really changed my perspective on what really matters in life. Yes, I love my career and performing but getting to have quality time with family, connecting with friends whom I haven’t spoken to in ages, those are the things you won’t ever get back. Jobs will come and go but loved ones are what matters most to me. Balance and boundaries are key. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? I think it already has on so many artists and companies. Many people leaving the business or finding a new livelihood out of necessity, companies having to shut their doors, losing their space and folding because they can’t financially sustain themselves…I think the fabric of our performing arts scene will forever be changed. However, I think this is such a fascinating time and will absolutely inspire and birth some incredible new work and from the ashes, new companies will rise. It’ll just take time. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I think it’s amazing the way people have pivoted so quickly. Even just having the ability to lean on streaming is going to be a huge asset to many as things may remain up in the air for the foreseeable future. It would be foolish not to utilize this; I think it is the only option for many actors and companies if they want to keep getting their work or name out there or maintaining audience engagement and some type of revenue. Unfortunately, these things can be very pricy endeavours if quality is a priority and not everyone has it in the budget to outfit a full home studio right now or create and develop a streaming platform like Stratford. There is so much more content on offer online right now specifically because of Covid, so the challenging part is getting viewers. I find it overwhelming sometimes to decide what to watch and who to support with all the choices. Streaming can also be pretty frustrating depending on if there are any technical difficulties or if you have crappy internet and I find it really hard to fully sit down and engage at home when I can be multitasking and doing a million other things at the same time which I can’t do in a theatre. Personally, I have also been trying to stare at screens less in my life since I’ve been forced to engage with work in this way now more than ever so I may not be a great target audience member lol. But I think people have got to do what they got to do and if it’s helpful to utilize YouTube or streaming for the benefit of their spirit, creativity or livelihood, all the power to them. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? I really miss the live feedback from an audience, that energy; the shared experience of people coming together in a space and breathing, gasping, laughing together (you know, all the risky and dangerous stuff right now). Heck, I even miss the oblivious patron unwrapping candy at the most inopportune moment which then in itself turns into another shared funny/baffling moment between audience and performers! Covid will never destroy my desire to get together for several weeks and create something out of nothing with a talented group of people and sharing it with live humans in a physical space. I think when I first step into a theatre again when it’s safe to do so, I won’t take it for granted ever again. Previous Next

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

Where music, song and dance all contribute to an enjoyable plot on stage Back '9 to 5, the Musical' presented by Saint John Theatre Company Imperial Theatre Drew Murdock Aaron Kropf After a day’s delay owing to an illness in the company, Saint John Theatre Company’s final 22/23 Main Stage offering of ‘9 to 5 the Musical’ opened Thursday evening at the Imperial Theatre. It is the crown jewel of the Saint John Theatre Company season. It’s not many times one goes to the theatre where there’s a strong opening night buzzing and even rarer to know that everyone in the packed house had a blast. 9 to 5 the Musical is the story of three women; Violet, Doralee, and Judy who have had more than enough of dealing with their sexist, egotistical, and bigoted boss Franklin Hart Jr. Daydreams of tormenting Hart go from that to reality, as the three women continually find ways out of sticky situations. The set was kept simple with three large pillars that moved and turn to quickly move from one scene to the next. A few desks moved on and off stage when needed. And the piece de resistance: the best use of video to help set the scenes including narration at the beginning and end of the show by the one and only Dolly Parton. Keeping the set simple made for snappy scene changes and kept the show moving at quite a clip. What a company of talented artists this is. Led by three talented women Kizzy Kaye (Violet), Andrea Paddock (Doralee), and Jen Downey (Judy), each made the roles their own, which can be a challenge given the pedigree of those that came before them both on screen and stage. Bertis Sutton embodied the perfect amount of charm and slime needed to pull off Franklin Hart Jr. The show is full of great tunes created by Dolly Parton allowing each character to have a moment to shine. Two moments in the show really stood out. Jen Downey’s rendition of “Get Out and Stay Out” will bring you on a roller coaster ride of emotion. It’s hauntingly beautiful and Downey makes it seem easy. The subtlety with which she performs this number makes it that much better. The other moment, one that I know I will not soon forget, is “Heart to Hart” performed by Chelsea Cusack as Roz. Not only is it a great number for Cusack to really show off her dazzling voice but lets her show off her comedy chops. This was a number that brought the house down, and I’m sure it will do that at each performance. 9 to 5 the Musical is a spectacular way to wrap up a season. It’s guaranteed to be a fun-filled night out at the theatre. The show runs through May 28th (including a new matinee added) at the Imperial Theatre. Visit imperialtheatre.ca for tickets and other information. Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Mamma Mia' presented by Thousand Islands Playhouse Now onstage until August 10 at the Springer Theatre, 185 South Street, Gananoque Credit: Randy deKleine-Stimpson. Pictured: Jessica Sherman & the cast of Mamma Mia! Joe Szekeres ‘Destination Thousand Islands Playhouse has done it right yet again. ‘Mamma Mia’ is a bona fide hit. Silly and absurd? Yes, but who cares? This production is joyously fun-filled. I had a terrific time watching this diverse cast do their thing passionately.” On a beautiful sun-kissed turquoise Greek taverna, Sophie (Annika Tupper) prepares for her wedding to fiancé Sky (Brandon Antonio). After reading her mother Donna’s (Jessica Sherman) diary, Sophie is still unaware of who her real father is. The diary refers to at least three men with whom Donna was intimate. Writing in her mother’s name without letting her know, Sophie invites all three, hoping it will become clear who her real father is. There is Sam (David Leyshon), an American architect and divorced father; Bill (Jeremy Legat), an Australian wandering writer and adventurer; and Harry (Rob Torr), a British banker. Years ago, Donna was the star of a musical trio, Donna and the Dynamos, along with her friends Rosie (Laura Caswell) and Tanya (Louise Camilleri). The latter two have arrived to share in Sophie's joyous day. However, the unexpected arrival of the three potential fathers, much to Donna’s surprise and anger, adds a delightful and unexpected twist to the proceedings, keeping the audience engaged as the plot unfolds toward discovering Sophie’s real father. What is it about this 25-year-old jukebox musical that still transcends generations and draws audiences of all ages in droves? ‘Mamma Mia’ is a product of the twentieth century. At times, the plot becomes silly and absurd. Some twentieth-century references will probably go right over young people's heads in the audience. At times, some of the sexual overtness might not sit well. Let’s face it – many years ago, during my undergraduate years, the term ‘hoe bag’ would aptly fit Donna’s behaviour. Director/Choreographer Stephanie Graham states in her Director’s Note why the show still works: “There are many atrocious events happening on this planet. Sometimes, we need a couple of hours to escape, sing some familiar songs and dance together in a theatre so that we can recharge and face the world again tomorrow.” Graham’s right. We gotta lighten up and take ‘Mamma Mia’ for what it is—celebrating the pull-and-tug relationship between mothers and daughters everywhere while hearing and dancing to some terrific ABBA songs. At the performance I attended, a young girl in front of me put her head on her mother’s shoulder during ‘Slipping Through My Fingers.’ The mother wiped tears from her eyes at the end of the song. That, my friends, is the power of theatre and this Thousand Islands’ production. Brandon Kleiman’s terrific set design spans the entire Springer stage. It’s breathtakingly washed in Amber Hood’s sun-kissed lighting designs of aqua blue. Bex Tralli’s pleasant soundscape of waves lapping against the shore with the echo of gulls flying overhead transported me away. Another note of commendation to Tralli – I heard every single lyric of every song this afternoon. The sound balance between the orchestra and the performers is perfect. Julia Kim’s summer clothing designs and choices appropriately create a colourful visual panorama. To the creative team of director/choreographer Stephanie Graham, music director Nick Burgess, stage manager Dustyn Wales, and all crew members behind the scenes. Thank you all for allowing me to experience vicariously being taken away from our hot summer Gananoque afternoon to the serene heat and serenity of the Greek islands. Graham’s evenly balanced direction never slows the show’s pacing. Set changes with ensemble members remain fluid and seamless. Nick Burgess’s solid music direction allows these nostalgic ABBA songs to soar to the heights of the Springer Theatre thanks to Bex Tralli's fine-tuned sound balancing between the orchestra and performers. Graham’s choreography remains sharply and tightly executed throughout. One moment where it shines is ‘Money, Money, Money.” It’s a hole-in-one shot for this terrific cast. They’re having the time of their lives on the Springer stage. That kinetic energy spills over to the audience, and I’m right there with them. Graham has assembled a diverse, spirited ensemble of young performers who contribute to the piece's whimsical and absurdist fun. With hips swivelling, torsos gyrating, and pulses racing, these ensemble members are ones to watch for in future productions. David Leyshon's robust stature adds strength to his performance as Sam. Jeremy Legat’s Bill is a throwback to Paul Hogan’s Crocodile Dundee from the mid-1980s. Rob Torr’s gentlemanly Harry nicely balances Donna’s, at times, temperamental behaviour. Laura Caswell’s Rosie’s hilarious and flirtatious duet of ‘Take a Chance on Me’ with Jeremy Legat, as they play musical chairs hopping, remains one of the show's highlights. Louise Cammilleri is a sexy and seductive Tanya. Her cougar-like flirting with hotel pool boy/boy toy Pepper (Tyler Pearse) in ‘Does Your Mother Know’ comically addresses the age gap between the two. Annika Tupper offers a unique performance as Sophie that works. I’ve seen other productions of ‘Mamma Mia’ with a sweet and demure young woman. Here, Tupper shows a feisty and sometimes tough-as-nails Sophie. Given her unique life with Donna on the island and the distinct challenges of living with a single parent, Sophie has probably grown up experiencing many hardships and challenges. Brandon Antonio’s young hunk of a Sky offers a dramatic complement to Annika Tupper’s feisty Sophie. When Tupper (as Sophie) finally comes clean about what she has done regarding the three invitations, Antonio’s look at his fiancée clearly shows he has thought through the consequences of Sophie’s actions. Sky is not pleased at all with her. It’s a highly intense dramatic moment that speaks volumes, especially when Sam tells Sophie not to go after Sky because he’s right in what he said. Jessica Sherman is one of the reasons to run and get tickets. Her Donna is grounded in complete emotional intensity. She’s gutsy, spirited, and bold as a single mother. Man, oh, man, Sherman also sings and sells a song with complete conviction. Her ‘Winner Takes It All’ remains sublime. Her anger, hurt and frustration with Sam for leaving her spill out with rage, love and hate. This moment became a masterclass in acting and singing as I heard myself quietly say ‘Wow’ at the conclusion of the number. And Another Thought: The production focuses on women's strength and desire to discover their identity. It’s there if you want to look for that. I’m posting a challenge. I dare anyone who does not have a smile come across his/her/their face at least once during this bona fide hit of a show at the Playhouse. It’s a dare and challenge. I hear tickets are scarce, but I have also heard there is availability for the first week of August. Run, beg, plead to get a ticket. ‘Mamma Mia,’ I’m sure, will be one of the highlights of this 2024 season. Running time: approximately two hours and 30 minutes with one interval/intermission. ‘Mamma Mia’ runs until August 10 on the Springer Stage, 185 South Street, Gananoque. For tickets, www.1000islandsplayhouse.com or call the Box Office at (613) 382-7020. THE THOUSAND ISLANDS PLAYHOUSE presents ‘MAMMA MIA’ Music and Lyrics by Benny Andersson & Bjorn Ulvaeus and some songs with Stig Anderson’ Book by Catherine Johnson Originally Conceived by Judy Craymer Directed and Choreographed by Stephanie Graham Music Direction by Nick Burgess Stage Manager: Dustyn Wales Set Designed by Brandon Kleiman Costumes Designed by Julia Kim Lighting Designed by Amber Hood Sound Designed by Bex Tralli Performers: Jessica Sherman, Annika Tupper, Laura Caswell, Louise Camilleri, David Leyshon, Rob Torr, Jeremy Legat, Brandon Antonio, Tyler Pearse, Taylor Garwood, Eva Petris, Jen Fong, Marco DeLuca, Ali Hand, Jaden Kim, Ryan MacDougall, Kyla Musselman, Michelle Nash, Demi Oliver, Patrick Stiles Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Moulin Rouge' The North American Tour Now on stage at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto Credit: Matthew Murphy and Evan Zimmerman for Murphy Made. Pictured: Some of the cast from 'Moulin Rouge.' Joe Szekeres “A visually dazzling spectacle of kaleidoscopic colours, textures, shapes, and sizes. It’s too much sometimes, and I had to shut my eyes because I was in sensory overload and had to clear my thoughts. The challenge with fully appreciating this ‘Moulin Rouge’ is John Logan’s book.” ‘Moulin Rouge’ (English translation: red windmill) is one of the nightclub hotspots in the late 1890s, Paris. The exterior of the building is a windmill painted red with spinning turbines. When I first visited Paris in the mid-1990s for the first time, the ‘Moulin Rouge’ was still operational. During a recent trip to New York City, I spoke with someone who had seen the Broadway production of "Moulin Rouge." This conversation prompted me to think more about the touring production at the CAA Ed Mirvish Theatre. Please note that I have not seen the New York production. This individual to whom I spoke in New York said there is an actual red windmill in the Broadway production. The stage is large and spills right into the audience. None of that exists here because the show is touring. What conclusion did I finally arrive at about the touring production now playing in Toronto after a weekend in NYC? This ‘Moulin Rouge’ resembles the red and white holiday candy prevalent this time of year. It is beautiful to look at and exquisite to enjoy, but the flavour doesn’t last very long. It’s the late 19th century in Paris's bohemian, avant-garde Montmartre district. The opening musical number reminisces of ‘Cabaret,’ where the Emcee welcomes the audience to a seedy nightclub setting in Berlin. In both stories, people come for nightly entertainment, including music, drinks, songs, smoking, and the occasional imbibing in debaucheries. ‘Moulin Rouge’ introduces us to director Harold Zidler (Robert Petkoff), who breaks the fourth wall and speaks to the audience as if we were the audience that night in the late 1890s. We are reminded that the ‘Moulin Rouge’ is a place where all our dreams will come true (no matter what they are) and that we: ‘Can, Can, Can’. You’ll understand that reference when you see the show. Young composer Christian (Christian Douglas) meets the nightclub’s regular guests, Toulouse Lautrec (Nick Rashad Burroughs) and Santiago (Danny Burgos). The latter two are in the process of writing a play with songs in it and would like to see it mounted in the nightclub. Christian has become smitten with the nightclub’s superstar, Satine (Arianna Rosario). Zidler, however, has something else entirely in mind for Satine. He wants to introduce the superstar to the Duke of Monroth (Andrew Brewer), who might be a potential investor in the show created by Lautrec and Santiago to help save the club from closing for financial reasons. Monroth’s interest in Satine becomes deadly. With music direction by Andrew Graham, many of the production’s well-recognized musical numbers are sung with a fiery passion. I especially liked Adele's 'Rolling in the Deep' and 'Your Song' (which appeared in the 2001 film.) The remix at the conclusion gives the audience one final opportunity to hear the music again. However, the sound balance between the orchestra and the performers needs tender, loving care. The orchestra is too loud. It overpowers. I knew the words to some of the songs but not all of them. There are moments where I didn’t catch a thing. At the intermission, my guest turned to me and asked what was going on with the bass. Again, hopefully, sound designer Peter Hylenski can work this out. Visually, some extravagant moments in lighting, costume designs, and choreography are noteworthy. For example, Justin Townsend’s extraordinary lighting design fluidly becomes sharp one moment while seamlessly blending into another shadowy effect moments later. Catherine Zuber’s skin-tight costume designs become fine reminders of the era, accentuating the various builds and frames of the sexy actors, singers, and dancers in the ensemble. I particularly noticed these clothing designs during the pre-show when the actors appeared on stage and began interacting with each other and the audience in the front row. Sonya Tayeh’s choreography is sleek and sharp. Directed by Alex Timbers with a taste for the flamboyant in music and dance, Arianna Rosario is a sultry Satine. Christian Douglas is charming as young composer, Christian. Robert Petkoff’s opening number with the ensemble becomes veritable eye candy. I was trying to take in as much as I could. Andrew Brewer is a swarthy, lanky Duke who creates a couple of frightening moments with Satine. The challenge with this touring production lies in John Logan's script. It provides a superficial take on the classic boy-meets-girl story. Significant gaps in the storyline make it easy to anticipate the plot twists as they approach. Final Thoughts: I tried to sit through the film version of ‘Moulin Rouge’ when it first appeared at the local cinema. I walked out because I didn’t get the story. Regarding DVD, I thought I’d give it another chance. About fifteen minutes in, I turned it off because the story did not interest me at all. What was I supposed to glean from the film? After thinking more about this, I realized that the film’s script just didn’t appeal to me. Yes, the musical numbers caught my attention, but that’s not the only reason people should attend musical theatre. The music is an important part, agreed, along with the choreography and movement. However, if the story doesn’t appeal to me, no amount of singing or dancing will cut it. The Mirvish show programme includes a reference to this ‘Moulin Rouge’ as a work of theatrical imagination. There are moments where imagination and creativity exist in this touring production, no doubts at all. I wish there was more of a believable story. Approximate running time: 2 hours and 45 minutes with one interval/intermission. MOULIN ROUGE runs until January 12, 2025, at the CAA Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333. Previous Next

What makes a comedy work - plot, characters, setting and theme. Back 'Interior Design' by Rosa Laborde (World Premiere) Now on stage in Tarragon's Extra Space Theatre, 30 Bridgman Avenue Now on stage in Tarragon's Extra Space Theatre, 30 Bridgman Avenue Joe Szekeres “Confident direction by Kat Sandler with definitive performances delivered by an ensemble of actors who care about each other and the work. Is ‘Interior Design’ a story for we men, though?” Rosa Laborde’s world-premiere comedy Interior Design focuses on four women and an attempted intervention with one of them. Ultimately, this plan backfires, and the relationships between the four of them become altered. The title ironically looks at something that is supposed to be part of interior design—the positive elements of change and refreshment. Along with this ironic take, Labrorde quotes Oscar Wilde in her Playwright’s Programme note: ‘True friends stab each other in the front.’ ‘Interior Design’ is a play about messy renovations and even messier truths, according to a recent interview by theatre reviewer Janine Marley with Laborde. That seems a tad harsh. Aren’t ladies supposed to value their female friends? Isn’t there a difference in how women and men look at their relationships with friends? There is most certainly a difference in how we men focus on our relationships with other male friends. ‘Interior Design’ is set in life coach Sophie’s (Sara Farb) newly purchased condominium. Her friends Olivia (Rong Fu), Cecilia (Anita Majumdar) and Maya (Meghan Swaby) arrive with the decision at first not to confront the person for whom this intervention is intended. Instead, the four will talk, drink wine, gossip, eat, and purchase skin care products from Cecilia. Kat Sandler's confident direction is highly effective. Although Laborde's script occasionally resembles a sitcom, moments of humour and poignancy resonate well without leaning too heavily on laughter or sadness. Fortunately, these emotions are not overly emphasized, a refreshing change from many television sitcoms that often bombard the audience with them. Shannon Lea Doyle utilizes a minimalist approach to set design, decoration, and props, effectively demonstrated in Tarragon’s Extra Space Theatre. Initially, the stage features a monochromatic colour scheme, but this changes as the story progresses. This minimalist style allows the audience to concentrate on the actors and the narrative. Furthermore, Doyle’s colourful costume choices for the female characters subtly highlight aspects of their personalities. Imogen Wilson's lighting design effectively emphasizes key moments, enhancing the audience's understanding of the characters. The use of spotlights, where each character delivers her "soliloquy" and breaks the fourth wall, is particularly effective. I was especially impressed by some of the pre-show music selected by sound designer Maddie Bautista, as it reflects the shared experiences of women in their relationship with each other. Laborde's script contains some amusing and insightful bits that made me laugh out loud. Highlighting a couple here without providing the context of the moment does a disservice, and I don’t want to spoil the humour and insight. There are a couple of ‘woke’ moments regarding how the ladies see things. These reminded me of the element of a sitcom. I cringed a bit, wondering how far this would have been taken. Thankfully, it doesn’t become an issue. I raised my eyebrows just a tad about the genuine element of truth in the script about the way the women converse with each other: Fact – women talk about men in their conversations just as men talk about women in their discussions. Fact - men’s conversations can sometimes get a little racy, especially about women. Even men in committed relationships with women will still speak their minds (usually). The same occurs when women talk about men. It can perhaps even become a tad ‘dirty.’ Sophie, Olivia, Cecilia, and Maya talk about men, but I wonder why there is a pullback when some of the context could have allowed their conversations to go a bit further. Nevertheless, the four ladies consistently deliver strong ensemble performances, making for a wonderful afternoon or evening at the theatre. They command the stage, knowing exactly when to pause for laughs and when to let the significance of the words resonate emotionally. As life coach Sophie, Sara Farb is direct. The other three put Sara to the test. They want to see if Sara practices what she preaches regarding the advice given to others. Rong Fu’s Olivia does just that. Her Olivia boldly captures an intensity at the top of the show. It’s clear that something has happened to Olivia before the girls meet, and Fu beautifully reveals the sense that something is not correct. Her facial expressions and the piercing potency of her stares at the other women speak volumes. When Sophie invites Olivia to become the interior designer of her newly purchased condominium, that’s when the delicious humour begins. Will Sophie like everything Olivia has planned? Meghan Swab is commanding as Maya. There are moments when it appears she is entirely in control of how the intervention will proceed. Anita Majumdar’s Cecilia is the quieter of the group of friends. Majumdar reveals an intensely concentrated brooding within Cecilia that has been hovering for quite some time. The other ladies, who supposedly are Cecilia’s friends, do not notice this change. Final Thoughts: Once again, in her programme note, Laborde writes that the play is for all friends everywhere, the new and the old, the short-lived and the life-long. Does this play appeal to the male persuasion? Do we men respond in the same way as women regarding personal relationships? Well… When men establish friendship bonds (over any sport or beer), it’s never examined or talked about as women usually do. For we men, it’s inherent. It’s there. There’s no need to question it at all. Moreover, men do feel an absence or loss, but usually not in the same way as women do. I agree that men will also do some ‘interior design’ when it comes to their relationships with other males, but we don’t see it as interior design. It’s something else. Bottom line: Go and see ‘Interior Design.’ These are terrific actors who know how to tell an entertaining story in the theatre. That’s the most important thing. Running time: approximately 90 minutes with no interval/intermission. ‘Interior Design’ runs until November 17 in the Extra Space at Tarragon Theatre, 30 Bridgman Avenue, Toronto. For tickets: tarragontheatre.com or call (416) 531-1827. INTERIOR DESIGN (World Premiere) by Rosa Laborde Directed by Kat Sandler Set and costume design by Shannon Lea Doyle Lighting design by Imogen Wilson Sound design by Maddie Bautista Stage management by Nazarah Carlisle Apprentice stage management by Annasofie 诗慧 Jakobsen Performers: Sara Farb, Rong Fu, Anita Majumdar, and Meghan Swaby. (Photo Credit: Jae Yang) Pictured L-R: Anita Majumdar, Rong Fu, Meghan Swaby, Sara Farb.) Previous Next

A talk with a professional artist about their career. Back Hannah Moscovitch The Self Isolated Artist Alejandro Santiago Joe Szekeres I have either read or heard of Hannah’s name over the years in the entertainment section of the newspaper (is there such a section anymore?) or in discussion with others who have a keen interest in Canadian theatre. When I sat on play reading committees for various amateur theatre groups years ago, I can’t recall if I had read anything by Hannah or not. After reviewing two extraordinarily fine productions of her plays ‘Sexual Misconduct of the Middle Classes ‘and ‘Old Stock: A Refugee Love Story’ at Toronto’s Tarragon Theatre, I certainly want to keep aware of Hannah’s upcoming works. I found both productions exceptionally theatrical while crossing boundaries of all sorts with a fine mixture of psychological drama added to pepper character development. While a prolific and exceptional playwright, Hannah is also a TV writer (‘X Company’ which I did watch on CBC) and librettist. Regretfully I bow my head as I did not have the chance to see ‘The Secret Life of a Mother’ or ‘Bunny’ where I heard artist Maev Beaty’s stunning work was captured exquisitely. I hope and trust there is an opportunity to see both works in the future once we’re all allowed back in the theatre. Hannah and I conducted our interview via email: 1. It has been nearing three months now that we have been under this lockdown. How have you been doing during this period of isolation and quarantine. How has your immediate family been doing? We are good. None of us are sick. We have money. We live in Nova Scotia where there are a small number of people – it’s easy to stay isolated here. My work is solitary for long stretches so I am used to being alone. 2. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? I’ve had, I think, seven shows cancelled or postponed so far. New productions of ‘Sexual Misconduct of the Middle Classes’ in Edmonton and Melbourne Australia and international tours of ‘Old Stock: A Refugee Love Story’. A couple of workshops of new projects have been pushed back – ‘Post-Democracy at PTE’ and ‘Ten Days in a Madhouse’ at Opera Philadelphia. More will be cancelled or postponed soon, I think. But there’s a worldwide pandemic so, uh, that seems like the right choice. 3. What has been the most difficult and/or challenging element of this period of isolation for you? I have half the work time because my son is home. He’s only four. There are still big expectations on me to meet deadlines, as though I don’t have a kid at home, so that’s been harder, I feel crushed by work. On the bright side, I have work. 4. What have you been doing to keep yourself busy during this time of lockdown? I think this question applies to people without children. I am busy all the time. There is not a minute I’m awake that I am not working flat out or with my son. It feels relentless at times, in fact. It’s complicated because I love my son and my life, but it’s hard not to let the work pressure colour what is actually beautiful time with my son. Anyway, I am not lonely or bored or in need of distracting activity. 5. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? Jeez. Pandemic circumstances are new, so I can’t draw on any experience or theories of mine to offer advice or consolation. 6. Do you see anything positive stemming from this pandemic? I hope that empiricism and science and rigorous truth-making systems will be re-established, and that the right wing won’t so breezily make up facts like “coronavirus is a hoax”. 7. In your estimation and informed opinion, will the Canadian performing arts scene somehow be changed or impacted as a result of COVID – 19? I think it already has. There are theatre companies that are going bankrupt. There are artists who won’t be able to hold out, financially, and will opt out of this industry, taking their talents with them. There are established artists who are turning to other mediums – publishing for instance – to get through. Artistic Directors speak regretfully about how new works will be stalled. Listen, there may be good outcomes too – we aren’t at that moment yet. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts about this format presentation? Any advantages to doing this? Disadvantages? Are you participating or will you be participating in this presentation format soon? I gave a 20-minute talk on this recently for Canadian Stage. The short version is I think it makes sense to maintain audience bases via archivals. I’m interested in live online work, and I have no doubt iterations of it will blow my mind. I do also think theatre people going online live could consult with people in the TV industry who are more familiar with the medium and get good help. 9. What is it about the performing arts scene you still love given all the change, the confusion and the drama surrounding the theatre community from Covid 19? I love that it’s a supportive community, and that everyone is managing to be kind in a difficult situation. With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he asked his guests at the conclusion of his interviews: a. What is your favourite word? Love. b. What is your least favourite word? Words used to demean people. c. What turns you on? I’ve given long and short ones below, Joe. (Note: I had no issue with this, especially when you read Hannah’s answer to question d.) Short Answer: Right now I’m into the TV show Normal People. Long Answer: Right now I’m into the TV show Normal People, and I have been listening to Connie Walker’s podcast which is so extraordinarily good – Missing and Murdered: Finding Cleo and Who Killed Alberta Willians, and I just read “My Year of Rest and Relaxation” by Ottessa Mohsfegh which I loved. d. What turns you off? Short Answer: Right now? The murder of George Floyd by Minnesota police officers. Long Answer: I’m turned off by reconciliation in Canada without justice or a reckoning for Indigenous communities. I’m Jewish, and we don’t believe in forgiveness without justice – that’s a Christian concept. I’m turned off by the failure in Canada to take responsibility for the genocides and atrocities of the past and the present on a systemic level. I love Canada, and so I’d like Canada to be better, I’d like our country not to just pay lip service to taking responsibility. I want us to actually reckon with our fucked up prisons, fucked up child welfare systems, fucked up police forces where racism is entrenched, fucked up drinking water, fucked up governments responses and our overt and insidious racism towards Indigenous people. I feel strongly about it because I come from a people against whom atrocities and genocides have been committed. I can’t distance myself from it. And listen I want to say I didn’t know very much about what was going on with Indigenous communities until the last few years – and it took me a while to really get the full scope of the horror, and to wrestle with my own false ideas about Canada, so. e. What sound or noise do you love? The wind. In particular on Northern Atlantic beaches. f. What sound or noise bothers you? It distresses me, on a physical level, when babies cry. Even though my son is four now when I hear that sound I get ready to run towards it. g. What is your favourite curse word? Fuck. h. What profession, other than your own, would you have liked to attempt? War journalism. i. What profession would you not like to do? Vermin control. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? I guess if I think about God as being my mother and father, and my sister, and my husband and my son, combined, I can say I’d like them to say to me: “Hannah, I love you and you’re a good person. You have made my life good. You’ve done your part. It’s going to be okay.” Previous Next

A talk with a professional artist about their career. Back Katie Kerr and Matt Stodolak "Pursuing 'Chris, Mrs.' has been a gift; working together has been the icing on the Christmas cookie.” Pictured: Katie Kerr and Matt Stodolak Joe Szekeres A glimpse at the profile picture of this adorable-looking husband-and-wife team makes me keep humming ‘We Need a Little Christmas’ from that American chestnut of a production ‘Mame.’ They’re not staging that one, far from it. Their new all-Canadian production opens shortly, putting us all in the Christmas and holiday spirit. ‘Chris, Mrs.’ – A New Holiday Musical - has been in rehearsal since earlier in November. It’s set to run at Toronto’s Winter Garden Theatre from December 5 until December 31. The title caught my attention immediately. It’s cute in its play on words. It’s also a show the couple had written over the first Covid Christmas. Lyricist, Director, and Producer Katie Kerr holds her degree from Sheridan College. She has been active as a writer and director for many years. Composer, Music Director, and Producer Matt Stodolak holds a Master of Teaching from the University of Toronto and a Bachelor of Music from McMaster University. The two are excited to make their mark on the Canadian musical theatre scene with this premiere. It’s their first production. Kerr and Stodolak recognize that mounting any professional musical remains risky, no matter what, as many shows are now on the Toronto scene. To top it all off, there is the rush of rushing and dashing in December to get things done and ready for the Christmas/holiday season. That is precisely why Toronto theatre audiences need ‘Chris, Mrs.” Kerr and Stodolak want audiences to stop and pause first and then realize it’s okay to put the dashing around to the side for the moment. Instead, let’s just take the time to enjoy the communal spirit of the season together. What better place than the theatre? The holiday musical’s catalyst was a Hallmark love story between the two. Matt and Katie met performing ‘Elf, The Musical’ two years in a row. He was in the band playing second keys while she played Jovie. At that time, preliminary talk began between the two and continued why shows like ‘Chris, Mrs.’ are needed. It was through their initial discussions together and with other artists that the “AHA” moment came. There aren’t enough Christmas musicals to begin, never mind Canadian productions. For regional theatres, the Christmas/holiday show is the venue's opportunity to introduce audiences to the season ahead. Despite so much darkness and sadness in worldwide events, Katie and Matt wondered what type of show could be introduced to new theatregoers during the holiday season. What became apparent during the pandemic, especially over the Christmas holidays, was people wanting to stay home and watch the plethora of Hallmark Christmas movies - probably for nostalgia’s sake and to remember what the holidays meant communally for families and loved ones. Kerr further added: “We looked at that spirit, giving that sort of vibe but reinfusing it with the excitement and spectacle of live theatre. We’ve gone away from the recent trend of 6 handers and small companies to something that’s bigger, that has a lot of dance, a lot of things to look at, laugh about and feel a part of.” How will ‘Chris Mrs.’ uniquely differ from the televised Hallmark Christmas label? The most straightforward answer - It’s the live spectacle. That’s why we go to the theatre - the universal quality of communal excitement exists only at the given moment for live audiences. Watching a live Christmas production creates a sense of comfort and nostalgia. ‘Chris Mrs.’ is the perfect holiday show to share with anyone special in your life. The live bonding experience of sharing an experience like this with others will always remain unique and something that cannot be captured on film. Matt also spoke about noticing an evolutionary tradition. Yes, people stayed home to watch the annual Hallmark Christmas films. Now, it’s time to make further memories instead of staying home - go to the theatre and see ‘Chris, Mrs.’ together as a family or with loved ones. Katie also shared something she and her family have done these last few years. Giving presents to others is nice; however, instead of just giving stuff, her family now plans events for time together. During these last few years, they have wanted to make memories of being together over the holidays. What a lovely idea. And what a great plug to give tickets to the theatre as part of that new tradition. How are the two feeling as final preparation gears up for preview performances and a December 7 opening? Matt has called this rehearsal time a transformative professional developmental opportunity for everyone involved. The two have progressed in their professional development in mounting and promoting the show. However, Matt quickly points out that they would not have anything without all the collaborators involved who have taken their hands and shown them the efficient way of getting the show where it needs to be. Adrenaline is pumping, but everyone is: “Unbelievably excited. We’re actually having a lot of fun through this process. Pursuing this has been a gift; working together has been the icing on the Christmas cookie.” Kerr added that it’s also been a joy for her and Matt to marry their experiences and professional careers up to this point in more of the performance aspect. And now they are on the other side of the table, making creative decisions. Bringing the creative and production team elements together provides an energy force that has become invigorating. There’s a nervous energy, especially around the holidays, but it’s a positive one in working on a new endeavour together. What’s the plot of the show? The show has a ‘Hallmarkian’ feel to it. There’s a widower and his socialite girlfriend. He has a teenage daughter and two trouble-making twins. Throw in a possible promotion on the line, an old family lodge and a seasonal employee whose Christmas spirit can really melt the heart of Jack Frost. One overarching moral/theme that permeates is that family is what you make of it. There is also the theme of the family you make along the way. The show also looks at the traditions that unite people at this time of year. The show’s website contains the cast members. Check it out as there are names from Stratford. Several of them appeared in the final production of 'Monty Python's Spamalot', closed the show, travelled to Toronto and began rehearsals again. There’s a complete sense of pride as 'Chris, Mrs.' is a wholly Canadian company employing artists and arts workers as everyone emerges from the pandemic. It was important for Matt and Katie to hire artists whom they trust in the collaborative process. The couple also wanted to give Canadian artists a sense of stability in providing work. Liam Tobin (Ben Chris) and Danielle Wade (Holly Carmichael) lead the company of performers. They have enjoyed tremendous success south of the border but have looked forward to performing for Canadian audiences. Most of this current company has come over from the December 2022 workshop. That workshop was collaborative with some fantastic round table in-depth discussions regarding choices made in plot, character development and songs. Katie complements this cast, whom she calls talented, seasoned performers. They have looked at revised scripts and noted some things that may have been missed or might need to be placed back, given the series of revisions. Matt also underscored how blessed he and Katie have been with the artists' tremendously valued and appreciated collaboration regarding the songs. For example, what might have worked when he and Katie initially wrote the music and sang with their voices was not suitable later for the voices whom they had cast. Wow! That’s high professionalism when artists work so closely together to ensure a musical operates on its numerous levels. What has also been an honour for the two of them? They’ve worked with many of these artists from other shows many years ago when they were all performers. What’s uniquely special about their working together again this time? They’ve all felt valued and heard in the distillation of a piece that is both satisfying as an actor and an audience member. An annual Christmas tradition for me over the last ten years was seeing Soulpepper’s production of ‘A Christmas Carol’ at the Young Centre. Things move forward. Dickens’ story is told by many theatre companies in Toronto and GTA, but I’ve missed seeing Soulpepper’s production these last few years. Will ‘Chris, Mrs.’ become the annual holiday story/go-to theatre tradition? “We would love and be honoured for audience members and families to make ‘Chris, Mrs.’ a tradition whether or not it’s every year in Toronto. If it has a life outside of Ontario or Canada, we would love for the musical to be an annual tradition down the road for sure. Of course, it’ll be up to the audiences, and we hope word will get back to us to make the show an annual holiday traditional favourite.” A new musical is always exciting for all artists involved. What’s next for Katie and Matt once the show concludes its run? For Matt, it’s sleep, and we all had a good laugh. The two of them are keenly focused on making ‘Chris, Mrs.’ the best show it can be. They always have ideas about new material or adaptations, but Katie said: “It’s easy to get distracted by shiny new things,” and again, we shared a good laugh. Look for my opening night review after December 7. ‘Chris, Mrs.’ – A New Holiday Musical - runs December 5 – 31 at Toronto’s Winter Garden Theatre, 189 Yonge Street. To learn more about the show and to purchase tickets online visit www.chrismrs.com . Previous Next

A talk with a professional artist about their career. Back Michael Rubinoff Looking Ahead --- Joe Szekeres Like many of the artists whom I’ve profiled this last year, producer Michael Rubinoff is one busy individual who continues to move forward as we all are outside of the pandemic. Over the years, I have heard his name and knew he was a producer of musical theatre here in Canada, but I was not aware of the extent of his influence in the industry. I’ve learned a great deal about him and am most thankful he was able to take a few moments to add his voice to the conversation. As you will see from his responses below, Michael helped to develop the 9/11 story in Gander, Newfoundland that continues to move audiences here in Toronto, on Broadway, in the West End and Australia. Outside of ‘Come from Away’, Michael continues his busy schedule. He is a Toronto based producer and lawyer who conceived the idea to share the compelling events depicted in ‘Come from Away’ as a musical. In 2011, he established the Canadian Music Theatre Project, an incubator for th3e development of new musicals, where he produced and developed the first workshops of ‘Come from Away’ and developed 29 other musicals. He is a producer and consultant to ‘Come from Away’s’ five companies around the world and received an Olivier award and a Tony nomination for Best New Musical for the show. He is producing the new musical ‘Grow’ which will have its world premiere at the Grand Theatre in London, Ontario in April, 2022. He continues the development of new work at home and abroad. Michael was awarded the Meritorious Service Cross by the Governor General of Canada for his role in ‘Come from Away’. A proud graduate of Western University Law. @mrubinoff. We conducted our conversation via email. Thank you so much for adding your voice to the conversation, Michael: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. Despite the numerous challenges of this ongoing pandemic, it has reinforced that we are resilient. It is a rare global event in which everyone has been affected. That impact has been disproportionate, but even those most privileged have been at the mercy of a virus. It has exposed vulnerabilities we have not previously confronted effectively. It has widened awareness and increased support for necessary change on many levels. This time has also invited more meaningful conversations. I am hopeful this newfound resiliency can propel change at a faster pace. Prior to the start of the pandemic, I was operating at a constant 100 miles an hour, working on multiple projects at home and abroad. The pandemic brought that pace to a screeching halt. That has allowed valuable time to reflect personally and professionally. It has provided an opportunity to re-examine what is most important to me and the work I want to do in my next personal act. One of the most significant changes has been, after a decade of service, at the end of this academic year, I resigned from my position as Producing Artistic Director of the Canadian Music Theatre Project (“CMTP”) at Sheridan. This has afforded me the time to wholly devote myself to what I am most passionate about, developing new musicals. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? It has reinforced that what we do is necessary to foster social interaction and social innovation. We provide a valuable service and outlet for the public. We bring communities together. At the same time, this great intermission is a moment of reflection for the entire industry and has amplified the necessary need for a more equitable and inclusive industry. Time to take time has given the industry the opportunity to have very difficult and uncomfortable conversations. It has provided an opportunity to begin the concrete work on making change, in advance of the start of rehearsals and theatres re-opening to audiences. This moment has reinforced accountability measures that must be adhered to going forward. There is no going back to normal. Many challenges and missteps will happen, but the work must be constant to ensure safe and healthy environments for all. Further, if the theatre industry is to survive and remain relevant, it must be reflective of the communities it serves on stage, off stage and in the audience. In the musical theatre, where my work is focused, more inclusiveness in storytelling will only make the work that much richer, powerful and desirable to all audiences. As a professional artist, what are you missing the most about the live theatre industry? As people we crave social interaction and connection. In the digital age, theatre is one of the last mediums that brings people together, in person, to collectively share an experience. Theatre is an event, that takes place in a moment in time in which an emotional bond is created between words, sometimes music, actors, and audience. This cannot be replicated online. I am missing most, standing at the back of a theatre and watching an audience of strangers, untethered to their screens, come together as a community. It is always powerful to witness and feel and I can’t wait to be there again. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? I feel so privileged to be a part of the theatre industry, that I try not to take any if it for granted. However, as a producer, I have never enjoyed being in tech. I have tremendous respect and admiration for all of the artists involved in that process. For good reason it takes focused time to implement and perfect the thousands of intricacies to create theatre magic. As mentioned earlier, I was always trying to move through life at a rapid pace. So, tech is going to be the thing I am never going to take for granted again when we return. I do encourage you to check up on me on that journey! Describe one element you hope has changed concerning the live theatre industry. As mentioned before, there is no going back to “normal”. Institutional change takes time, but it is being on the path towards eradicating systemic racism in our industry that I hope has changed. Explain what specifically you believe you must still accomplish within the industry. My commitment as a producer has primarily been to the Canadian musical and commercial theatre. On our journey towards institutional change, we need to encourage and foster a generation of IBPOC commercial theatre producers in this country. This work for me, personally, is an accountability measure to ensure we are meeting the objective of a more inclusive industry. I am working with a group of Canadian commercial theatre producers in consultation with members of underrepresented communities, to design a program that will educate, mentor and provide meaningful opportunities to emerging producers who want to work in this space. Canada has lacked this kind of programming and, with urgency, I am determined to share what knowledge and support I can, to contribute to the necessary change. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. As the individual that conceived the idea and developed a musical about 38 planes landing in Gander, Newfoundland and Labrador on 9/11, I get asked about my ideas for a Covid musical a lot. Live theatre can share historical events in very compelling ways. I believe that musical theatre is one way to report and preserve history. Despite many doubters along the way, it was one of the reasons I felt strongly that the humanity exhibited on such a dark day should be shared in the musical form. Ultimately, successful musicals connect with an audience. Due to the length of the pandemic my ideas for a Covid themed musical continue to build. I do have a concept that I believe is compelling. However, I have learned that time helps best frame how you want to tell stories about immediate events and post-pandemic reflection will be necessary. I do believe this moment in history should be preserved in the musical form and I look forward to working on a project that will respectfully resonate with audiences. As an artist, what specifically is it about your work that you want future audiences to remember about you? Canada has and will always be home. I believe in the brilliant Canadian writers, composers, creatives, talent and technicians. I also believe that we have our own stories that are important to tell, both the good and shameful in our history. The Canadian Music Theatre Project, which launched with the development of ‘Come From Away’, led a renaissance in Canadian musical theatre at home and around the world. Over a decade the CMTP developed thirty new musicals. Many of those shows have received professional premieres all over the world. We see Canadian not for profit theatres, commercial producers, schools and community theatres developing, producing and presenting Canadian musicals. This risk taking, in large numbers, on our own talent, was not always the case. Most importantly, we see audiences embracing this work with pride and a sense of ownership. So, if I am remembered for anything, I hope it is for the ignition of creation and the support of our Canadian storytellers to tell our stories. Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'The Music Man' Springer Stage at Thousand Islands Playhouse, Gananoque, Ontario Randy deKleine-Stimpson Joe Szekeres There’s no trouble here in River City. Thousand Island Playhouse’s ‘Music Man’ remains a lovely telling of this American musical classic punctuated with delightful choreography and full-bodied singing. What a lovely way to spend a few hours if you are in Gananoque. Better yet, consider making a trip and spending the night as I did. There is so much to appreciate about this production of Meredith Willson’s ‘The Music Man’. Presented by Thousand Islands Playhouse (my first visit here with hopefully more to come), the story is told with dignity and grace under director/choreographer Stephanie Graham’s capable hands and Rachel Cameron’s tremendously fine work as Music Director. I especially liked Brandon Kleiman’s suggestive set design of less is more with those moments that took place on the street. The dollhouse-looking appearance of various buildings on the Main Street allowed me to envision in my mind the breadth and depth of the setting. Co-costume designers Robin Fisher and Joshua Quinlan are to be congratulated for what I thought were highly impressive visual clothing creations from the turn of the twentieth century. I scanned my eyes as quickly as I could in both acts to see what the twenty-eight cast members wore, and what struck me was the formidable task Fisher and Quinlan set for themselves to be as accurate as possible to the era. They succeeded on all accounts for me. It’s a hot summer in River City, Iowa in 1912 and Renee Brode’s effective lighting design indicates that strongly. We meet conman Harold Hill (David Leyshon). Hill has gone from town to town defrauding others before his arrival in River City, He poses as a Professor of Music claiming, through gentle forms of flattery, that the boys have hidden artistic talent. Nearly everyone in town becomes swept up in Hill’s deceit save for a few including town librarian Marian Paroo (Kate Blackburn). After an initial impressing upon most of the townsfolk, there is talk of a need to give young people the sort of interests, such as forming a Town Band, to keep kids off the streets. Things are beginning to catch up with Hill. He finds himself falling in love with Marian and refuses to escape via train to avoid confrontation with the town officials who have been tipped off by a rival salesman. To prove what Hill said is true, a demonstration is given where the youth of the town are gathered to play Beethoven’s ‘Minuet in G’. It’s not what one might expect but all works out well in the end. Headed by a vocally strong David Leyshon and Kate Blackburn, there was so much to enjoy about the opening night production. Leyshon and Blackburn are confident performers who remained confirmed to the reality of the moment. The budding synergy of attraction becomes palpably true that I found myself rooting quietly for the two of them in the second act. Within these classic Americana tales, there is always that theme of the young independent woman who turns around the heart of a wayward man. Trite and sappy? Perhaps, but that did not come across in this production for me at all. There are some decent supporting performances that put a smile on my mask-concealed face. David Talbot’s blustery, windbag Mayor Shinn is terrific to watch. As his zany wife Eulalie, Seana-Lee Wood perfectly juxtaposes the correct amount of comedic humour to counterbalance her husband’s blowhard nature. As their daughter Zanetta, Meghan Caine’s blossoming youthful romance with Daniel Yeh’s rebellious Tommy Dijilas remains sweet. Rennie Wilkinson is delightful as Marian’s Irish Mother, Mrs. Paroo. Matthew Fournier is an adorable Winthrop Paroo. Other notable moments were Michael Cox’s Charlie Cowell, an anvil salesman determined to bring Harold down and expose the truth about his nature. Michael MacEachern’s frantic Marcellus Washburn (Hill’s pal who tries to get him out of River City before the jig is up) amplifies the emotional intensity of the moment between Marian and Harold. The gossipy ladies of the town are so much fun to watch. What a delightful treat to see so many young people on the stage as well. Before the show began and I was waiting outside, I heard someone talk about the fact a decision was made to cast young people instead of adults dressed as young people. A correct decision was made here as well. There are some fine vocal moments throughout the production that are never overpowered by the six-piece band so kudos to Deanna Choi’s solid execution of the sound design. At the top of the show, ‘Rock Island’ introduces a new level of the creation of musical sounds through the stomping of feet in time to the music. ‘(Ya Got) Trouble’ remains one of the staples of the show and it’s not disappointingly sung here at all. Another staple ‘Seventy-Six Trombones’ sounded wonderful to my ears. The gossipy ladies in ‘Pickalittle (Talk-a-Little)’ made me laugh out loud, especially when I saw how their hats moved in time as hens move. The comic timing was so good. I must also mention the primo barbershop blend of Spencer Laing, Hal Wesley Rogers, Rob Torr and Robert Yeretch in ‘Sincere’, ‘Goodnight Ladies’ and ‘Lida Rose’. I haven’t heard this truly unique barbershop sound in such a long time, and it was heavenly to hear these four actors deftly handle the music so effortlessly. Can’t forget Stephanie Graham’s choreography either. The stage became electrically charged during ‘Shipoopi’ ‘(Ya Got) Trouble’ and ‘Rock Island’. Every inch of space was filled with movement so kudos to Graham for keeping her eyes peeled to ensure the moment came alive not only for the actors but also for the audience. Final Comments: In her Director’s Programme Note, Stephanie Graham spoke about how ‘The Music Man’ reminded her the story is one of transformation and change. My views on ‘The Music Man’ have also changed too. I used to think it was a tired story that some groups may pull out from time to time. However, when the story is treated with the utmost care and compassion as it has been here at 1000 Islands Playhouse, it’s worth a trip to see it. I encourage you all to do so. Running Time: approximately 2 hours and 30 minutes with one intermission. ‘The Music Man’ runs to August 20 at the Springer Theatre, 690 Charles Street, Gananoque. For tickets call 613-382-7020 or visit 1000islandsplayhouse.com. Masks are required in the theatre as of the publication of this article. ‘THE MUSIC MAN’ Presented by Thousand Islands Playhouse Book, Music & Lyrics by Meredith Willson Directed and choreographed by Stephanie Graham Music Director: Rachel Cameron Set Designer: Brandon Kleiman Co-Costume Designers: Robin Fisher and Joshua Quinn Lighting Designer: Renee Brode Sound Designer: Deanna Choi Stage Manager: Jordan Guetter Cast: Kate Blackburn, Meghan Caine, Naomi Costain, Michael Cox, Jasmine Huang, Spencer Laing, David Leyshon, Michael MacEachern, Alison J Palmer, Hal Wesley Rogers, David Talbot, Rob Torr, Rennie Wilkinson, Seana-Lee Wood, Daniel Yeh, Robert Yeretch Young Ensemble: Scarlett Belanger, Sophie Christopher, Ethan Davidson-Harden, Matthew Fournier, Micah Gavin, Malcolm (Gramps) Jager, Tristan Moore, Pandora Mulligan, Isla Oatway, Adyson Purdy, Charlotte Stroud, Makayla Vanderhost Band: Rachel Cameron, Joseph Dashney, Roger Finlay, Mike Verner, Anne Palmer, Greg Runions Previous Next

Where we hope to help young people develop an intrest and a passion for a futrure in theatre. Back "It's A Wonderful Life: A Live Radio Play" adapted by Joe Landry Now onstage at Toronto's Young People's Theatre until December 30 Credit: Dahlia Katz. L-R: Anand Rajaram, Cliff Saunders, Amy Matysio, Caitlyn MacInnis, Shaquille Pottinger Joe Szekeres ‘A veritable communal theatre experience of old-time radio. Tremendous fun with a splendid cast highlighting the important bonds of family, love, and friendship. Give yourselves a gift this Christmas/holiday season and see IT’S A WONDERFUL LIFE – A Live Radio Play.” Usually seen around the Christmas/holiday season, Director Frank Capra’s iconic film (based on the story ‘The Greatest Gift’) is retold in an adaptation by Joe Landry, now in performance at Toronto’s Young People’s Theatre. A terrific ensemble of five performs the classic story, this time as a 1945 radio broadcast. The Ada Slaight stage is set as a radio studio, and the audience becomes the studio audience. The story is told by the actors’ voices and foley sound effects. We’re in Bedford Falls. A young George Bailey has always cared a great deal about others. He puts their needs ahead of his own throughout his life. On one Christmas Eve, George encounters a situation he cannot fix. He begins to feel as if there is no other option than to do the unthinkable: take his own life and leave everything behind. At this point, George is met by Clarence, a guardian angel who takes him on a journey around the town to show him what the world would be like if he never existed in this life and if his good actions never transpired. I think I was one of the last few who finally watched the entire film a few years ago. The reason why I chose not to do so? The suicide threat didn’t appeal to me in what is supposed to be the Christian season of light and hope in our lives. YPT’s production reinforces ‘Wonderful Life’ isn’t a story about contemplating suicide. It’s far more, especially for young people to hear and to see. ‘Wonderful Life’ continues to recognize the bonds of love and friendship, themes of the Christmas/holiday season. The story goes further as it teaches that life matters and is worth living no matter what may befall people. I will most likely watch the film again. Shannon Lea Doyle appropriately designs the setting and the fashion look of 1945. Faithful recreations in clothing style and realistic-looking era props have correctly captured the era, as have Shawn Henry’s lighting designs. The Foley sound effects are one of the show's staples, and they do not disappoint in the least, thanks to John Gzowski's design and consultation. Director Herbie Barnes’s heartfelt admiration for the story permeates thoroughly. It’s a challenge of a play to stage and Barnes has made some apt choices that work exceptionally well. His actors must understand the nuances of all the characters, provide a variety of voices, learn the dialogue, and execute the exact timing of the required sound effects, which would have required ample rehearsal time. Like the brand-new car we’ve purchased, we expect all the parts to work in tip-top shape and their full potential to provide the smoothest ride. With Barnes as prime automotive service technician and in the driver's seat, enjoy the ride in YPT’s production. It remains in tip-top shape from beginning to end, thanks to this talented cast who want the audience to have a good time. The five artists capably breathe life into the characters. Anand Rajaram confidently opens the show as radio announcer Freddie Filmore with a great bravado that I couldn’t help but smile when he enters. Rajaram also channels his inner Jimmy Stewart at one point, making many around me (and me) erupt in raucous laughter. Don’t forget that Stewart played George Bailey in the film. Shaquille Pottinger is a dashing-looking Jake Laurents who voices George Bailey. Pottinger’s Bailey remains delightfully charming and childlike when he finally recognizes that his life, value and worth mean something within the Bedford Falls community. As Harry “Jazzbo” Heywood, Cliff Saunders’ bow-tied looking Les Nessman (WKRP in Cincinnati) becomes an adorably endearing guardian angel, Clarence. What is charming to watch and hear occurs when Clarence takes George back to Bedford Falls and shows him what life would be like without the latter’s presence. It’s a perfect reminder of another classic that now plays this time of year - Dickens’ ‘A Christmas Carol’ where the three ghosts invite Ebenezeer to see what life is like with him present and when he is gone. Caitlyn MacInnis (Sally Applewhite) and Amy Matysio (Lana Sherwood) develop strong women character foils for George. MacInnis’ Mary (wife of George) channels an inner Donna Reed from the film, but they go a step further for this radio play. MacInnis’s facial responses and reactions say a great deal about what’s occurring at the present moment, whether they are conversing with one person or a group. Amy Matysio’s Violet channels a comical seductress as Violet, who was interested in George before Mary came along. Final Comments: In his Director’s Note, Herbie Barnes writes that post-pandemic, the company wanted to focus on bringing back joy to the theatre. He has, the company has, and this production certainly has done so. I’m hoping (and yes, even praying) this radio play might become a staple perhaps every other year as ‘A Christmas Carol’ was at Soulpepper. See YPT’s IT’S A WONDERFUL LIFE – A Live Radio Play. And Merry Christmas to us all. Running time: approximately 85 minutes with no intermission. ‘It’s A Wonderful Life – A Live Radio Play’ runs until December 30 on the Ada Slaight Stage at Young People’s Theatre, 165 Front Street East. For tickets, call (416) 862-2222 or visit youngpeoplestheatre.org. IT’S A WONDERFUL LIFE: A Live Radio Play Adapted by Joe Landry Based on the story ‘The Greatest Gift’ by Philip Van Doren Stern from the screenplay by Frances Goodrich, Albert Hackett, Frank Capra and Jo Swerling Directed by Herbie Barnes Set and Costume Designer: Shannon Lea Doyle Lighting Designer: Shawn Henry Sound Designer and Foley Consultant: John Gzowski Stage Manager: Bradley Dunn Performers: Caitlyn MacInnis, Amy Matysio, Shaquille Pottinger, Anada Rajaram, Cliff Saunders Previous Next

A talk with a professional artist about their career. Back Irene Poole Moving Forward Denise Grant Joe Szekeres It has been rewarding personally to watch artist Irene Poole in a variety of compelling roles over the last few years. First, I must make reference to the emotionally astounding production of ‘To Kill a Mockingbird’ at The Stratford Festival in which Irene played the adult Jean Louise Finch who looks back on her life in Maycomb, Alabama. I know I’ve said it before, but that production left me in tears because it struck right at the very heart of my core and emotional being. Sooo good….. Irene has also appeared as the ghostly Catalina/Katherine in Kate Hennig’s ‘Mother’s Daughter’ at Stratford. Other appearances include At Tarragon: The Little Years – Dora Award. Soulpepper (The Gigli Concert), Pleiades Theatre, Buddies in Bad Times (Manon, Sandra and the Virgin Mary), Stratford Shakespeare Festival (The Little Years, Three Sisters, The Taming of the Shrew, Macbeth, Romeo and Juliet, Phèdre), Factory Theatre (The Leisure Society – Dora Award, Bethune Imagined, Escape From Happiness, Better Living, Fighting Words, The Glace Bay Miners’ Museum, and Hockey Mom, Hockey Dad), Birdland Theatre (The Last Days of Judas Escariot – Dora Award), Citadel Theatre (God of Carnage), Alberta Theatre Projects (The Age of Arousal), Prairie Theatre Exchange (Hockey Mom, Hockey Dad), Theatre Aquarius (Wuthering Heights), Sudbury Theatre Centre (The Game of Love and Chance and The Attic, The Pearls and Three Fine Girls), Resurgence Theatre (A Midsummer Night’s Dream, Much Ado About Nothing, Talley’s Folly, Salt-Water Moon, Romeo and Juliet). Film and TV: Killjoys, Murdoch Mysteries, Carrie, Republic of Doyle, Breakout Kings, Rookie Blue. Other: Directed Canadian premiere of David Mamet’s, Romance, at Berkeley Street Theatre Upstairs. She studied acting at Dalhousie University. We conducted our conversation via email and, from some of her responses, Irene gave me some ‘food for thought’ ideas on how she is dealing with the pandemic. Thank you for the good conversation, Irene: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? Throughout this pandemic I’ve felt very fortunate to live in Stratford where we’ve been relatively free of Covid, except for some outbreaks in LTC Homes. With numbers creeping up again though, and in this region, I feel it’s time for extra caution and patience. And perhaps a small, family Christmas. With several vaccines on the horizon, I think we’ll be looking at some sort of normal within the year. For many of us though we’ll emerge from this experience with a more cautious approach to interacting with people and being in public spaces; with perhaps more walls around our personal space than we’re accustomed to as artists. I wouldn’t be surprised if masks and sanitizers continue to be a normal part of our lives, especially during the season. How have you been faring? How has your immediate family been doing during these last eight months? I’ve been ok. Trying to find the positive side of having so much time on my ands. That meant a wonderful summer with my husband and kids, 12 and 7 – lots of trips to the beach, lots of walks with friends, distanced backyard visits. We taught them how to play Hearts and Euchre (editor note here: excellent choice) and forced them to listen to music created before 2019. But it’s been difficult to be entirely carefree with so many unknowns and worries about the future. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Well, beyond the obvious shuttering of our industry and the financial fallout of that, the most difficult thing has been feeling somewhat insignificant. That what I do for a living is so easily pushed to the side, and seemingly forgotten. While the government has been generous in taking care of people in the ‘gig economy’ I don’t feel there’s been many lights shone in the corners where we work. And we do work, and pay taxes – Federal, Provincial, Municipal, school. We carry mortgages and contribute to local economies. I wish there was little more effusive respect from our leaders for what we bring to our cities. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I was in rehearsal for ‘Much Ado About Nothing’ and ‘Hamlet’ and prepping for ‘Wolf Hall’ at the Stratford Festival. My understanding is that those productions may go ahead at some point but there are no immediate plans for their continuation upon reopening. What have you been doing to keep yourself busy during this time? I have been working on our house! I love home reno projects and luckily have this big old house to putter around in and fix up. It’s kept me sane. I’ve built railings and steps, repaired siding, rehung doors and painted everything. Since filming started up again in Toronto, I’ve also been auditioning and working. And being a mother keeps me busy all the time! Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty? I’d say to recent grads, “Get yourself a really good agent and audition for film and television.” I’d also say, if you can write, write. If you can produce, produce. If you can direct, direct. Get experience wherever you can. Also, and I say this with all respect for my chosen profession, if there’s anything else you love to do, develop those skills as well. I’ve been extremely lucky to have made a living as an actor, but the pandemic has left me bereft of any other employable skills. To my fellow performers, I’ll say, “We’ll survive, and I miss you.” Do you see anything positive stemming from Covid 19? The time I’ve had to cement the important relationships in my life has been a real gift. I hope that we can seek a better work life balance when things open back up. Going from working insane hours (and trying to squeeze all the other important life moments into the remaining hours) to barely working (and having lots of time to focus on those other moments) has illuminated how unbalanced life in the theatre can be. And it doesn’t feel tenable anymore. I hope our industry leaders will recognize the importance of that balance and act on it. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? Without a doubt. Theatres that manage to actually survive will have to make many changes going forward. Not just the obvious changes to health and safety but to programming an responding to issues highlighted during the time of Covid. The break has allowed us time to ponder our place in society, our responsibility to the events happening around us, especially with regard to BIPOC conversations and inequities. There’s no going forward without more inclusivity and real change in all areas of production. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I think artists should feel free to showcase their work however they want. There are no rights and wrongs about how to be an artist during this time. Let creativity boom and see what becomes of it. I did a Zoom reading of ‘A Midsummer Night’s Dream’ early on and had a fantastic time learning and trying to connect with the cast. I’m not sure it was the most engrossing theatre ever, but it was an offering for those seeking a break from a very scary worldwide crisis. Interestingly, we filmed our production of ‘Henry VIII’ last fall without an audience, due to the size of the Studio Theatre. I’ll be very curious to see if a play that has been rehearsed and lived in, then filmed can capture the spirit of the show, and audiences. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Connection, understanding, communication – with words, stories, colleagues, audiences. If I can’t have those connections in a live theatre I can seek them in other mediums – film and television, voice work. Also the community I’m proud to be a part of, the deep lasting friendships are the result of work in the theatre, and they remain strong. Even stronger since the pandemic started. Previous Next

Where theatre is not only presented on the stage. Back 1939 by Jani Lauzon and Kaitlyn Riordan World Premiere of a Stratford Festival Commission David Hou Joe Szekeres What makes 1939 work quite beautifully are its gentle moments of humour which never overpower what Director Jani Lauzon calls the incredible resilience, courage, wit, and ingenuity of five incredible student survivors from Residential schools. What makes this Stratford commission so remarkably poignant is the very fine performances of Richard Comeau, Wahsonti:io Kirby, Kathleen MacLean, Tara Sky and John Wamsley. Their seamless ensemble work of keenly listening and appropriately responding contributed a great deal to their individual character growth. The gentle moments of humour made me pay attention and want to learn more about them. I was thankful none of the horrible atrocities from the schools were played out in front of me. I am already aware of the awful repercussions as that information subtly hovers within playwrights Jani Lauzon and Kaitlyn Riordan’s touching script. Instead, the gentle moments of humour truthfully made me pay attention and want to learn more. Okay, perhaps the running gag about Father Williams farting when he gets anxious and nervous might be a tad overplayed. We are at an Anglican church-run Residential school in Northern Ontario in 1939. Father Williams (Mike Shara) acts as the school liaison for an upcoming visit by King George VI and Queen Elizabeth (the Queen Mother in later years). Although Father Williams’ enthusiasm is for hockey, it has been agreed the royal couple will be entertained with a student performance of Shakespeare’s ‘All’s Well That Ends Well’ to be directed by the school’s English teacher, Sian Ap Dafydd (Sarah Dodd). Ap Dafydd does everything she can to impose an outdated and unfamiliar style of learning to ‘speak white’ on her Indigenous students as the students rehearse and prepare for the performance. She even uses a recording of an English actress to demonstrate to the students how to ‘speak properly’ with big round vowel sounds. As the students rehearse and prepare, they begin to note just how similar the situations of the characters in Shakespeare’s play parallel their own lives. When they see this connection, they want to make the play their own instead of trying to be something they are not. There are cringeworthy statements which emanate from Sian Ap Dafydd and Father Williams that certainly made me put my head down in shame when I heard them. A few audience members around me did that as well and the gasps/uncomfortable laughs from some indicated how they felt at hearing these derogatory comments about First Nations people. I have heard of the statement ‘in laughter/jokes there is truth’. I’m going to take this one step further as it dawned on me when I left the Studio Theatre – the uncomfortable laughter was a reminder of the truth these situations occurred, and it is up to all of us to ensure they never occur again. Joanna Yu’s set design of the huge blackboard slate centre stage and the smaller spaces leading to the top level was quite effective and most noteworthy. Throughout the set changes, the five students would write ideas, thoughts, words, and pictures on them while Father Williams and Sian Ap Dafydd would erase them. It became clear this was a representation of the thoughts, ideas and words of First Nations being simply wiped away by the colonial education system. A simple ordinary gesture in a school setting which became disconcerting to see it being repeated over and over. Visually impressive. There are some very strong performance highlights worth noting. I really hope to see the five artists who played the students on stage in the near future because they were dynamite. I had completely forgotten how siblings were not to mix in Residential Schools. Richard Comeau and Tara Sky (as brother and sister Joseph and Beth Summers) are together quite striking in their believability. Wahsonti:io Kirby as Evelyne Rice is firmly grounded especially in the moments where she will not allow the ‘Indian to be killed within her’. Kathleen MacLean’s Susan Blackbird becomes that one grim reminder of the terrible atrocities within the Residential schools when she appears with the horrible gash across her back – kudos to the individuals who made the wound as it looked excruciatingly real from my seat. John Wamsley’s Jean Delorme half-breed (Algonquin and Metis) is far more comfortable on the hockey rink than in the play as evidenced in his dance moves. Sarah Dodd’s crispy clipped and clean-looking English teacher/director Sian Ap Dafydd is a reminder of some teachers within the Residential schools who did what they could to change the First Nations’ voice by encouraging the emulation of ‘big round vowels’. To me, it appeared as if Dodds made Ap Dafydd’s proverbial ‘bark worse than bite’ strongly apparent. However, there is one moment where Dodds in a strongly worded monologue to the students increased the tension within me and made me feel just a bit uneasy. Mike Shara’s doofus of bumbling Anglican priest Father Williams would rather be coaching hockey than being involved with the play. Shara motors up and down the stairs and exits stage left and right at such a fast pace, I kept wondering if the KeyStone Cops would be following behind. Final Comments: Jani Lauzon wrote the following in her Director’s Note: “I get to hear amazing, young, inspirational, Indigenous actors speak Shakespeare inside a story that I hope will inspire you all.” Your inspirational vision of a reconciliation task before us spoke a great deal to me, Jani. Thank you for letting me laugh and smile as I continue my journey in Truth and Reconciliation. Running time: approximately 2 hours and 30 minutes with one intermission. The production runs to October 29 at the Studio Theatre, 34 George Street East, Stratford. For tickets, stratfordfestival.ca or call 1-800-567-1600. 1939 by Jani Lauzon and Kaitlyn Riordan World Premiere of a Stratford Festival Commission Directed by Jani Lauzon Set Designer: Joanna Yu Costume Designer: Asa Benally Lighting Designer: Louise Guinand Composer and Sound Designer: Wayne Kelso Performers; Richard Comeau, Sarah Dodd, Jacklyn Francis, Wahsonti:io Kirby, Kathleen MacLean, Mike Shara, Tara Sky, John Wamsley Previous Next

A talk with a professional artist about their career. Back Thom Allison Self Isolated Artist Laird Mackintosh Joe Szekeres Thom Allison is one helluva musical theatre performer in this country. I’ve seen his work in the original Canadian companies of ‘Miss Saigon’ and ‘The Who’s Tommy’. I also saw his extraordinary work in the ensemble ‘Take Me Out’ when it premiered at Canadian Stage’s Bluma Appel Theatre. It was the first trip I had made to the Shaw Festival where I saw an absolute knockout performance Thom gave as Coalhouse Walker in ‘Ragtime’. Solid memorable stuff in that performance that sent shivers down my spine. When musical theatre strives to be excellent, it is excellent. Thom and the cast delivered that excellent performance. Just this past fall 2019, Thom was part of The Musical Stage’s mesmerizing ‘Uncovered: Stevie Wonder and Prince’ that featured some “really big names” (as Ed Sullivan used to say) including Jully Black, Jackie Richardson, Sarah Afful and Chy Ryan Spain. Currently, Thom can be seen as Pree in Space Channel/SyFy’s hit KILLJOYS for which he won a Canadian Screen Award. He has also been nominated for most Canadian theatre awards. 1. It has been the almost three-month mark since we’ve all been in isolation? How have you been doing? How has your immediate family been doing during this time? Actually, not bad. I needed some quiet and this is the break I kind of needed. Plus I believe in making choices that are positive out of a negative so I’ve been using the time to catch up with people/projects, read, rest. And most importantly to mourn. I’ve lost my whole immediate family – my father, then my brother (my only sibling), then my mother – in the last 3 ½ years. My mother was the last and she died a year ago June 7. And it was 2 /2 years and 3 days from my dad dying (who was the first) to my mother dying (who was the last). And all from cancer. So, the blessing is they aren’t sick during this horrible period. But I didn’t have time to mourn any of them since as one passed, the next one was already ill. But after my mother passed away last June, I was so busy spreading all of their ashes around the country and dealing with my mother’s estate and then I was working through the fall and winter, I still didn’t have time to mourn. So this has also been a really healing time for me. 2. As a performer, what has been the most difficult and challenging for you professionally and personally? I’m not sure I can say this has been a challenging time personally. I’m a person who is not afraid or unused to difficult self-reflection so I’ve enjoyed the time to re-evaluate where I’m going and what I want to be doing during and after the pandemic. Professionally, there is the issue of money but that hasn’t been too bad yet…talk to me in 4 months. 😊 But I am in the process of going from being a performer to a director and I’m realizing I may not have the chance to do a lot of that for many months. But in the meantime, I’m trying to learn more about the craft. I’m not wasting time. 3. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I was ready to go to the Royal Manitoba Theatre Centre to star in a hilarious play called ‘The Legend of Georgia McBride’ but the rest of their season, like all others, had to be cancelled. They still want to do the show at some point so it may happen. And there have been a couple more projects that may just be postponed. Nothing has been fully cancelled yet but I don’t know if they will all still happen this year. 4. What have you been doing to keep yourself busy during this time? I have been doing a lot of benefits online research for my own projects. I’ve been planning some projects for future. Getting to some apartment fixes that have been desperately needing attention, cooking, baking. And most fun of all, connecting with friends I haven’t had the time or energy to chat with. I’m very much a ‘glass half-full’ kinda guy so I’ve really been trying to make the best of a bizarre situation. 5. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty? I know a lot of fellow performers and colleagues are having a hard time for all kinds of reasons. Part of it is not knowing who to be without a job, some who don’t have partners and are not okay with the days of alone-ness, and on and on. I guess all I can say is remember you’re not alone. Reach out to friends, family, keep connected. And also find the peace in stillness. We get the chance to be still so rarely – read that book you’ve been wanting to read, finally work on your voice without a need for an outcome ‘cause there is not a show at the moment, meditate…all those things we say we’ll get to eventually. Well, this is eventually. Use this time to be good to yourself and be the person you’ve been wanting to be. It’s hard to remember that we’re not just our jobs. To theatre school graduates…God bless you. You have been dropped into the oddest of times. But I think my advice is the same in a way – keep working on your instrument. Theatre school is only the beginning. Hone your craft, have Zoom play-readings, create work gatherings to work on a script or monologues, keep your body limber and available. But also, cultivate other hobbies, read, knit, craft. It will fill your ‘well’ with other information. 6. Do you see anything positive stemming from Covid 19? I think we are realizing how crazy our lives have become. I hope we see people (and allow ourselves to see) how slowing down and streamlining can create a healthier, more balanced life. Also, when we look at how fast the earth is trying to heal herself when we have freed her from the vast amounts of pollution and abuse. I’m hoping people in power see how we can get back some of what we thought was lost forever, in terms of the environment. 7. Do you think Covid 19 will have some lasting impact on the Canadian/North American performing arts scene? I do but I don’t quite know what that will be. I don’t think we can come back and not be affected. Artists are reflectors of the world around them. And this will have an impact on the world. 8. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? The streaming stuff has been fun and creative. It can also be a little overloading. I think we could all go quiet for a moment but I get that some people need to be creating all the time and many people are happy for something to watch so there is no right or wrong. In terms of going forward – the You Tube and online streaming is helpful in this moment but it’s not theatre. Nothing will ever be able to replace the experience of real theatre. A room full of people sharing a real/imaginative experience in real time. It is not removed – it is immediate and felt viscerally between actors and audience. It is a glorious, unique experience hat cannot be duplicated. But in the meantime, the online experience is keeping us feeling connected and that is important. 9. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? The real-time magic of it. You create a world of light and sound and visuals and the audience goes on the ride and believes in your world for 90-150 minutes. Nothing like it. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton here are the ten questions he used to ask his guests: 1. What is your favourite word? Yes 2. What is your least favourite word? Next time (I know it’s two but grrr) 3. What turns you on? Generosity 4. What turns you off? Meanness 5. What sound or noise do you love? Laughter 6. What sound or noise bothers you? Bagpipes 7. What is your favourite curse word? Shit 8. Other than your own, what other career profession could you see yourself doing? Baker 9. What career choice could you not see yourself doing? Accountant 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You were fabulous!” To learn more about Thom visit his website: www.thomallison.com . To book Thom for Video messages: https://starsona.com/thomallison. Twitter: @thomallison Instagram: thom_allison CD “A Whole Lotta Sunlight” available on ITunes and Spotify Previous Next

What makes a comedy work - plot, characters, setting and theme. Back 'Bed & Breakfast' by Mark Crawford Now onstage until June 30 at the Port Hope Capitol Theatre, 20 Queen Street. Now onstage until June 30 at the Port Hope Capitol Theatre, 20 Queen Street. Joe Szekeres “Make a reservation for actor/playwright Mark Crawford’s BED & BREAKFAST at Port Hope’s Capitol Theatre. Smartly directed by Rob Kempson with sharp, delineated performances by Kyle Golemba and Amir Haidar.” Brett (Kyle Golemba) and Drew (Amir Haidar) are weary of their cramped downtown Toronto condo and the disappointment of seven failed home bids. Their lives take an unexpected turn when Brett, upon the passing of his beloved Aunt Maggie, inherits a house in a small town east of Toronto. He and Drew decide to seize this opportunity and start a bed and breakfast in Maggie’s historic home, setting the stage for the unexpected in their lives. The couple experiences comic woes running a B&B. As members of the LGBTQIA+ community, Brett and Drew also face friction in this small town for who they are. By the end of the play, the two of them discover that life is not always straightforward when trying to escape complicated situations. I’ve heard of playwright/actor Crawford’s script before. I only knew it was a two-hander and involved the actors playing multiple characters. What a delight to finally see it live. ‘Bed & Breakfast’ is not an easy play to stage. From a visionary perspective in comic timing, there is much to consider in understanding the vast array of who each character is and their connections to each other, as well as their importance in moving the plot events forward. Ensuring Crawford’s intuitive script remains timely is quite a challenge. This terrific opening night performance met this challenge head-on with gusto. First, Capitol’s Artistic Director Kempson's staging of the play in June makes complete sense since this month recognizes the LGBTQIA+ community. ‘Bed & Breakfast,’ however, is more than just recognizing its roots within the community—it is far more. ‘Bed & Breakfast’ emphasizes the importance of belonging and the feeling of having an essential place within any established community. Joyce Padua’s costume designs purposefully characterize the vast array of characters who enter and exit the condo and the house. Her split-level set design of Brett and Drew’s intimate Toronto condo also nicely outlines the lower level of the B & B. The few steps up and down signify other parts of the house. Michelle Ramsay’s clearly defined lighting design focuses attention where needed, especially in several monologues Brett and Drew deliver to the audience. Round of applause to La-Nai Gabriel’s sound design when the precision and timing of the cues add much to the comedy of the moment. Rob Kempson's assured and confident direction of the subject content does not become preachy or ‘in your face’ at any time. Instead, he guides Kyle Golemba and Amir Haidar to sculpt authentic people who are vital members of all communities everywhere, regardless of their personal lives. Brett and Drew’s struggles, wins, losses, joys, sorrows and laughs have become mine, too, within the two-hour running time. There are moments where I rooted for Brett and Drew and other times when I could empathize with their sadness, loss, and frustration, especially in some of the horrific treatment they sometimes endured from others in this small town. Kyle Golemba and Amir Haidar are the reasons for seeing the show. They’re the kind of neighbours I’d like to have. They’re personable guys with whom you could have a beer or a cup of coffee and talk about everything or anything. They deliver likeable performances. They’re funny. They can be serious. They’re lively. They’re also in physically good shape for all the running around they do on the Capitol stage. Kyle and Amir do a lot of running and quick movements as they become the next character in mere seconds or a quick flourish, perhaps donning a specific piece of clothing or assuming a pose. There is one moment during the second act where all hell breaks loose in the B & B. Kempson has intricately staged that moment with impeccable pacing. I put my pen away, closed my notebook, and watched two solid actors whisk me away to what they know how to do—perform with focus and remain in the moment with intent and purpose. At the close of that scene, the audience erupted into a wild round of applause for Golemba and Haidar, which was appropriately earned. A feel-good opening night production with tremendous heart and joy of life, this ‘Bed & Breakfast’ travels to Winnipeg in the fall to entertain audiences with humour, pathos and drama. Before it leaves Port Hope’s Capitol Theatre, make that reservation and visit this local production. Running time: approximately two hours and ten minutes with one interval/intermission. ‘Bed & Breakfast’ runs until June 30 at the Port Hope Capitol Theatre Mainstage, 20 Queen Street. For tickets, visit capitoltheatre.com or call (905) 885-1071. PORT HOPE Capitol Theatre presents ‘BED & BREAKFAST’ by Mark Crawford Directed by Rob Kempson Set and Costume Designer: Joyce Padua Lighting Designer: Michelle Ramsay Sound Designer: La-Nai Gabriel Dialect Coach: Alison Deon Associate Sound Designer: Christie Heriot Stage Manager: Tamara Protić Assistant Stage Manager: Wei Qing Tan Performers: Kyle Golemba, Amir Haidar Previous Next

What makes a comedy work - plot, characters, setting and theme. Back 'Paul and Linda Plan a Threesome' by Jane Cooper Ford WORLD PREMIERE Presented by HERE FOR NOW THEATRE at on the grounds of the Stratford-Perth Museum, 4275 LINE 34, Stratford, ON. Presented by HERE FOR NOW THEATRE at on the grounds of the Stratford-Perth Museum, 4275 LINE 34, Stratford, ON. Joe Szekeres NOTE: I attended the Saturday, June 22 matinee performance, which was moved indoors due to the heat warning outside. There were no lighting cues but a few sound cues. I’m unsure if others were missing. “Coyly suggestive script.” “Smartly directed by Megan Watson with nifty performances.” In the Programme Note for Stratford Festival’s ‘Twelfth Night,’ director Seana McKenna writes she rarely reads Director’s Notes before she sees a play. She wants to see ‘the thing itself’ without any preparation for it. She wants to receive the play as it unfolds without any preconceptions of what it might be. I wanted to do the same with this world premiere of ‘Paul and Linda.’ Even though I had a possible preconception of what it might entail (and I’m sure the same thing went through everyone’s mind), I did not want to know anything else. I told my guest to remove the programme from my hands or gently tap my wrists if she saw me looking at any notes inside. What did I already know about playwright Jane Cooper Ford’s world premiere of ‘Paul & Linda Plan a Threesome’? It received a workshop production at Toronto’s Buddies in Bad Times in 2015. We find ourselves in the upscale living room of Paul (David Keeley) and Linda (Laura de Carteret). They’re an affluent couple who enjoy a good life, and Rebecca Chaikin’s set and costume choices appropriately indicate that. Keeley sports a comfortable-looking aqua blue dress shirt with rolled sleeves, Khaki pants, and dress/casual shoes. De Carteret wears a nice-looking dress and appropriate shoes. The living room setting is tastefully decorated in a minimal style. A matching loveseat and chair in ivory-looking fabric are centre-staged. Both furniture pieces are slightly angled. In front of the loveseat is a circular coffee table with a charcuterie board. There are also four drink coasters. The hilarious plot twist behind this idyllic look? Paul and Linda’s marriage is in trouble. To salvage their relationship, Linda invites the eccentric Sienna (Shannon Taylor) as part of a threesome to save the marriage. Linda is open-minded about this possible menage à trois. One of the most noteworthy elements of Taylor as the interloper are her eyes. As she listens intently to responses in conversation, her eyes become quite hypnotic. Initially, Paul hesitates but appears to give his consent to this ‘arrangement’. The arrival of Paul’s sister, Gwen (Stacy Smith), then completely changes the dynamics; however, will Paul and Linda see their choice through with Sienna? Will Gwen somehow be involved as well? Megan Watson directs Jane Cooper Ford’s smartly crafted script with a coy wink and a smile. Watson knows there's more here. There are some wonderfully funny jokes – the one about the golf shirt still makes me smile. Watson keeps the play’s pacing moving along where it doesn’t feel dragging. The at-times hilarious, back-and-forth banter begins to unravel secrets upon secrets. This fine ensemble finds genuine human reactions and behaviour underneath the characters' choices. Are these choices flaws? Are they signs of something else the characters don’t realize about themselves yet? Shannon Taylor is delightful as the eccentric Sienna. Her makeup is perfect, almost too perfect. It looks as if perhaps she is not of this world. One captivating element of Taylor are her eyes. As she listens intently to responses in conversation, her eyes become quite hypnotic. Sienna wears a white dress with a unique design on her coat. She knows her identity. She seems to have this innate sixth sense and isn’t afraid to share what she knows with Paul, Linda and Gwen. Taylor’s Sienna can size something up in seconds and respond immediately or wait until the appropriate moment. She immediately senses that Paul and Linda are trying to save their marriage and asks them point-blank questions. Sienna has also sized Gwen up to ask questions that might seem as if they are nobody’s business. Stacy Smith bursts on the scene as Gwen. She’s robust and lively. The moment she initially realizes what her brother and sister-in-law have been contemplating with Sienna is quite amusing. However, Sienna’s involvement with Gwen deserves closer examination, which I’ll speak of shortly. Laura de Carteret and David Keeley are realistic and believable as the troubled Linda and Paul. Their blocking throughout the approximate 70-minute running time resembles an interesting and shifting dance between the two. It is fascinating to see how each one holds power and control at any given moment. Paul and Linda might appear to have it all together when they don’t, and Sienna ultimately makes that reality apparent to them. Is that perhaps why Paul appears to be thinking about giving his consent to this ‘arrangement’? Has he become hypnotized by Sienna’s seductive eyes? Hmmm… And Another Thought: The Programme bills this 2024 season under the theme: ‘Season of Self-Acceptance.’ Hmmm…this theme gets me thinking further about Ford’s script. Is it appropriate that ‘Paul and Linda’ opens Here for Now’s summer season? Near the end, the topic of love is raised as a point of conversation. What does it mean to love? All that matters is the love. Did you love? Were you loved? Well, in this uber-permissive twenty-first society of sexual behaviour, dubious mores and 'Pride' bandwagon,’ the connotation of the word ‘love’ takes on a different meaning for different people. From this logic, the same exists for the term ‘threesome’ which takes on a different meaning. And why can’t it? Or is the play a social and comical comment on this uber-permissive society in which we now live? Or is it a social and comical commentary on the logic? It's all of these combined. Using 'woke' logic, 'Paul and Linda' becomes a social and comical commentary on the uber-permissive society in which we now live. To refer back to the question, yes, the choice to open the season with ‘Paul and Linda’ appears appropriate. The ‘woke’ world we live in constantly takes words and adjusts new meanings and connotations, regardless of whether we want that to happen. Without spoiling the plot for future audiences, ‘threesome’ means something entirely different in Ford’s play. Even Megan Watson says in her Director’s Note that working on this wild play has been layered, and the premise leads to unexpected places. Yes, I did read the programme eventually. This premise certainly raised my eyebrows, but it’s clever. Running time: approximately 70 minutes with no interval. ‘Paul and Linda Plan a Threesome’ runs until July 13 on the grounds of the Stratford-Perth Museum, 4275 LINE 34, Stratford, ON. For tickets, visit www.herefornowtheatre.com . HERE FOR NOW presents the World Premiere of ‘Paul and Linda Plan a Threesome’ by Jane Cooper Ford Directed by Megan Watson Set and Costume Designer: Rebecca Chaikin Stage Manager: Sam Snyders Performers: Laura de Carteret, David Keeley, Stacy Smith, Shannon Taylor Previous Next

A talk with a professional artist about their career. Back Sedina Fiati The Self Isolated Artist Robert Obumselu Joe Szekeres Sedina Fiati held quite an interesting conversation today. Before this pandemic hit, she talks about how she was on that proverbial hamster wheel of ‘busy ness’; we both agreed on the fact that this isolation allowed us that opportunity to sit and just ‘be’ amidst the craziness of it all. Proudly black and queer, Sedina is a Toronto based performer, producer, creator and activist for stage and screen. She is deeply invested in artistic work that explores the intersection between art and activism, either in form or structure or ideally both. She is the former co-chair of Diversity Committee & Councillor – ACTRA Toronto (2013-2017), 2nd VP Member Engagement & Councillor – CAEA (2015-2018) and named as part of 2014 Dyke March Honoured Group – Toronto Fierce Femme Organizers. We held our interview via Zoom: We’ve just past the three-month mark of isolation and now slowly emerging from quarantine. How have you been faring? How has your immediate family been doing during this time? It’s been really difficult for a lot of us, but there’s a lot to be thankful for. I’ve been working throughout and haven’t stopped. I’ve been doing a lot of online facilitation and a lot of online Zoom calls. It’s been hard to be cut off from a lot of things that we used to be able to do and not be able to see our friends or our families. Here in Canada, we’re lucky for the health care system, the emergency benefits. In the grand scheme of things, it’s been a hard-few months, it’s been a hard three months but in the grand scheme of things, I’m 39, I’ll survive three months of hardship (laughs). I’ve been ok and so has my immediate family. I live with my partner, so we’ve just been isolating with each other. My mom is in a retirement residence, so I’ve been able to see her a couple of weeks ago with a physical distance. I’m looking forward to seeing her again, so yeah, everyone’s been ok. As a performer, what has been the most difficult and challenging for you professionally and personally? It’s been a time. I wear a lot of hats and it’s hard for me to talk just as a performer. It’s been hard not to go and see shows. I really miss that. It’s also been a good time of contemplation, of next steps. I feel like I was going to be quite busy throughout this spring, so this has allowed me to slow down as a performer, breathe and think through things. During this slow downtime as a performer, I’ve been thinking about training, about craft and how I’ve let that fall by the wayside for the last while and been wanting to reconnect with that and with practicing. Personally, my partner and I have been reconnecting with each other. I’ve been calling people and text on a regular basis with family and friends. I’ve done my share of Zoom calls. I haven’t done many social Zoom calls to be honest, a few for sure, but for professional reasons I use Zoom a lot instead. I appreciate not having to look at a screen if I can help it. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? Yeah, I was. There were three things that were supposed to happen. One of them has been postponed where I was assistant directing with a friend on a project that she was creating that was going to happen at the Railway Museum in the spring. I was also supposed to do a workshop of a new play at YPT by Alicia Richardson called ‘Sweeter’. Alicia is the Canada Council playwright in residence there. I was supposed to direct a workshop of that play and that has been postponed to the fall. I was producing a reading of a new play called ‘Leopards and Peacocks’ by Gitanjali Lena. We did an online sharing of two scenes a few weeks ago to do something and to commemorate the 11th anniversary of the Tamil civil war. There was a conference in Banff I was supposed to go to. That ended up being online with 3 seminars and video sharings. A lot of things postponed and moved around. Performance wise I had nothing. I had thoughts about putting a cabaret together. I thought about this schedule and thought, “That’s a lot.” I would have gotten through it all and would have been fine, but it’s probably better to chill out. I’ve been appreciating the time to do a few more things. What have you been doing to keep yourself busy during this time? Personally, I’ve been cleaning up a lot. So, my apartment is really clean. Just been watching things a little bit – lots of audible podcasts. I have more time to do things. More cooking, lots of baking. The stuff that I would squeeze in here and there I’ve had more time to do. A lot of cleaning. I’ve always been inspired by Marie Kondo and, in general, makeover shows. Watching ‘Queer Eye’ has inspired my partner and I to change our space around. In addition to that, it’s been a lot of Zoom calls and online facilitation. I work at Generator as APT. We moved to online – 2 sessions a week – until mid-May. I’m now in prep for a children’s piece theatre. We’re moved the session to be online this year. I know Camp TO is happening but I’m not anticipating the day camp to be open. The weekends I really don’t have any energy left for work. I feel just depleted by the time Friday rolls around. I don’t think I’ve been on the screen so much since all this happened. 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? It is a time of disruption where what we were doing before is not even possible. To the professional theatre school grads: “To be fair and honest, to be so honest, it takes a long time to build up a career anyway”. That was my experience and thinking back to 2004 when I graduated from theatre school. I did an indie show right out of school and other Fringe shows. I wasn’t paid a lot but that was okay because I wanted to do them. To the graduates and to fellow performers and colleagues – those opportunities will come back. It’ll feel like, “My career is delayed but so is everyone’s”. We’re on such an individual trajectory anyway so who’s to say what you would or wouldn’t have gotten? In the grand scheme of things, if you’re in a career for the long haul, you’ll be fine. Even with a year off, you’ll be fine. Life happens to us for any reason why your career will take a break. Be ready for those moments when your career takes a break. This time of the pandemic has made me aware that we may have to be doing other things with our time. My overarching answer: “You’ll be fine.” Maintain yourself care in terms of your sanity and whatever you can do for your creative practice, but you don’t have to overdo it. I do anticipate live performance for an audience may not return for a little while, unfortunately, but I can’t see performers being off for a really long time. It’s hard to be a performer so that’s why I’m glad to be wearing a producer’s hat as the stars have to align for a show to happen. There are always things you can be doing. Still taking the classes, exploring video performance. Dance class, singing. You should always be doing these things anyway. The work never stops. You can make an audience online. Do you see anything positive stemming from COVID 19? For all of us, it’s just a time of collective pause and think through who and what it is you want to be. I feel personally that I was on a hamster wheel and still on there. Just thinking about my trajectory, I didn’t even take a break until I graduated. So the positives for the new graduates: Journal, refill the well, develop those self-care practices, find positive elements to sustain yourself. You can take that break too. Don’t feel like you’re actually missing out. This is your time, your trajectory, your career. This is a part of how your career has unfolded. Really take the time to contemplate. Others have had their own set of challenges too just like you. When things start back up again, you’re grounded and in a space of joy because that is, I think, the space where some of the best work happens. Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? Yeah, it will. Tonight, I’m a guest for the Indie Arts Coalition in an open space - a series of ongoing conversations about how we want to move forward in a better and different way. Things are in the air that haven’t been there in awhile. A big thing that’s happening is the contemplation of what we’re doing and why, and who it’s benefitting in terms of the independent artist. The system set up, nonprofits being set up, and making sure independent artists are recognized somehow, financially. With anti-racism, systemic oppression. Black Lives Matter, there’s a real spotlight on issues. I’ve been working on this for quite some time and so have other people before me. I don’t think we can come at this the same as we had. It’s also a tough time because I don’t know how funding will be affected by the economic downturn. Will there be the same amount? Which institutions will be left standing after this? The ones that are left are in a space of reckoning that we can’t do things the way we did before. We’re really going to have to work hard and pull innovative approaches to bring our audiences back to collective spaces, and to welcome people back. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? There are so many things to say about it good and bad. I have questions about the commissioning of online performance from larger institutions and are people being paid properly for that work. There was an immediate response, at first, of the proliferation of work online to try to address the fact performances were canceled and people were out of work they might have had. Now that things have settled, online performances are a good thing and especially because what alternative is there? I would rather see fewer performances that were well promoted, and artists were well compensated than seeing a bunch of performances. I can’t keep up with everything that I’m seeing online right now, bam, bam, bam…. who’s next? It’s still a valid format, but I would rather people took the time to explore the medium and what the possibilities are and that things were properly promoted. Streaming removes the barrier of participation of people who might not have money and presence for whatever reason for those who can’t attend live performances. The Zoom reading, I don’t know how that will fare when COVID is over. Yes, Zoom has allowed artists to collaborate from all over and that’s good. The Zoom reading will probably not endure to the extent that is happening now. Despite all this fraught tension and confusion, what is it about performing that COVID will never destroy for you? The ephemeral nature of performing. There’s something deep within the human history of storytelling that we can never erase that is deep within our DNA as humans. We need to share our stories with each other. We need to share emotions with each other. My parents were quite artistic so it appears that I’ve followed suit. The way we tell stories may differ, but we need to tell them. This will never be destroyed. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton here are the ten questions he used to ask his guests: 1. What is your favourite word? Breath 2. What is your least favourite word? Moist; it’s just kind of a funny word. It’s a great word, but it’s still a funny word Prime Minister Trudeau even pointed out what kind of a funny word it is. 3. What turns you on? Sharing, honesty, generosity, kindness, joy 4. What turns you off? Dishonesty, misplaced anger, meanness, excluding people, trying to feel better than somebody else. 5. What sound or noise do you love? I love laughter, children’s laughter, and children playing. 6. What sound or noise bothers you? Styrofoam rubbing together. That one really gets me. 7. What is your favourite curse word? Oh, Fuck, for sure. It’s so versatile. What is your least favourite curse word? Cunt ‘cause it’s a good word. 8. Other than your own, what other career professions could you see yourself doing? On line facilitating. Through various means, I’ve been teaching Zoom for Beginners to laid-off hotel workers. It’s all people of colour who worked in hotels who have been laid off so it’s been a joy to help these people figure Zoom. 9. What career choice could you not see yourself doing? Hmmm. This is a good one. I don’t think I’d be a very good accountant. (laughs) Too many details. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? Oh, this is a fun one. “Here is all of the foods you love. Here are all the people you love who are now dead. It’s a party.” (laughs) You can follow Sedina on Facebook: Sedina Fiati, Twitter and Instagram: @bwheelsheels Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back 'Mary Poppins' Now onstage until May 26 at the Imperial Theatre, St. John, New Brunswick Credit: Andrew Finlay Pictured: Pippa Wennberg and Bertis Sutton Aaron Kropf “A spit spot terrific family production” The latest offering from Saint John Theatre Company is a real treat for everyone in the family. Mary Poppins soars at the Imperial Theatre for one weekend only. With brisk ticket sales, you will want to grab yours before they are all gone. Mary Poppins is a familiar story full of songs that had the audience tapping their toes and clapping along. The story follows a magical nanny (Pippa Wenberg) who comes not only to help the Banks children, Jane (Ellie Clark) and Michael Banks (Joshua Birnbaum), but also their parents, George (CC Humphries) and Winifred (Tracy Ross). With the help of Jack of all trades Bert (Bertis Sutton), Mary teaches the children many lessons about life and growing up. Because of Mary, the Banks family gets to meet a wide range of characters, including a lovely scene with the Bird Woman (Ellen Snider), whose rendition of “Feed the Birds” was one of many highlights from the show. The programme does not list a specific set designer. Dave Belyea is listed instead as the Set Construction lead. His simplistic set design of a few pillars and a central staircase surrounded by an archway relies heavily on projections to move from one London location to the next. Some of these projections added to the whimsy of the story. It is vital that when looking at projections, mainly when you include them in gags and highlight a character, you don’t heavily favour one side of the stage over the other. My daughter and I were seated on the far left of the auditorium, which wasn't an issue for the majority of the time. However, a few things were difficult to see because many of the gags, including the painting of Queen Victoria, were set far left on the stage. Most of these were done on the left pillar, so those sitting on the left side were lost. Chelsea Cusack, a regular delight in Saint John Theatre Company productions, was deliciously vile as George Banks’ firmer nanny, Miss. Andrew. Her Brimstone and Treacle is precisely what you look for in a traditional Disney villain. One cannot talk about Mary Poppins without mentioning “Supercalifragilisticexpialidocious.” It is incredible how a group of people that size could remain totally in sync while performing that choreography - no better way to wrap up Act One. The chimney sweeps in “Step in Time" ended in thunderous applause. I know my 7-year-old will be talking about this number for some time. Let's not forget about Bert and Mary. These iconic characters, deeply ingrained in our hearts by the Disney film, are a challenge for any new interpretation. Yet, Bertis Sutton (Bert) and Pippa Wennberg (Mary Poppins) have not only met this challenge but have also infused their own charm and wonder into these roles. Their performances are a testament to their talent and dedication, making this show a delightful nostalgic masterpiece. Don’t miss Mary Poppins by Saint John Theatre Company at the Imperial Theatre until May 26th.You will leave the theatre happier and likely humming a tune or two. This is the best Saint John Theatre Company has been; do not miss this show. Previous Next

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

Where music, song and dance all contribute to an enjoyable plot on stage Back Thousand Islands Playhouse presents 'THE SOUND OF MUSIC' Now onstage at The Springer Theatre Randy deKleine-Stimpson Joe Szekeres A Rote and Paint-by-Numbers staging of the classic. This 'Sound of Music's' rushed pacing and dialogue challenge the production The setting is Salzburg pre-World War 2, the historical backdrop of the Nazi rise to power in Austria. We are almost all familiar with The Sound of Music’s story. Maria Rainer (Ellen Denny), a postulant nun stands out from the other sisters at Nonnberg Abbey due to her daydreaming, tree-climbing, and torn dress. She even waltzes on her way to mass and whistles on the stairs. Mother Abbess (June Crowley) sends Maria to work as a governess for widower Georg von Trapp (Eric Craig) and his seven children. Maria wants to reunite Captain von Trapp with his children who yearn for their father's attention but struggle to connect with him emotionally. She captures the children’s hearts while connecting with them through the power of music. Captain von Trapp is pursuing a relationship with Baroness Elsa Schraeder (Alison J Palmer) whose close friend, the children’s uncle, entertainment impresario Max Detweiler, (Rob Torr) is captivated by the children's singing talent under Maria’s tutelage and is intent on featuring the Von Trapp Family Singers in a prestigious music festival. Meanwhile, Captain von Trapp may be developing feelings for Maria. The visual presentation of the tale is lovely. Brandon Kleiman’s striking set design features eight columns with two accompanying staircases on stages left and right, leading to a central playing area with three descending steps. The proscenium center stage is especially noteworthy, serving as both a window in the von Trapp house and a stained-glass window at Nonnberg Abbey in various scenes throughout the show. A program note states the inspiration for the set design came from the Springer Theatre, which served as the Canoe Club during 1938 and both world wars. This is a clever and thoughtful touch. Andre du Toit’s lighting nicely complements Kleiman's set, particularly during the scenes at the Abbey in the beginning and towards the end when the von Trapps are in hiding following their concert. Joshua Quinlan, the Costume Designer, is responsible for replicating the clothing style of pre-World War 2 as accurately as possible. He has done an excellent job, especially in creating the children's play clothes (famously crafted from Maria's bedroom drapes) and concert attire. Maria's wedding dress is also appropriately simple and elegant. Mike Doherty’s sound design provided good clarity in the first act. I could hear the dialogue and lyrics perfectly, which has been challenging with some musicals I’ve reviewed over the years. Unfortunately, there were some technical issues with actors’ mics near the end of Act 2 but, overall, the sound in the Springer for this production seems significantly improved. Performance-wise onstage, I was less enthusiastic. At this opening-weekend matinee, I was taken aback by how the show galloped headlong at a frantically rushed pace which compromised the emotional core of the piece. For instance, when the children sing for Elsa Schraeder, I watched Captain von Trapp's reaction to hearing music in his home for the first time since his wife's passing. Eric Craig didn't fully let that moment sink in or resonate. The actors in the scene spoke their text with quick precision, but as an audience member, I expected some emotional depth that wasn’t there. I wanted to feel the widower’s grief and regret. Unfortunately, no emotion came through for me. This was essentially true for a good part of the show; dialogue and song lyrics whizzed by, perfectly memorized but delivering little heart. It's true that ‘The Sound of Music’ is a long show (this performance lasts two and a half hours with one interval), so keeping track of time is a reasonable concern. Nevertheless, Director, Naomi Costain, is responsible for ensuring that the storytelling resonates with the audience regardless of timing. With largely presentational staging, mostly blocked downstage-centre, and all very hurried, Costain steers this production emotionally far from the sweet sentimentality of the beloved story we know from the film. The challenge for the actors telling this story should be to convey credible, sometimes poignant emotions that resonate with the audience. Unfortunately, it looked like Costain hadn’t given clear, connected human motive for movement or songs, from one point to another, other than serving to move people around on a stage. As a result, there’s a “we go here now because we’re told” feel to the proceedings that makes it somewhat like watching a paint-by-number being completed… sure, it’s kind of pretty, but is that all? As an audience member, like most familiar with the classic story, I hoped to witness the characters we know come to life. They’re not there yet. Only when Rob Torr’s terrific Uncle Max brings his flourish of bravado and depth of pathos to the stage is this production somewhat elevated. Six of the seven children have been double-cast. However, no program notation informs us who we see for any given performance. Neither are young actors given bios, which is odd since the kids are (let’s be honest) one of the reasons we want to see the show. The children acquit themselves well is all I can offer without knowing more about whom I saw onstage. I would like to suggest that a program insert or an announcement listing the names of the children performing at any given show would be well deserved. Running time: approximately two and a half hours with one intermission. ‘The Sound of Music’ runs until August 67 at The Springer Theatre, 185 South Street, Gananoque. For tickets call 613-382-7020 or visit www.1000islandsplayhouse.com . THOUSAND ISLANDS PLAYHOUSE presents THE SOUND OF MUSIC Book by Howard Lindsay & Russel Crouse; Music by Richard Rodgers and Lyrics by Oscar Hammerstein Director and Choreographer: Naomi Costain Music Director: Anthony Bastianon Set Designer: Brandon Kleiman Costume Designer: Joshua Quinlan Lighting Designer: Andre du Toit Sound Designer: Mike Doherty Performers: Ellen Denny, Eric Craig, June Crowley, Rob Torr, Alison J. Palmer, Mary Kelly, Sarah Strange, Annie Ramos, David Talbot, Marcia Tratt, Hadley Mustakas, Robbie Fenton, Curtis Sullivan, Douglas Hughes, Gareth Davies, Brittany Miranda, Jamie Murray, The Children: Micah Garvin/Matthew Fournier; Amara Nanji/Charlotte Stroud; Scarlett Belanger/Isla Oatway; Reid Nicholson/Malcolm Jager; Emilie Lord/Bria Dubey; Yvette Lord/ Brea Oatway Previous Next

Where we hope to help young people develop an intrest and a passion for a futrure in theatre. Back 'Jungle Book', A New Adaptation Young People's Theatre YPT Site Joe Szekeres I’m hoping I’m not that old in pointing out how we’ve all watched the dancing, singing and cuteness version of Disney’s ‘The Jungle Book’. Whenever I’ve seen the film advertised on television, it’s always Baloo’s memorable ditty to Mowgli, “Look for the Bare Necessities”. There’s nothing wrong with this adaptation as it introduces Rudyard Kipling’s stories of Mowgli, the wolf boy, to new audiences. However, don’t allow Disney to be the only experience you have of this story. An exciting, colourful and eye-catching production of ‘Jungle Book’ from creators Craig Francis and Rick Miller opened at Young People’s Theatre with theatrical flair and musical excitement right from the top of the show. According to the release, this production is part of a North American tour after a recent appearance in New York. Four rousing actors entered grandly from the house and moved their way down to the stage in a fanfare of audience participation that even the adults around me clapped along in fun filled unison with the kids. And I was taken on a wild adventure ride through an immersive technology and multimedia to the urban jungle of Mowgli’s childhood in the forests of India. I loved every minute of it and am pleased it’s playing here for just over a month. For me, this touring production was magical as it took me back fondly to my childhood when I first read Rudyard Kipling’s tale. The set design consisted of three see through scrims. Behind the scrims, there is a large rectangular raised platform with a large white hanging screen which I’m assuming will be to view projections throughout the show. Rebecca Picherack’s lighting design was fascinating at the top of the show as the swirl of red and green was intriguing to watch. The reflection through the scrim made it appear as if water was nearby. Irina Litvinenko’s multimedia designs are exquisite to the eyes. Ms. Litvinenko’s work in capturing the fast-paced world of New York City where the adult Mowgli (Levin Valayil) is an architect is exquisite. The multimedia designs colourfully and cleverly place us in the richness verdant jungle where such characters as Shere Khan, Bagheera and Kaa inhabit and roam. What is also remarkably dazzling to watch are the use of puppets co-designed by Astrid Janson and Melanie McNeill. I’ve always been fascinated with puppetry as part of theatre, and the extraordinary creations of these two women is astounding. Make sure you pay careful attention to Tahirih Vejani as Kaa, the snake. With the puppet, she slithers in front of the audience with the elongated ‘s’ sound sinisterly sibilating in her voice as the puppet slithers in front of the audience at one point. Under a guiding vision of dignity for life in co-direction by Messrs. Francis and Miller, this ‘Jungle Book’ gently balances the theme of Respect in exploration of the consequences of colonialism and continuing human domination of the animal world. The four principal ensemble players merrily bring to life (through songs by composer Suba Sankaran and clever lyrics by Kipling/Miller and Francis) several of the famous characters whom we have come to know. Levin Valayil is a charming and affable adult and architect Mowgli who leaps and moves around the stage with gusto. And can he ever sing and hold a musical note. I especially liked Mr. Valayil’s work in the adorable young boy puppet of Mowgli. I heard some audience members around me along with some children utter and affectionate, “Aaaahhhh”. Matt Lacas becomes a comfortable, genial teddy bear as Baloo, the sloth bear. His relationship with the young Mowgli in teaching him to become more than just a wolf boy is sweet. As the panther, Bagheera, who is out to protect the young Mowgli, Mina James is solid in her work as she contorts her body to an animalistic pose in the puppetry costume she dons. FINAL COMMENTS: There is rapturous joy in this ‘Jungle Book’. It’s a definite go to and must see for the family. It’s here for Family Day and the March Break, perfect for day or evening shows. Performance runs approximately 65 minutes. There will be some Q and A sessions following certain shows. Photo of Levin Valayil as the adult Mowgli by Rick Miller. JUNGLE BOOK Runs on the Mainstage to March 21 at Young People’s Theatre, 165 Front Street East. For tickets, call the Box Office (416) 862-2222 or visit www.youngpeoplestheatre.org . Written & Directed by Craig Francis & Rick Miller. Adapted from the Works of Rudyard Kipling. Produced by Kidoons and WYRD Productions in association with The 20K Collective. Creative Team: Co-creator/Director/Stage Manager (select performances: Craig Francis); Co-creator/Director/Production Manager: Rick Miller; Production Manger/Technical Director: James Kendal; Stage Manager: Andrew Dollar; Set/Costume/Props Puppets Co-Designers: Astrid Janson and Melanie McNeill; Lighting Designer: Rebecca Picherack; Multimedia Designe: Irina Litvinenko; Sound Designer/Composer: Debashis Sinha; Puppetry Consultant: Frank Meschkuleit; Song Lyrics: Kipling/Miller/Francis; Original Song Composer: Suba Sankaran; Shadow Puppetry Consultant: Eric Woolfe; Fight Consultant: Siobhan Richardson; Cast: Mina James, Matt Lacas, Levin Valayil, Tahirih Vejdani Previous Next

A talk with a professional artist about their career. Back Scott J Kyle The Self Isolated Artist --- Joe Szekeres I was encouraged to enter the Twitter universe by the publisher and editor of OnStage Blog. I was a tad reluctant at the beginning to start using it as I was uncertain if Twitter would truly be of benefit personally and professionally. I was assured by my editor and publisher that, yes, it would be. And my publisher was right. I have made contacts with some professional theatre companies and individuals whose work I have admired tremendously and with whom I wanted to keep in touch. Some individuals have also tracked me down. One of these individuals is Scott James Kyle. When he started following me on Twitter, I’ll be honest and say I had no idea who this man was. When I read about him on line and in his brief Twitter bio, I was quite impressed with Scott’s credentials as an actor, both in stage work and film. Since Scott and his wife Karen live in Scotland, I didn’t recognize some of the television series except one – Outlander – where he played Ross. I know Outlander is a series of novels. When it appeared on Netflix, I thought I’d better start to watch it. I still have to fulfil that commitment. What strikes me as both out of the ordinary yet very humane is Scott’s manner of communicating with his followers and his fans. Just from his Twitter verse alone, he values people first and foremost and likes communicating with them. Very out of the ordinary for celebrities, but from what I read about Scott online in his Twitter feed and his website, he and his wife travel round the world meeting many people. He’s not one to shut himself off from communication with his followers and fans. I didn’t know if Scott would agree to this interview as he has over 730.1 K followers alone and he follows 660K individuals. Again, I thought, “What the hell?” and took a chance for an interview. I was pleased when the answers to the questions showed up in my online mailbox for Twitter. Thanks, Scott, for taking the time: 1. It has been just over two months right now that we have been under this lockdown. How have you and Karen been doing during this period of isolation and quarantine? How are your immediate families doing? Everyone is safe and well at the moment, so we are blessed, and we are looking forward to getting together when we are given the green light by the powers that be. 2. Were you involved in any side projects before the pandemic was declared and everything was shut down? Were you involved in the planning stages of any new projects? What will become of these new projects that were in planning stages? Yes, I had a new movie that I was supposed to be filming in March before going into rehearsals for a theatre show that was to be touring in April and May of this year. I’m hopeful these projects will be able to go ahead when the lockdown ends, and things can return to some degree of normalcy. 3. What has been the most difficult and/or challenging element of this period of isolation for you and for Karen? I think we’ve been okay with the lockdown actually and the restrictions to movement. We just got round to lots of work that we have been putting off in our home and garden. The most difficult part of the lockdown has been not seeing our friends and family. Karen and I are very sociable, so it has been sad not to be able to see everyone. 4. What have you two been doing to keep yourself busy during this time of lockdown? Karen and I have been going on long walks or cycling to places that we have never been to before in our own area. We’ve also spent a lot of time on DIY projects and our garden. I’ve been working a few days a week with a local charity so that gets me out of the house and makes me feel like I am contributing something during these challenging times. 5. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? “Infinite patience produces immediate results” – this is a mantra that has served me well over the years and is helping me to get through this lockdown. 6. Do you see anything positive stemming from this pandemic? There will be lots of positive things people will take from this pandemic. One of them will be a newfound appreciation for their friends and family whom everyone has missed so much (this includes Karen and I). Another will hopefully be a realisation that we have been taking a lot of things for granted. 7. In your estimation and informed opinion, will the European performing arts scene somehow be changed or impacted as a result of COVID – 19? It will be very difficult for all venues to come back from this, but within those challenges is also a huge opportunity to right a lot of the wrongs in our industry, and give more performers a chance to have a career in the arts. Some of those careers might be an outdoor/online performance driven work which I think will be a part of the industry moving forward. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts about this format presentation? Any advantages to doing this? Disadvantages? Are you participating or will you be participating in this presentation format soon? It’s great to see people are continuing to be creative even during the lockdown with the streamed performances and workshops. I have been asked to do workshops online and to be part of various online filming projects. However, I’ve decided to use the lockdown to spend more time with Karen as we have been busy over the past few years, and I really wanted to focus on her. Since the lockdown has continued, I have agreed to do interviews like this one and I’ve done some cameo videos, but that’s about it. 9. What is it about performing you still love given all the change, the confusion and the drama surrounding our world now? To me, acting and story telling are very spiritual processes and experiences for the performers and the audiences. If anything we need these connections now more than ever. I am looking forward to seeing how the creative minds of the artistic community respond to the new challenges. I think the future is bright for the arts. “Inside the Actors’ Studio’ was a weekly televised American program where its late host, James Lipton, used to ask the following ten questions to his guests at the conclusion of his interview: a. What is your favourite word? Namaste b. What is your least favourite word? Impossible c. What turns you on? Spending time with others d. What turns you off? Negativity e. What sound or noise do you love? A scratch at the window from Jess, the neighbour’s cat. f. What sound or noise bothers you? Babies crying. g. What is your favourite curse word? The “F” bomb. h. What profession, other than your own, would you have liked to attempt? Motivational speaking. i. What profession would you not like to do? Being a soldier and killing people. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You’re late” You can follow Scott on Twitter: @ScottJKyle1. Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back Chris, Mrs. - A NEW HOLIDAY MUSICAL Now onstage at Toronto's Winter Garden Theatre Credit: Max Power Photography. Pictured: Liam Tobin, Olivia Sinclair-Brisbane and the ensemble Joe Szekeres “In a world so desperately longing to smile, we need ‘Chris, Mrs.’ to put a tuneful song in the heart accompanied by tripping the light fantastic dance numbers.” The world premiere of ‘Chris, Mrs.’ ticks all the boxes on the proverbial rubric scoring sheet of a Hallmark Christmas film. The story begins in the big, busy city where widower Ben Chris (Liam Tobin) is not in the Christmas mood at all. He leverages his late parents’ lodge for a work promotion. But this is a problem as Ben’s brother, Charlie (Kale Penny), still runs the lodge. Charlie feels a sense of connection to the lodge in memory of their parents. To convince his brother it’s best to sell, Ben decides to go to the lodge and takes with him his socialite, bitchy and arrogant girlfriend Vicki Vandrelle (Olivia Sinclair-Brisbane), and his three children, teenage daughter Claire (AJ Bridel) and twins, Samuel and Samantha (Lucien Duncan-Reid and Addison Wagman at this performance). The twins discover a ring in their father’s suitcase and write a letter to Santa asking for assistance. Magically, Holly Carmichael (Danielle Wade) appears. Her name says it all. Holly is full of Christmas spirit. She is a seasonal employee at the lodge. Holly and Ben have met over the years, but there is no connection. However, through misadventures, a twisted ankle, mischief and personal heart longings, everything wrong becomes right again. Sometimes cheesy and corny in a few puzzling plot elements? Yes. Boy meets girl after many years and re-kindles relationship. Yes. Snow falling at the end with everyone standing around a Christmas tree with love in the air and a song in their hearts? Yes. Is there anything wrong with any of that at this time of year? Absolutely not. It’s Christmas, and I don’t want to be a Grinch. You shouldn’t either. A quibble I have with this opening night production, and I’m sure it will be rectified immediately, is designer Ranil Sonnadara’s uneven sound balance between the singers and the orchestra throughout most of Act One. From where I sat in the house, I could not hear the lyrics in most chorus numbers and found it frustrating. I know I lost important plot information. Olivia Sinclair-Brisbane has quite an exhilarating vocal number (‘Vicki’s Lament’) to close off the first act, which moves the plot forward in her ‘scheme.’ Again, I could not hear one word in her song as the orchestra overpowered. Things were somewhat better in Act Two as I could hear the lyrics for most of the numbers. There’s much to appreciate about the opening night production. Cory Sincennes’ costume and set designs emblazoned the set in various traditional holiday colours. Mikeal Kangas’ lighting design nicely focuses attention where it needs to be. I was rather impressed with some of Greg Dougherty’s technical direction. The tree lighting at the end of Act Two is quite clever. I smiled as I watched how the ice skating was handled on stage. What is also impressive is the breakneck speed at which the ensemble moves set pieces smoothly in the variety of settings for the story. A good choice was made not to place the stage in complete darkness each time, which would have wholly brought the audience out of the story’s fluid pacing. Choreographer Sarah Vance creates several visually appealing high-stepping dance numbers. Katie Kerr’s tight direction keeps the pacing fluid and moving. Her and Music Director Matt Stodolak's lyrics are uniquely clever and cheery. One example is Claire’s ‘All I Want for Christmas,’ where a particular ‘play on a word’ kept me smiling throughout the entire musical number. The ensemble dance work of George Absi, Carla Bennett, Devon Michael Brown, Shelley Kenney, Heather Kosik and Jason Sermonia remains one of the production's highlights. Sarah Lynn Strange is bubbly and effervescent as Candace Brown, Ben’s secretary. Lucien Duncan-Reid and Addison Wagman are adorable as the troublemaking twins at this performance. Their finding of the ring also reminded me of comic moments from classic Disney films. Mark Weatherley captures the essence of the season's magic as Nick, who sets Holly on the right track when uncertain about what she should do regarding Ben. Weatherley’s silver fox look also sets Candace’s heart fluttering. Andrew Broderick and Henry Firmston are credible in their onstage work as respective nice guys Cole Jackson and Tim Penner, who also get what they deserve by the end of the story. As brothers Charlie and Ben, Kale Penny offers a solid juxtaposition in character development to Liam Tobin, especially when the truth outs in the second act with the arrival of the potential buyers of the lodge. As Claire, AJ Bridel’s lovely singing voice resonates and is poignant in her rendition of “All I Want for Christmas.” Liam Tobin and Danielle Wade are appealing as ‘Christmas-crossed’ lovers who finally recognize the truth of what each means to the other. I couldn’t help but smile again as all appeared right in the world as the entire company sang ‘Different This Year.’ Again, a tad cheesy and corny, but who cares? It’s Christmas. We need to smile in our world right now. Final Thoughts: Thank you to Katie Kerr and Matt Stodolak for sharing their dream of having a place in the Canadian musical theatre canon. Yes, ‘Chris, Mrs.’ is a holiday treat this year. Go and see it with your loved ones. I look forward to seeing what their company BOLDLY PRODUCTIONS has planned. Running time: approximately two hours with one intermission. ‘Chris, Mrs.’ runs until December 31 at Toronto’s Winter Garden Theatre, 189 Yonge Street. For tickets, 416-366-7723 | 1-800-708-6754 or visit CHRISMRS.com. BOLDLY PRODUCTIONS and The Winter Garden Theatre PRESENT The World Premiere of ‘CHRIS MRS. – A NEW HOLIDAY MUSICAL’ Music, Book, and Lyrics by Matthew Stodolak & Katie Kerr Director: Katie Kerr Musical Director: Matthew Stodolak Choreographer: Sarah Vance Set & Costume Design: Cory Sincennes / Associate: Beyata Hackborn Lighting Design: Mikael Kangas Sound Design: Ranil Sonnadara Stage Manager: Jessica Severin Production Manager: Greg Dougherty Band: Matthew Stodolak, Ben Kersey, Tom Skublics, Steve McDade, Karl Silveira, Dave Patel, Peter Bleakney Performers: Liam Tobin, Danielle Wade, Eric Abel, George Absi, Carla Bennett, AJ Bridel, Andrew Broderick, Devon Michael Brown, Finn Cofell, Lucien Duncan-Reid, Henry Firmston, Isaac Grates-Myers, Shelley Kenney, Heather Kosik, Kale Penny, Jason Sermonia, Olivia Sinclair-Brisbane, Sarah-Lynn Strange, Addison Wagman, Mark Weatherley Previous Next

Where we hope to help young people develop an intrest and a passion for a futrure in theatre. Back 'The Adventures of Pinocchio' Young People's Theatre YPT Site Joe Szekeres What a tremendously enjoyable opening night production of ‘The Adventures of Pinocchio’ at Young People’s Theatre! What a joy to see a show specifically geared to children and their families. And what a gift to give yourselves and your families this Christmas/holiday season. If you would like to introduce young school aged children to the wonderful world of live theatre, order your tickets now because I have a strong feeling ‘Pinocchio’ will sell out especially over Christmas and New Year’s. The press release speaks about a dream team behind the scenes with a cast of first-rate actors, and I agree wholeheartedly. This dream team all around makes this production come alive. As director, award winning actor Sheila McCarthy is at the helm accompanied by Canadians Brian Hill who wrote the book with cleverly written lyrics and music by Neil Bartram. The names I did recognize on stage and behind the scenes are some top-notch individuals. I know I will scan future programmes for the names I did not recognize and keep an eye out for them as these talented people are most deserving of the standing ovation at this opening night. I’m sure we all know the story of Pinocchio (Connor Lucas), the little wooden, energetic boy who wants to become a real boy. His father Geppetto (Shawn Wright) loves him not matter what happens. As the story unfolds, Pinocchio does whatever it takes to get what he wants. At times, Pinocchio is impulsive and rash while at other times he is obstinate and harsh. Pinocchio goes on a series of adventures and meets many strange and eccentric individuals who ultimately lead him to understand the difference between what he wants and what he truly cares about. In order to do this, Pinocchio must be honest with himself and others. This year, YPT focuses on the Seven Ancestral Teachings of the Anishinaabek people. Honesty is the focus in this production. And director Sheila McCarthy clearly and consistently maintains this focus throughout the seventy-five minutes presentation. Pacing is tight and fluid. David Terriault’s music direction helps to keep the production moving along. Joanna Yu’s gorgeous costumes and functional set design magically capture the storybook appeal. The puppetry of the large fish and watching how it swam across the stage mesmerized me. Connor Lucas is an energetically high Pinocchio who longingly wants to experience as much real adventure that he can in his quest to become a real boy. His tap-dancing sequence in ‘It’s Easy Being Me’ is one of the highlights of the show. There is a world-weary poignancy in Shawn Wright’s performance as Geppetto. My heart was breaking for this father who believes he has lost his son forever but keeps looking for him no matter the cost. The eccentric supporting players add intense drama and suspense to the fast-moving plot events. As the Blue Fairy who appears and disappears as she tells us the story and converses with Pinocchio, Malindi Ayienga ethereally reminded me how life can sometimes be mysterious. Jacob MacInnis is a deliciously campy and evil Puppet Master who pushes Pinocchio to his limits. Joel Cumber and Arinea Hermans as the shyster Fox and Cat theatrically and magnetically share an eleven o’clock number about money growing on trees. Great fun to watch Mr. Cumber and Ms. Hermans nimbly move across the stage with such grace and ease. Noah Beemer’s Lampwick teaches Pinocchio a very hard lesson about people who supposedly only like you to gain certain things. Susan Henley, Sierra Holder and Kelsey Verzotti beautifully round out this cast with memorable moments in song and dance. FINAL COMMENTS: An enchantingly delightful afternoon or evening of entertainment for the family. Don’t miss out. THE ADVENTURES OF PINOCCHIO Production continues to January 5, 2020 on the Mainstage at Young People’s Theatre, 165 Front Street East, Toronto. For tickets, call (416) 862-2222 or visit www.youngpeoplestheatre.org for further information. Production recommended from ages JK/SK – GRADE 6 Performance runs approximately 75 minutes with no intermission. There will be some Q and A sessions after performances so make sure you check first. Director: Sheila McCarthy; Music & Lyrics by Neil Bartram; Book by Brian Hill; Music Director: David Terriault; Choreographer: Julie Tomaino; Lighting Designer: Louise Guinand; Sound Designer: Adam Harendorf; Set & Costume Designer: Joanna Yu; Stage Manager: Kristin McCollum. Photo by Cylla von Tiedemann. L-R: Connor Lucas, Arinea Hermans and Joel Cumber. Previous Next